Another common issue is sibilance — or excessive “s,” “t,” and “z” sounds — often exacerbated by cheap condenser microphones. Sometimes this issue can be solved using an equalizer to remove the offensive frequencies in the 5-10 kHz range, but this approach often leaves the vocal sounding dull and flat. A much more effective solution is to use a de-esser to attenuate the specific frequencies causing the sibilance. This way, the frequency is only attenuated when it becomes excessive, leaving the vocal sounding bright and clear the rest of the time.
The second of two articles on time management, we switch gears today to focus on workflow tips and strategies, based on the writer’s years of experience.
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A great example of this is in Maurice Ravel’s String Quartet in F Major, right at the beginning of the second movement (which starts at 7:41 in the below video). In the second measure, the second violin and viola continue their eighth-note pattern grouped in threes, while the first violin plays descending quarter notes, essentially groups of two eighth notes.
All of our mentored online courses come with six weeks of 1-on-1 professional support and feedback on your work. It’s like having a personal trainer, but for music! That means you’re not just getting the course content, but a coach who’s invested in your success. With writing-focused courses like The New Songwriter’s Workshop, Unlocking the Emotional Power of Chords, and Songwriting for Producers, there’s nothing you won’t improve after a session with Soundfly!
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