Confirmation bias – the tendency for people to look for what confirms their beliefs and ignore what contradicts their beliefs – may be getting in the way of finding the real answer to the question “is my song good?“. This goes well beyond the positive thinking trap you might find yourself in when asking friends and family for feedback on your music. It’s a tested psychological concept that can trick you into thinking your perception of your own songs is representative of what others hear.
This post originally appeared on Flypaper by our friends at Soundfly.
Whether you’re working out of a home studio or a small project studio, your Digital Audio Workstation (or, DAW) is probably the single most important part of your setup. It’s the bridge of your musical Starship Enterprise, containing and co-ordinating all the software and hardware you use to create and communicate each of your decisions. It’s no surprise then, that much like the fights that people have over Nintendo/Xbox/Playstation or iOS/Android, the world of audio production is rife with software fan service and forum flame wars (harmless, of course, but they can be quite harsh!)…
We’re back with the fifth and final installment in the mixing masterclass entitled Mix Resolutions: 10 Tips for Creating Better Mixes from the team at iZotope. Step your mixing game up with insider advice from a GRAMMY winning mixing engineer and professor at Berklee College of Music.
Being a solo artist is challenging, and not just on a creative level – according to researchers, working as a solo artist is actually hazardous to your health. A 2013 study of almost 1,500 career musicians found that over 50 years, solo artists were twice as likely to die than artists who were members of bands! While it’s not clear exactly why solo performers have a shorter life expectancy than that of other musicians, anyone who has worked as a solo artist will tell you that they face a host of extra pressures that bands don’t have to deal with. Perhaps it’s time for solo performers to put some serious thought into preserving their mental health, and with that in mind, here are a few strategies to consider.
We’re back with the fourth installment in the five-part mixing masterclass entitled Mix Resolutions: 10 Tips for Creating Better Mixes from the team at iZotope. Step your mixing game up with insider advice from a GRAMMY winning mixing engineer and professor at Berklee College of Music.
Hanon exercises are the source of much debate in the keyboard community. Some teachers love them and others think they’re useless. Students seem to universally dislike them, at least when they are starting out. It’s not hard to see why; they’re repetitive, they don’t sound cool, and it can be hard to see the practical application. But I believe (and have experienced!) that if you use and adapt Hanon exercises to suit your goals, you will find them incredibly useful.
Though I’d reaaaallllly like to say we’re the only way to obtain unbiased music feedback from consumers, that’s not necessarily the truth. Brian Hazard, he of the ten-album Color Theory and head mastering engineer at Resonance Mastering, put this belief into play recently when he took to Twitter to solicit some lyrical recommendations from his followers.
Can 2017 be the year your mixing game steps it up a few notches? Maybe some insider advice from a GRAMMY winning mixing engineer will provide the boost you need. Our friends at iZotope created a five-part mixing masterclass entitled Mix Resolutions: 10 Tips for Creating Better Mixes. It features Enrique Gonzalez Müller (GRAMMY winning mixing engineer, professor at Berklee College of Music) and Jonathan Wyner (GRAMMY nominated mastering engineer, professor at Berklee College of Music). And we have the exclusive videos for you right here, for the next five weeks.