Similarly, if you tour or play live a lot, you can consider investing in a nice amp head, so you don’t have to lug a giant amp with you everywhere. If you want to buy a great amp to play classic rock, look for something lightly used and durable. Here are some of my favorite choices for making classic rock music:

“This Is America”: We’ve found the first of this year’s modulating pop tunes: changing from a gospelly F major to what I hear as E♭ Phrygian, which happens whenever Gambino shoots someone (in the video). I hear it as Phrygian because of the shark-in-the-water E♭ and E (or “F♭” if you’re being kosher theory-wise), and then the high-pitched whistle being a solid B♭, so there you go: E♭ Phrygian. Elements from the two tonalities fuse in places, like at 1:35 where there’s what sounds like a sample of previous F major vocals that drone on the very-not-Phrygian notes A and C, creating a heavy tension. This fusion is also present in the outro. Rhythmically, watch out after the second chorus, where it sounds like they added or skipped a beat, but they didn’t. It all flattens out after a few thumps. 

This idea has been in the pipeline for a while, but the impetus to finally push it to completion was my Fundamentals of Western Music class at the New School. I have been drawing scales and chords on the chromatic circle by hand for a long time, and I wanted to be able to produce them automatically.

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Given that sample size, it’s almost impossible to narrow down “the best” without leaving something amazing out. This list simply represents a few of what we consider to be the most impressive, creative, and authentic covers out there in the entire “chipiverse.” Hopefully they inspire you to start creating chip covers of your own (and if you’re looking for a place to get started, check out our free course series, Chiptune Crash Course, and create a 60-second cover of Devo’s “Whip It” for the chance to win a modded Game Boy!).

In his case, that’s a lot of pop-punk and a variety of indie rock. Yes, Sawyer has developed a keen appreciation for The Gaslight Anthem, The Front Bottoms, and The Arkells. Never let it be said that he doesn’t have taste!

“Sunflower”: Sneaking into the last week of Top 5s for 2018, we have a consummate “B-side” to the other Post Malone songs on this list, with a short and sweet form — except for the fact that each singer’s verses use different melodies and lengths. And since we’re talking about lengths, the loop here is eight bars long, not your usual four. This makes it easy to chop in half for the shorter second verse, as well as the shortened outro.

New to Soundfly? All of our mentored online courses come with six weeks of one-on-one professional support and feedback on your work. It’s like having a personal trainer, but for music! Whether you’re interested to dive deep into a topic covered by one of our courses, like Unlocking the Emotional Power of Chords, Songwriting for Producers, or The Creative Power of Advanced Harmony, or just to work with a Mentor directly to achieve a specific goal, we can help you get there.

Modes and Key Signatures have a variety of different characteristics and are great for outside-the-box songwriting. Here’s a cheat sheet to remember them!

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Now here’s pianist and composer Nils Frahm jamming out on his Roland Chorus Echo 501 so you can see how someone alters the tape loop in real time to create live warbles. It’s fun to watch, and even more fun to play with!

And lastly, there’s more than probably a bit of synchronicity in the fact that as Brown’s album starts with “I’ll Go Crazy,” Prince’s live show inspired soundtrack album Purple Rain starts with a raucous, no holds barred version of his “Let’s Go Crazy.”

The choral voices are there in support of a bunch of Da Vinci Code malarkey about secret codes that Bach supposedly was hiding throughout the music. I’m totally uninterested in this idea, whether or not it’s true, but I am intrigued by the possibility that Bach was quoting or adapting pieces of Lutheran chorale tunes. Morimur superimposes the chaconne with the chorales that it’s supposedly quoting. Who knows whether this was in Bach’s mind or not, but it sounds great — and ultimately, that’s the only thing that matters for music.

Your booking emails should be simple. I’ve found that a 1000-word email extolling the values of the bands, your booking skills, and how amazing and exciting the show will be often go unread. Talent buyers get hundreds of emails a day so something simple and concise is the way to go. Feel free to use these templates and change them accordingly:

Not all of us have access to the kind of gear that the Boards are rocking. As usual though, we can find some good digital approximations on the internet. One of my absolute favourites is James Peck’s VHS Audio Degradation Suite. It provides emulations (with optional speaker simulation) of old video tape audio playback, based on machines in various states of disrepair. If anything digital is going to get you even close to Boards of Canada’s bevy of broken-down gear, this is it. While it’s free, it only works through Native Instruments’ paid Reaktor 6 soft synth platform. If you don’t already have that, you can try it out for 30 days.