Donate musical instruments nyc

“Happier”: Wait, no… what are you… no! Not the dog, come on, man, not the dog, what are you doing to me, Marshmello? Okay, so here’s a form I’m not adequately equipped to categorize or compare to anything else: what’s stumping me is what to do with the three-bar space in between the pre-chorus and the solid chorus/refrain that’s introduced at the beginning. For now, I’m lumping it in with the chorus as part of a chorus variation. But you could also think of it as an extended part of the pre-chorus, especially as its lyric is taken from it. Or, I guess we could even call it an “interlude.” It’s slippery. I have to highlight the half-bridge that ends the song — you almost never see half-bridges.

When I produce a track, chorus impact accentuators are always on my mind, especially at the final stage. And while I attempt to challenge myself by trying new methods every now and then, I do have some go-to accentuating techniques that I frequently rely on (and I’m not the only producer who does so). So here are some of the classics.

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Funding for the arts

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It also had bass and treble controls that provided an EQ for the effect. You could also take inputs from multiple sources (mic, instrument) and a mixer, all easily accessible from the front panel. Roland had the foresight to design something that was meant to be played and interacted with. They didn’t just see this as a tape delay with a wet/dry knob, they saw the potential this had to help creative people articulate the music they heard in their head.

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