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A delicate balance between music career and everything else important in life needs to be struck by musicians who want to sustain their careers. For example, you might want to spend every waking hour making music, but if doing so isn’t making you money yet, it’s not a realistic option. And this balance doesn’t just involve money. Your close, non-musical relationships have to be prioritized as well and maintained if you want to continue to benefit from having friends and family as a safety net in your life.

Explore Soundfly’s wide array of free online courses and expand your musical skills over your lunch break! Here are just a few free courses you can choose from: How to Create a Killer Musician Website, Theory for Bedroom Producers, How to Get All the Royalties You Never Knew Existed, and of course, Touring on a Shoestring. Here’s a snippet of what to expect on Soundfly. 

Take your time. Pick out the sound you think will create the best base layer for your music. But keep in mind that you can always go back and track other instruments and sounds once everything is laid down. Now you’re ready to record your keyboard to the click.

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“Nice For What”: Okay, what the heck kind of tonal Rubik’s Cube is this? So after a noncommittal B♭m and Cm chord in the intro, we get a main loop with three chords in dizzy order: D♭  E♭  Fm, with the singers using the traditional do-re-mi notes of an A♭ major scale. And at first I heard it in a Lydian tonality because whenever it got to the D♭ chord, it just felt like the home chord to my ear. But when I started to break it down on paper, I realized that the basic loop was: E♭  D♭M7  D♭  Fm  E♭  Fm  D♭  Fm, and wait: don’t tonic chords usually begin or end loops most of the time? I mean, am I right?

To return to the Akai S1000 briefly: The band has also stated that many of their most-loved sounds aren’t generated by synths at all, but rather by samplers. Part of their creative process revolved around recording actual sources — everything from live instruments to field recordings — and then purposely trying to mangle it beyond recognition with the sampler and tape machines. What results are those characteristic Boards of Canada sonic artifacts: fluctuating pitches, irregular timbres, and analog tones.

If you have a wildly fluctuating yearly income, be prepared to provide returns even further back. You may even be asked to provide a detailed, written statement explaining any significant decreases over the years.

By the time I was 16, I was making a living as a professional DJ. Over my 16-year career, I touched on many other areas of the music industry, including A&R, bookings, event management, promotion, music curation, and ultimately a seven-year club residency with Pacha Ibiza.

All pay their members on a regular basis, either quarterly or monthly. The dates these distributions will occur are listed in advance. In fact, it’s so dependable there’s even a term for it — “mailbox money.”

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Daniel Martin is a songwriter, multi-instrumentalist, guitar instructor, and rock historian from Lancaster, PA. His music-related articles have been published on Counterpunch and Perfect Sound Forever. His band, Marty’s Invasion, has “invaded” multiple cities on the East Coast.

The idea behind this concept is to provide an end-to-end management of the production chain that will allow artists to focus on creating their music and that will also facilitate their label’s work by sparing them a lot of hassle, stress and risky investment. Vinyl manufacturing is, indeed, expensive and requires great expertise. (I wouldn’t advise anyone to try and produce vinyl records without knowing a thing about it!)

The structure of your songs has a big impact on the way your listeners will take them in. Writing lyrics and a catchy melody is one thing, but sculpting the journey that one is taken on as they move through a song is what separates the best songwriters on the planet from everyone else.

In Soundfly’s new course, Songwriting for Producers, you’ll learn strategies, techniques, and workflows for turning production ideas into complete tracks.

For a tone, most of the area of the fingers and the edge of the palm will contact the drum. Move your hands towards you until your knuckles are just off the edge of the drum. Your fingers themselves should be over the drumhead. You strike the drumhead with all your fingers flat at the same time.