So you’re an artist.
I’ve been a Pro-Tools user for as long as I’ve been in music production. There are many options out there, but some of the larger software developers are making a shift in the way they do business, and it’s catching on...
It’s that time of year again.
This is going to blow your mind.
On open there is a sense of tension and mystery. A two note rise and fall builds a level of curiosity in its viewers as textures slowly culminate in rich dimensions.
Finding a job sucks.
This time last year (while I was busy nesting for our soon to be born son), Stephen Ellestad asked me to do a quick video for his students, something that covers the crucial elements like: Shopping, performing rights, and working with others.
A lot of artists are egomaniacs. We love to be complimented, praised, and accumulate the admiration of fans where ever we can.
Recently I read an article on Broadjam.com that covered all of the major reasons most artists never get signed.
Everyone’s situation is a little different.
I was recently approached by an aspiring composer, he asked “What are the best ways to get your music out to publishers without spending money?”
Ever been sitting at your computer, working on a new song, and you just get stuck on those same 16 bars?
At one point I mentioned that I’d talk about some advanced signal flow options in work flow. I thought I’d take a few moments today to share a couple tidbits of wisdom regarding ways to cut back on processing power and how to get the most insane effects and edits possible with limited tools.
A few years back I ran into an interesting character that was something of a purist. Many knew this individual as JohnnyUK, a music teacher with passionate opinions on how music should be made, and what constituted “original” work.