For example, in Spotify for Artists, you can see detailed stats for your top 200 songs. You can filter by date range to see whether certain promotional efforts or live shows have correlated with your Spotify activity. You can also track the total streams and listeners of all of your tracks, combined (but note that this “all-time” graph can only go as far back as 2015).
Soundfly welcomes new voices each month to offer unique perspectives, shine a light on unexpected musical worlds, and help our readers find their sound.
Mahea Lee is a classically trained pianist and composer who has a degree from a jazz school and leads an electro-pop band. Her greatest musical passion is lyrical songwriting, but she’s been known to write the occasional fugue. She graduated from Berklee College of Music, where she majored in Contemporary Writing and Production and minored in Music Theory. For more Mahea, check out Soundlfly’s course, The Improviser’s Toolkit.
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Once you’re on board with knowing that venues and club promoters aren’t charity organizations chomping at the bit to help you promote your music, learning how to describe your sound and successes is the next vital step in making your band more bookable. This is essential for creating an engaging pitch designed to tell venues why you’re worth booking.
Both of the new videos were made against countless odds: “In the 1970s” because of all the impossible ideas we wanted to make real, and “Felicity” because we had to find a place to shoot all 15 Baccis at the same time with essentially no budget. Thankfully due to my employment at Roulette Intermedium in Brooklyn, I was able to get a day there to shoot, and Chris Shields, a filmmaker/writer/musician who I’ve admired for years, was completely instrumental in making that video work as well as it did, considering that we filmed it in six hours by the skin of our teeth. It was Chris’ natural eye for dynamism and lighting that made it look so amazing, as well as the insane post-production he did which made it look like an old VHS copy of an Italian movie. My dream came true!
When saving your projects, make sure that you label them clearly so you can recall their specificities. You can also use folders to organize different projects and versions of songs. Here’s an example of how I often label my tracking projects:
This more complex view of phase interaction is more applicable to the real-world scenarios we encounter as musicians and producers. You might be struggling to record a drum kit with multiple mics and losing that precious oomph in the process. Your studio monitors could start sounding a bit odd, because each side is interfering destructively with the other while their sound travels through the air. You may find that a certain parallel processing hack or sample replacement makes your sound thinner rather than awesome-er.
Will Marshall is a singer, composer, producer, pianist, synthesist, engineer and educator. Will has engineered for artists such as Oscar-nominated film composer Nicholas Britell, Grammy-nominated jazz musician Patrick Gleeson, R&B singer Vudajé, experimental composer Augur Duende, and electronic acts Ill Gates, Freq Nasty and the Fungineers. He is currently consulting mix engineer and producer for Sennie Records in San José. As an educator, Will taught at Pyramind in San Francisco from 2015-2018 and is a well-known authority in the creative applications of music technology. He has written and directed several in-depth educational video series, taught numerous workshops, and accepts occasional private students.
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But at the same time, it’s important to realize that this doesn’t really count as practice. As Dr. Ericsson writes, “You seldom improve much without giving the task your full attention.” If you’ve had a long day and your mind feels like it’s drizzling out of your ear lobe, then maybe that’s not the best time to try to focus intensely on a very difficult leap forward.
Tredici Bacci’s latest record, La Fine Del Futuro, released this spring, makes me feel like I’m playing a minor character in a movie about falling in love on mushrooms in a European technicolor nightmare circus. And oh yes, it’s definitely set in the 1970s. Simon Hanes is this 13-piece soundtrack-pop ensemble’s fearless leader, as well as its composer and arranger. Flypaper’s Dre DiMura asked the California-raised Brooklyn-based musical polymath to speak about his sense of humor, which is integral to the music, and Hanes said something which I think encompasses a huge part of the ethos of this interview series:
The djembe is one of West Africa’s best known instruments. It is essentially a goblet-shaped drum carved from a single piece of African hardwood with a head made from rope-tightened animal hide.
And so, with our eleventh edition of the Student Spotlight series, highlighting the brilliant work of Soundfly alumni created in our courses and Headliners Club mentorship sessions, we humbly offer up some new music for your favorite summer playlist.
This international residency program is open to artists across many mediums for one- to three-month long residencies. Artists are given lodging and studio space on a remote island off the northeast coast of Newfoundland, as well as a weekly stipend for materials and day-to-day living. Be prepared to put on your public speaking hat though, as artists are required to give at least one presentation, performance, or workshop during their stay. Residencies open every two years.