Ethan Hein is a Doctoral Fellow in Music Education at New York University. He teaches music technology, production and education at NYU and Montclair State University. With the NYU Music Experience Design Lab, Ethan has taken a leadership role in the creation of new technologies for learning and expression, most notably the Groove Pizza. He . . .
I would consider the Roland RE-201, also known as the Space Echo, to be a marvel of engineering and musical acumen alike. It’s a perfect example of what I would call a “holy grail piece of equipment;” a piece of equipment that is universally respected and its sound is often cited as the very definition . . .
Are you suffering from Gear Acquisition Syndrome like millions of other musicians out there? Here’s ten ways to prevent yourself from making a bad purchase. The year’s half over but tons of great conferences are still ahead. Here are our favorite North American music gatherings that you need in your calendar. . . .
Endlessly acquiring gear is a habit that can turn into an obsession. Whether you’re stockpiling synths, pedals, guitars, or plugins, your collection can turn into a burden that weighs you down creatively. Ask yourself these ten questions to find out if there’s any gear you have that you could do without. The other option is to . . .
As I mentioned before, streaming services ingest about 20,000 new songs every single day, and the classification of those songs is still a manual process. We can accurately classify all songs before they are ingested into a music catalog so that they can be part of the recommendation and discovery algorithms immediately. More importantly, we . . .
Here’s a winning formula: the guitar starts out with the song’s main riff, completing a full cadence, before the bass ensues with a countermelody high up on the neck, building up a suspenseful intro until the drums kick in and carry the song into its full tempo. “Hotel California” operates the same way. Angela Mastrogiacomo . . .
Now that you’ve got a nice, loud vocal sitting right up in your face, it’s time to add a little space with reverb and delay. Stereo effects are great for creating width, while mono effects work better for pushing the vocal back in the mix and adding depth. “Having an instructor who provided assignment goals . . .
As pop songs are usually given a pretty conservative time limit (2:45 on average and shrinking by the decade), there isn’t usually time for an outro. Intros are becoming increasingly rare as well. On top of that, the chorus (or more commonly referred to nowadays as “the hook”) has become the primary focus of most . . .
A few basic strategic approaches and effects can color your drum parts in some fascinating ways, so let’s dig in to some of them right now. For more tips and strategies and a full course on how to get the most out of this high-powered DAW, preview our mentored online course for free here. All . . .