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With all of Logic’s inredible instruments, producers often rely on the sound of the samples right out of the box, here’s how to make them more interesting.
Have you ever gone back to your childhood stomping grounds and felt goosebumps from some profound sense of immediate nostalgia? Do you ever get that same feeling watching television or a film?
What better place to look for motivation and inspiration then with a group of songwriters looking for just the same? Reddit offers an incredible forum platform for people to talk about pretty much anything, but their Songwriting subreddit is where the most engaged and thorough writers go to talk shop. You can’t find a truer community anywhere else.
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All of our mentored online courses come with six weeks of 1-on-1 professional coaching and feedback on your work. It’s like having a personal trainer, but for music! Share your goals with us and we’ll find a course for you, or create a custom mentorship session with a pro musician, engineer, educator, or music industry veteran, to help you achieve them.
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Next, I’m raising the white flag at these two choruses. At first I just wanted to label them “title refrains” because there’s different material happening after them, but on the other hand, the second half of the choruses are the same, so you kinda have to go back to chorus over refrain.
“It was a pleasure mentoring Colin through Soundfly’s New Songwriter’s Workshop course. He came into the course with a background in songwriting and finished the course with the momentum of a professional songwriter.” — Joseph (Soundfly Mentor)
One of Kaye’s signature riffs occurs here during the “I’m picking up good vibrations” refrain. By singer Mike Love’s own admission, he sang the notes of the vocal riff to double the bass riff, not the other way around, but the two parts sync so well together. This helps make the bass line so recognizable.
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This is not the place for a ton of different pitches — none of that funk chromaticism. In some tracks, the 808 might only play two notes, and they’re both likely roots. Stick to a range of about an octave maximum.
Labeling tracks and keeping a detailed record of what’s happening during a recording session is crucial for saving time. Don’t do this during the initial recording process, which should flow without periodic interruptions, but rather when you’re mixing the material later on. Take a small amount of time to label each track or input before and after you record each piece. And keep handwritten notes in a notebook (or at least on a separate screen other than the one used to record).
Our free courses in the realm of home recording include: Demo Recording 101, Any Sound Will Do, and Live Clicks and Backing Tracks. Bear in mind that none of these come with personalized mentorship built in, but they make great supplemental materials to help you improve specific useful skills and expand your knowhow for free.
Be careful here. Don’t turn it up too loud and fool yourself into liking the result just because it’s louder. Do your best to match the input volume with the output volume of the compressor. We tend to think louder is better when it’s not really better, it’s just louder. Here’s a short video tutorial I shot below to show all of this in action on a mix I’ve started. Check it out!
Unfortunately, it’s going to be pretty sour against the G string at 64/27 Hz. So maybe you should just tune the G string a major third below your new B, at 12/5 Hz. Now the G and B strings sound great together, but the G is out of tune against the D string at 16/9 Hz. So maybe D should be a fourth below G… but then the D string will be out of tune against A. If you tune the A based on your new D, then it’ll be out of tune against the low E. And if you tune the low E based on your new A, then it’ll be out of tune against the high E. There’s just no way to win.