The Scottish duo of Michael Sandison and Marcus Eoin known as Boards of Canada is one of the most influential production teams in electronic music history. The sounds they conjure from their synthesizers and samplers are nothing if not evocative: of half-remembered childhoods, warbly analog recording mediums, reality-bending psychedelic experiences, and so on.
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“Rockstar”: It’s hard to say how many chords this song really has. The way I hear it, it’s a C minor thing in the intro, and then you’re just swimming in a G minor and E♭ fish tank for the rest of the song. So that’s either a modulation from C minor to G minor, or you just start on the iv chord which was quickly dispatched by ninjas — take your pick. Watch how the phrase leading up to the first chorus stretches it to nine bars, rather than your regular eight, and how the outro has an irregular number of bars, too. What’s cool about this is how it obfuscates where the different sections begin or end.
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Additionally, we know that each fret will raise the intonation by a half-step. So for example, if we play just the 6th string and move up one fret at a time, progressively we’ll get the following notes:
These classic music videos feature thought-provoking concepts and communicate the message of their song perfectly, in ways that we can borrow ourselves.
The tone on these loop chords is so low and pillowy, I don’t really know what to call them. I think I’m hearing them as D♭ and Cm. I’m sure the key we’re in is A♭ major because of the melody, but that means it’s a IV and a iii chord — there’s no tonic chord to establish the key, in keeping with the modern anti-establishment trends we’ve been tracking.
While many sitcoms have musical episodes, I think Scrubs might’ve outdone the rest. Primarily, because the musical theme actually fits the plot of the episode. The show, which revolves around the daily lives of people working at a hospital, features a variety of hospital patients with different problems and diseases throughout its nine seasons, and this episode involves a woman who literally hears everything anyone says as if they’re singing it.
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While you certainly want to stay true to your own artistic style and write songs that are not a carbon copy of the next big thing in your genre, you also don’t want to misread your audience. For example, fans of John Mayer may have latched onto your recent acoustic singer/songwriter-esque release, but they may jump ship when they hear the synth heavy alt-rock that you’ve been crafting.
When I was 17, I wrote down my DJ goals on a piece of paper. I wanted to play at “Space” or “Pacha” Ibiza. I never got to play Space, but I did become a resident DJ at Pacha for seven years. My advice: If you believe in yourself and are passionate and genuine, you will achieve everything you want.
Start by using a compressor with a fast attack and fast release to quickly clamp down on transients that get too loud. One common trick is to use an 1176 to apply ~3-6 dB of gain reduction at a ratio of 4:1. This is a great way to tame a dynamic vocal performance.
Create clearly labelled folders for the samples that you use or think you might use soon. You can categorize your samples in broad terms, for example, as acoustic drums, drum machine, synth, vocals, or by the name of the sample pack they came from. Then, from there, you can categorize them by type, such as one shots, loops, ambience, pads. Organizing your folders so you can find the right sound a lot quicker is optimal for fast-paced writing sessions, bigger and complicated projects, or time-sensitive work with approaching deadlines.
As the company’s beautifully shot and edited video details, vinyl’s dramatic growth over the past 10 years is gravely hindered by a lack of pressing plants with the ability to fulfill the demand. Vinyl production today is expensive and time-consuming, slowing release times and often leaving artists with their backs against a wall.