It's not always easy but I think the end result is worth it. It helps to start off with harmony that's a little bit unusual but I can usually make something out of nothing in this regard. Q: What type of music do you usually work on?Ī: My strongest skill is writing melody. Q: What questions do you ask prospective clients?Ī: Deadline, goals, where will the song end up eventually? Demo? Release for digital distribution? Q: Describe the most common type of work you do for your clients. As for composers, I think Burt Bacharach is absolutely top notch, as is Stephen Sondheim.
Q: What other musicians or music production professionals inspire you?Ī: Greg Kurstin, Max Martin, Dr.
I had my room "treated" about a year ago and everything sounds way better.
#Enter lyrics into logic x pro syllables software#
Stacking compressors achieves the same amount of gain reduction but tonally and texturally, it allows for much more control and doesn't lead to smashing and pumping artifacts.Ī: Harmonic and melodic sophistication and catchiness.Ī: I work out of my apartment with a pair of Yamaha HS 5 monitors, acoustic guitar, tambourine, shaker and a buttload of synth software on my MacBook Pro. Stack compressors that each reduce gain by a dB or so as opposed to one compressor that reduces 4 dBs.
#Enter lyrics into logic x pro syllables serial#
Q: Can you share one music production tip?Ī: Serial compression. Q: Which artist would you like to work with and why? Q: What was your career path? How long have you been doing this?Ī: It's been a long, winding path from metal to avant-garde jazz to contemporary classical to pop. Communication style makes a HUGE difference! Try to be clear and upbeat in your communication, especially when asking for revisions of something that may not be what you were looking for originally. Q: What advice do you have for a customer looking to hire a provider like you?Ī: Know what you want going in. Making songs requires listening to the same song or songs many many times and making tweaks that to the undiscerning ear are either negligible or completely inaudible. Q: What's the biggest misconception about what you do?Ī: That it's easy and quick. But as long as I'm busy I'm pretty content. Q: What's your 'promise' to your clients?Ī: I will do my best until everyone's happy.Ī: It's fun. Q: Is there anyone on SoundBetter you know and would recommend to your clients?Ī: Gabriel Kitzman, a singer in Nashville. Q: What are you working on at the moment? It helps though if it's sung well.Ĭlick the 'Contact' above to get in touch. But having said that, my process is pretty 'mathy.' In most instances, if there's something novel about a song's melodic and harmonic construction, people will go along with just about any kind of lyric. The words have to make sense, of course, on both micro and macro levels and have a sense of overall narrative arc. Melody first, then fit syllables to the melodic contour. As a lyric writer, I'm very much a "melodic math" guy. Sometimes abandoning an idea (at least temporarily) is the best solution. Sometimes a melody comes together in 5 minutes, sometimes it takes weeks and sometimes nothing ever comes of a particular sequence of melody, chords, and rhythms. I always start with harmonies, then add bass to anchor the root (usually) then a scratch beat and lastly the vocal melody, which (as with everything else) I write directly into Logic using MIDI.
I love writing sophisticated melodies/harmonies and building pop productions. I'm a composer/producer/songwriter based in Fort Greene, Brooklyn.
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