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Before you start layering effects on your percussion parts, it’s crucial that you set yourself up to be able to mix each instrument in your kit individually. Sure, Logic offers loads of percussion-based EQ settings designed for whole drum kits, but this doesn’t mean you shouldn’t write your parts in a way that will allow you to isolate them in mixing later.

My next move was to warp out a human performance over my beats to hear what it would sound like. I tried both the Wasser and Poppen, and the Poppen sounded cooler. I did continual A/B comparisons with the MIDI version to line everything up by ear.

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For my first serious remix, I thought I would take on Childish Gambino’s “This Is America.” I have the a cappella and the instrumental, and it feels like a timely song. I put the instrumental on one deck and the a cappella on the other, and did my best to improvise a mix in real time.

Brad Pack is an award-winning audio engineer, writer, and educator based in Chicago, IL. Brad holds a Master’s degree in Electronic Media Production. When he’s not in front of his laptop, Brad can be found in the mosh pit.

“I’ve done a lot of different music courses in the past, even attended the Guitar Institute in London for a spell, but the quality of the Soundfly course has been exceptional. Far better than anything else I’ve come across in terms of quality, depth, support, and fun!”

One chart taught me love / one chart taught me patience / one chart taught me pain / this is amazing / thank u, next / I’m so freaking grateful for these pop-song specs.

Eventually, the bass line drops down an octave and changes its stubborn pedaling to play chord tones along with the rest of the rhythm section. It starts with the same old D and A. Next, it moves to C♯ and A for the A chord. Then it moves to the B chord but still keeps the pressure on with that non-chord-tone A. Finally, it rounds off with a pleasant, resolute walk-up, bouncing back up between notes of the major scale and A, which is the root of the chord. Classic!

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“No Brainer”: So I’m not really hearing, like, “chords” here — just the bass line with the funky leading tone, the ping-riff thing, and the baby-robot notes. I mean, together they do sort of make “chords,” but it’s pretty subjective. I’ll tell you what, though: I’m not building chords off the fifth and sixth notes of the bass line. I just don’t hear vi and V chords like I’m hearing the other chords I can pick out of this loop soup.

This would also be a good place to bring up that some music theory people don’t consider two-note intervals “chords.” But my take on that whole controversy is that, when naming things, it should be taken into account how our brains ascertain tonal information based on everything we’ve heard before, in all of music. It’s just something our brains do, so why deny it because we selfishly want a more tidy nomenclature?

Music is such a volatile and unpredictable market. You never know when a song will take off or not. Why risk taking a one-time work-for-hire fee for a few hundred dollars when you can have X% ownership? Owning and registering a publishing percentage ensures fair compensation if the release sells well. (For a quick crash course on royalties, rights, and publishing, check out our free course, How to Get All the Royalties You Never Knew Existed.)

Domenico Dragonetti’s three-string double bass, on which he was considered Europe’s greatest virtuoso, hangs today at the Victoria and Albert Museum in London. He was born in Venice in 1763, and took up music at a young age. His talent was picked up on immediately, and at 13 years old, Dragonetti was appointed principal player at the Opera Buffa in Venice. The following year, he earned the principal double bass position in the Grand Opera Seria at the San Benedetto Theatre, and further high employments in Venice.

Try to be creative with your promotions. The perfect solution or combination of marketing strategies to get fans out to a show doesn’t exist, so don’t be afraid to try out innovative ideas, even if they might fail. You’ll learn from what goes wrong and increase your understanding of what it takes to put on a successful show in your music market.

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