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At the opposite end of traditional form is through-composition — essentially a style of composition that doesn’t repeat sections of music, lyrics, and might not even repeat melodic themes. It could be argued that the lyrics of “All My Friends” is through-composed.

Soundfly welcomes new voices each month to offer unique perspectives, shine a light on unexpected musical worlds, and help our readers find their sound.

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Pizzetti wrote several books, mostly of musical criticism (he co-founded a journal of modern music, Dissonanza in 1914), but notably also a biography of Niccolò Paganini. His music is lush, diverse in terms of what he asks of his orchestral players, and sincere. It fits well with the times, being not all that dissimilar to the beauty and drama of Claude Debussy and Vaughan Williams; and it yet fits even more perfectly into the history of Italian sacred music and operatic canon. A true delight to discover him here.

Financially-savvy songwriters have been taking advantage of this loophole by quietly selling a portion of their catalogs. In addition to receiving a big lump sum payment taxed at half the rate, these songwriters are diversifying to hedge against industry turmoil, inflation, and declining royalties. It’s something worth checking out!

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Taking more than a little inspiration from the 1970s bestseller Zen & The Art of Motorcycle Maintenance, this might be the best all-around volume written on audio engineering we’ve seen yet. Mixerman’s gift is his ability to meld his personal experience in recording and mixing with useful practical advice and thought-provoking philosophical musings. He moves easily from the big picture to the small details (and then back again) meaning that this book is just as useful for a relatively experienced reader as it is for a beginner. It’s really got something for everyone.

In order to set up yourself for success, keep your cords, microphones, headphones, and instrument equipment organized in specific, consistent spots so you always know where they are when you need them. And then, after you’re done with them, always return these items to their respective spots. Put guitars in cases or hang them on the wall, coil cables when they’re not in use, and build shelves to store stuff that gets used less frequently. Big plastic storage bins are also a great option for extra cables and assorted items.

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Learning to become an accomplished and knowledgeable audio engineer is an enormous undertaking. While we’re lucky to live in the age of the internet, where so much information is available for free, that information is not always presented in a form that allows us to make the best use of it. Spend time on YouTube, for example, and you’ll find a wealth of video content aimed at those who want to master the art of mixing, yet a lot of it is inaccurate, misleading, out of context and inapplicable, or simply incompatible with your own experience and what you’re attempting to do in the studio.

“Wait, we’re musicians, we don’t write agendas.” Ok, but that’s a great way to ensure you don’t get anything done. Being a good musician sometimes requires a little business sense, and I’ve found a clear agenda can really help. Knowing exactly what order we’re going to record in can make the whole thing so much smoother and more efficient. And laying it out a week in advance gives your bandmates and engineer a chance to prepare, make suggestions, or consider alternate approaches.

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In this edition of “Talking Points,” influencial composer Igor Stravinsky shares his thoughts on composition, creativity, craftsmanship, and other topics.

While the PR-40 looks like a traditional condenser mic, it’s actually a dynamic microphone, which makes it an excellent choice for podcasting. Dynamic microphones are less sensitive than condenser microphones and capture less ambient noise. The PR-40’s fixed cardioid pickup pattern further helps reduce background noise for a crystal-clear broadcast. With an internal shock mount, the PR-40 is fully protected from handling noise, while the dual mesh filters prevent plosives. An extended frequency range helps capture that classic “radio voice” sound.

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In 2006, Congress lowered the tax rate for songwriters who sell a part of their catalogs. It did this by reclassifying income from the sale of a catalog as “capital gains” instead of “ordinary income.”

Logic makes it really easy to set your tempo and time signature. If you look in the top toolbar, you will see a black box with a list including Key, Tempo, and Time Signature.

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In several interviews, Sandison and Eoin reveal how they love using old reel-to-reel, four-track, and cassette tape machines as pseudo-preamps to impart a certain sound. The aim was to drive the inputs on this old tech and harness its audio downsampling, imprinting a sense of nostalgia and decay right into the tracking process of the recording.

Anybody can buy a $50 microphone and start recording, and in fact, with increasingly popular companies like Anchor, you don’t even need the damn microphone! This offers amateur users great accessibility and a lot of interesting and niche content; as a result, you might be wondering, “how can I stand out from the crowd?” I’m here to answer that question and take you from a bedroom podcaster to a studio quality podcast pro.

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Love it or hate it, Facebook is a musician’s best friend when it comes to finding and introducing new fans to your music. Here’s how to make the most of it!

Me too. Those “magical things” that come from our being open to and joyful about our mistakes — those are the moments that make music like Tredici Bacci’s feel like such a gift. Both intricate and broad, both ridiculous and honest, both precise and full of human breadth and skew, La Fine Del Futuro is a triumph of Hanes’ philosophy about taking the art of laughing (at himself, and with others) to be the very serious business that it is.

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This album also did two things beyond Brown himself. First, it would help cement soul and funk as commercially viable mainstream music genres. Soul could be fun, loud, raucous and youthful; not just sentimental and romantic. Secondly, it demonstrated the power of a live album to make money, and assured record producers and labels alike that consumers would be willing to buy the same songs on two different albums if one was live.

In this edition of “Talking Points,” composers and electronic artists Ryuichi Sakamoto and Alva Noto discuss the nature of collaboration and improvisation.