What an incredible way to bring together the arts and the sciences. SETI Institute’s Artists in Residence program brings the two together through opportunities that welcome a range of artists whose work exhibits a direct relationship to the scientific interests of SETI Institute research, including those in electronic music, theater and dance, digital arts, and more.
The week his shipping container of beats and buddies dropped (Billboard week of July 14), His Eminent Drakiness had 22 — spell it out: twenty-two effing tracks — that made the Billboard Hot 100 that week. The lowest of which appeared at #57!
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How do you record in a studio environment without the studio price tag or having to build a studio yourself? Closets, people! And don’t remove your clothes either (the ones hanging in your closet. You’re welcome to do this naked).
This method might at first seem complicated, but your eyes are quicker than your fingers, so having reference points to refer to all around the guitar fretboard is a great first step towards familiarity.
Here we have a powerful, straight-talking music video that perfectly matches the mood of the song. The use of a static camera and extras singing with fast-moving shots communicates a widespread aggression that people often feel inside, but reveals a more powerful message when presented en masse. Limp Bizkit’s video calls upon the song as a release of aggression in a way that is strangely uniting, yet also super fun to watch.
Now that I’m a professional touring artist myself, I wanted to revisit quotes from my favorite all-time artists to see if they’re still relevant. They are.
It’s amazing how you can play something perfectly 20 times in a row and then the moment someone switches on a mic, it all goes down the drain. One of the ways we dealt with this was by taking particularly challenging parts of songs and either breaking them into multiple tracks or separating them out and then re-splicing them together after. It takes all the pressure off getting one perfect take, start to finish.
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Late last year, Congress came close to rescinding the Songwriter’s Capital Gains Equity Act as part of its tax code overhaul. But fortunately, last-minute lobbying by representatives from Nashville and other songwriting communities across the United States saved it.
Wanna create something using Charles Burchell’s “The Luv Pack” on Splice? We’d love to feature your challenge track! Send it to Carter at [email protected].
From its first appearance as: (a.) the rhythmic motif is repeated (thus stated as an important element in the composition), then shifted on upbeats (0:57). From this fragment, a new development is presented (b.), the rests in (a.) are filled with notes. Subsequently, this fragment is transformed into (c.), showing the first instance of fragmentation. The first quarter note has now become an eighth note, the rhythm is chopped and tossed around the bar, to create a sense of urgency and disorientation in a way that is reminiscent of Stravinsky’s “Danse Des Adolescentes” in The Rite Of Spring.
Let’s say that you’re mixing a project and it’s arrived to you with phase issues built-in. You have a natural snare recording, but when you turn up the accompanying trigger track, it sounds awful. Usually it’s the above comb-filtering and/or a disturbing lack of low end. You can start by flipping the phase button, and see if that gets you where you need to be. Alternatively, you can zoom in on the waveforms and see what’s up.
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