We see this all the time in genres like heavy metal for instance, which is often characterized by lots of jagged edges, sharp corners, and bold, aggressive lettering to reflect that shock element, and the loud, distorted, screeching aspects of the music. In the punk tradition as well, there’s a long history of using found lettering such as newspaper headings, stencil style design, and typewriter font, to convey the DIY ethos of the music; rough, fast, borrowed, or stolen. This has been the case since The Sex Pistols and Rancid and continues through to this day.

This attention to detail only serves to dress the context that much closer so that we become invested in the drama with little to no restraint. We’re invited to take part in the world of the film’s fictional band, The Wonders.

With overwhelmingly positive results, we’re happy to share a few select testimonials of Soundfly’s Modern Mix Techniques course directly from our students.

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“Lucid Dreams”: This opening synth motif throws you a bit by going to a different second note on the repeat. And then you get thrown by the fact that he’s only singing five notes within a perfect fifth tessitura: scale degrees 3^-4^-5^-6^-7^. Don’t be alarmed, but there’s no tonic being sung, so if you took away the chords it would sound major, like 1^-2^-3^-4^-5^ (do re mi fa sol), like effing Beethoven’s 9th and stuff. To my ears, it makes the melody feel lost, adrift, never going home. Of course, that’s appropriate for the song’s theme of heartbreak.

We want to connect with a performer, and that’s maybe what James Brown does best on this album; he connects with his audience in a way that over 50 years later we can’t deny feels absolutely great to listen in on.

As we just saw, one musical principle that has reverberated throughout time and across continents and cultures is theme and variation. To revisit that classic example, here’s the theme from Beethoven’s “Symphony No. 5” and the first variation of it, displayed in Ableton Live’s piano roll. The simple shifting of the notes downward is very effective.

I’d say my biggest accomplishment was completing a two-week European tour through Italy and Austria with the modern jazz group PLS.trio, where I played some of the most challenging music I’ve ever played with some of the most talented, virtuosic players I’ve had the pleasure of sharing a stage with, but I could still hang and hold my own—even while playing to large crowds. I felt on top of the world at the end of that tour.

The music becomes frantic and highly directional. It is pointing towards a piu’ che sforzatissimo (sfff) octave double-stop in the low register, followed by the apparition of silence, which contributes to hold back the accumulated energy for a moment (2:03). It is this moment of silence which creates a striking contrast with what follows: A powerful “quadruple-stop” (marked with “tutta la forza” — or, “with utmost strength” — and “ferocissimo” — “very ferocious”) in which five octaves divide the notes in the left and right hands (2:09).

Theatre grants for individuals

Jeremy is a Montreal-based musician, sound artist and improviser who loves giving advice to emerging artists on how to make their tours more effective. He writes, records and performs electroacoustic “concrète” music for tape, oscillators and amplified objects and surfaces, as well as solo guitar. He has performed and released material throughout Europe and the UK, Asia, the US and Canada, mostly with his trio Sontag Shogun.

All of our mentored online courses come with six weeks of 1-on-1 professional coaching and feedback on your work. It’s like having a personal trainer, but for music! Share your goals with us and we’ll find a course for you, or create a custom mentorship session with a pro musician, engineer, educator, or music industry veteran, to help you achieve them. 

The in-depth tone controls also allowed the Space Echo to be manipulated and create some wild effects.  If you turn up the intensity control as the echo fades out you’ll get this intense swelling effect that you can hear on many dub or reggae songs. If you change the tape speed or delay rate you’ll hear crazy pitch shifting and oscillating effects. Artists like Pink Floyd, Radiohead, and Bob Marley have all used the RE-201 to create absolutely stunning music.

Jeremy is a Montreal-based musician, sound artist and improviser who loves giving advice to emerging artists on how to make their tours more effective. He writes, records and performs electroacoustic “concrète” music for tape, oscillators and amplified objects and surfaces, as well as solo guitar. He has performed and released material throughout Europe and the UK, Asia, the US and Canada, mostly with his trio Sontag Shogun.

A few oddballs and nerds have explored tuning systems that use bigger prime numbers to generate finer pure intervals. Harry Partch used the primes up to 11 to make a tuning system that divides up the octave into 43 pure parts rather than 12 impure ones. You can try the Partch scale using the Wilsonic app or Audiokit Synth One. It’s extremely strange! But, I guess, it’s strange in a pure way?