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.
My intro-level music tech classes usually include a wide range of production and songwriting abilities. Some students have never used a computer for any creative purpose whatsoever, while others are already accomplished bedroom producers or DJs. I get tracks that are complete, polished works of art, and tracks that are in total shambles. So rather than try to compare these efforts to each other, I use a growth mindset.
Try to remember, firstly, that you are not wrong for feeling insecure and secondly, that you are definitely not alone in having these feelings as an aspiring singer.
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“…underneath the faded canopy of the bland mainstream lies a multiverse of challenging, engaging, explorative, enlivening work which I would say is the real ‘music of now,’ and which I love deeply.”
Stockings are coming down, crumpled wrapping paper’s being shoved into recycling bins, and people worldwide are skeptically patting their winter weight in anticipation of the coming year. While we whole-heartedly support your decisions to start taking cross-acro-zum-fit classes and maintaining a strict paleo-free-tarian diet, why not add something painless to your resolution list?
Traditionally, many djembefola consider the djembe a living entity, comprised of three spirits: the spirit of the tree from which the wood was carved, the spirit of the animal that gave the drum its skin, and the spirit of the drum’s maker. This makes each drum completely unique — infused with the spirits of its creators. Drumheads are typically made from goatskin, but more rarely can be antelope, zebra, deer, or calf. So yeah, this instrument has some mythical qualities to it.
For a particularly clean and easy-to-follow rendition of this section, check out this video, which follows the full orchestral score through the Act II interlude.
So starting with my big vision (Garner, I’m coming for you!), I know I’m going to have to work on my stride playing and block chords a bit. That’s still pretty vague though, so I think I’ll start by trying to figure out the left hand part of “Stompin’ at the Savoy.” Suddenly, that’s totally something I can figure out in a few sessions and I’ll be a little bit closer to my overall goal.
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Looks like a pretty even tempo spread this year with 77-78 BPM eeking out a win. From 71-72 BPM there is still a gap in the chain, similar to last year, and from 113-118 BPM is still a very curious drought-land, at least when compared to all the tempos found in Rolling Stone’s Greatest 500 Songs of All Time list.
Tone and slap sounds are both produced by striking the drum closer to its edge where there’s more tension in the skin than in the middle. It is actually the contact area of the fingers that determines the pitch of the strike.
I can’t imagine that’s pleasant on our canine friend’s ears. You might be thinking, “well what about dog whistles?” But dogs don’t exactly “enjoy” those sounds, especially if they’re used in training (where they’ll have preconceived responses to certain frequencies). High-pitched noises are often troubling and anxiety-inducing to dogs.
As a singer, keeping your voice hydrated is arguably the most important thing you can do to ensure proper vocal health. But vocal hydration doesn’t just mean drinking a lot of water — it’s about what you eat, the habits you keep, and knowing how your body processes what you’re putting into it throughout the day.
The evolution of bass continues to this day. Now, let’s check out that classic prosumer drum machine from Japan — the Roland TR-808 — and, specifically, the iconic subby sound of its beloved kick drum.