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“[Soundfly] has provided an avenue for non-professional artists like myself who have the passion to grow as a musician, to learn how to do so in a manner that is tailored to one’s specific artistic goals, reasonably affordable without compromising quality whatsoever, and all in an empowering environment of support.”

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! Whether you’re interested in diving deep into a production-related topic like Songwriting for Producers, Advanced Mix Techniques, or Intro to Making Music in Logic Pro X, or just to work with a Soundfly Mentor directly to achieve a musical goal specific to you, we can help you get there!

This week, my band and I had a recording session for a new album and I was reminded, as I am every time we record, just how much preparation plays a role in a successful recording session.

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Jhoni Jackson is an Atlanta-born writer based in San Juan, Puerto Rico. She covers Latinx music and culture for Remezcla, runs a monthly queer party, and also organizes a recurring pop-up feminist bazaar. Until last year, she co-owned a mid-size venue; right now, she’s plotting a new venture. Follow her on Twitter for links to her stories or on Instagram for (mostly) pictures of her cats.

Contrary to the beliefs of most musicians who are inexperienced in recording, extra noise isn’t always easily fixed during the mixing process. Besides, wouldn’t you want your mixing engineer to be more focused on improving your song rather than trying to fix it?

Music creation software follows a few different interface metaphors: the multitrack mixing desk (Pro Tools), the rack of modular synths (Reason), the sheet of staff paper (Sibelius, Dorico, Noteflight). There are also hybrids of all of the above (Logic). Ableton Live is in a category by itself, because it’s organized around a kind of performable spreadsheet. Serato’s metaphor is two turntables, a crate of vinyl records, and a DJ mixer.

Restaurants, weddings, and self-organized events are how Lalita generates most of her income. With no electricity, none of that is possible. The release show for her new EP, El Grito, was postponed because of Irma, and the continued power outage has halted all promotion. The artist residency she was slated to begin in Miami this month is off, too; she needs the travel funds instead for a one-way ticket to New York. Lalita needs to earn money — for her own survival, of course, but also to care for those at home who need help now and will still be in need for months to come.

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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It’s the melodic hook of the song and the real star of this show. At the same time, it follows standard rules for writing a good melody — it has a balance of stepwise motion and leaps, and stays within a comfortable singing range (in this case, less than two octaves). Great bass lines should be singable!

Having spoken to many vocalists, both aspiring and professional, I found that insecurities around singing tend to pop up for almost all of us at some point or another. If you’re a vocalist that’s just starting out, you will almost definitely have to fend off this beast in the future. Here follows some of the concerns that came up in my conversations around this topic:

Ian is a pianist, entrepreneur and professional musician. He started Soundfly to help people really find what gets them most excited musically and pursue it. He’s toured all over the world with his experimental trio Sontag Shogun. Check out his most recent course Building Blocks of Piano or follow him on Twitter at @ianrtemple.

If you’re anything like me, your practice routine is something you do intuitively. It often involves sitting down with your instrument, playing a few scales, banging around for 20 minutes on a few songs or improvs, maybe working on something specific for 10 minutes in a repetitive manner, and then bowing out. Basically, it’s casual, repetitive, and thoughtless.

In fact, the 3:2 rhythmic cell is at the base of so much sub-Saharan and West African polyrhythmic and cross-rhythmic grooves, which can extrapolate out in a dazzling array of variations once the pulse has been established.