If nostalgia is at all a part of your band’s image, the cassette is a no-brainer. But even if it’s not, that doesn’t mean your fans won’t get a kick out of a cassette, especially if it has some highly personalized aspects (more on that below).
Hopefully you have some ideas for crafting your own narrative now. Remember, your narrative doesn’t need to be groundbreaking, and even if you think you have nothing to say, you can find a story to share.
You did it! It took months of hard work to plan your tour and, despite the inevitable bumps along the road, it was most definitely a worthwhile experience.
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Once you find a routine that works for you, stick to it. Even if something straight up goes against one of the other points in this article, if it works for you, keep using it! You know yourself better than anyone, so always be on the hunt for ways to streamline your own process and customize your workflow to suit your recording needs and priorities.
Learn more about the Headliners Club program here or tell us about your musical goals so we can pair you with a Soundfly Mentor and get you started right away!
Soundproofing is important because in order to get a polished recording, you need to get clean takes of your instrument and vocal performances, and remove any chance of unwanted noise making its way into the recording of these performances.
Our in-house music business guru, Jay Coyle, has managed crowdfunding and direct-to-fan campaigns for bands like the Barenaked Ladies, Veruca Salt, and the Presidents of the United States of America (to name a mere handful). He always instructs his clients to be themselves and share their stories genuinely when communicating with their fanbases.
The Dorian mode is spelled: 1 2 ♭3 4 5 6 ♭7; or, in steps: whole, half, whole, whole, whole, half, whole. It’s frequently employed by jazz, soul, and rock soloists, and can be found in the “jam sections” of tons of classic rock and jazz tunes from players like Carlos Santana and David Gilmour (as well as jazz improvisers like Miles Davis).
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I mostly approached this as “soloing” with the a cappella, using the instrumental as my “rhythm section.” But I did some improvising with the instrumental too, by looping, and by jumping around between cue points. I don’t consider this to be a polished work of art or anything, but I discovered some pretty cool sounds, even at my basic skill level. So I’m excited to see where this leads.
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Recently someone posted this performance of the chaconne from J.S. Bach’s Violin Partita No.2 in D minor, BWV 1004 on an 11-string guitar by Moran Wasser.
That’s really what touring with your band is all about; the opportunity to get out there and do what you love in front of the people that love seeing it. It helps to know that when you arrive in a new city, there will already be a live music crowd ready to greet you with open arms. And some of the most vibrant, bustling music scenes — with great venues, great young bands, and audiences constantly looking for a good time out — exist in places with a few universities nearby.
I like this YouTube one a lot, because there have been a few times I’d throw on a Spotify playlist for pup, only to get in my car, turn on Spotify, and realize if I played my music through my headphones or car speaker, that it would stop it from playing inside the house.