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Lastly, we have the lowest level of hierarchical importance. This would be all of the notes in Western harmony that are not contained within the C major scale, like D♭, E♭, A♭, and B♭.

But keep in mind that no matter how much data these platforms offer, none of it really matters unless you actually make an effort to track it, analyze it, and then turn it into tangible action steps to grow your music career.

Brad Pack is an award-winning audio engineer, writer, and educator based in Chicago, IL. Brad holds a Master’s degree in Electronic Media Production. When he’s not in front of his laptop, Brad can be found in the mosh pit.

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“Bad at Love”: Just like the song Halsey sang last year with the Chainsmokers, “Closer,” this song defies a concrete tonal center, camping on what I first heard as the IV and V chords, with just a flirtation to the I chord at the end of the loop. It’s subjective as to how anyone’s ear is going to hear this tonally, at least at first. It’s like that famous “Rabbit-Duck” illusion where some people see a rabbit and others see a duck.

The week his shipping container of beats and buddies dropped (Billboard week of July 14), His Eminent Drakiness had 22 — spell it out: twenty-two effing tracks — that made the Billboard Hot 100 that week. The lowest of which appeared at #57!

His yodeling obsession was accompanied by a love of obscure stringed instruments like the zither and hammered dulcimer, both of which he taught himself as a child. In his teens, Ischi taught himself to yodel by listening to Franzl Lang records and imitating what he heard. In case you aren’t familiar, Lang is one of yodeling’s most revered figures and is widely known as the “Yodel King.”

The bottom line is, a lot of banks don’t know what to do with you if you’re a working-class songwriter. If you’re one of the few who has major hits on the radio right now with gold records and Grammys adorning your office, they’re a bit more comfortable loaning you money. But for the vast majority of us, it may be a struggle. So what can a songwriter in your position do? Based on my own experience, I’m here to help you with a few tips.

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Roland developed the RE-201 in the early 1970s, and while this wasn’t the first tape echo, they made something much more durable and sonically satisfying than anything that had come before it. Starting in the 1950s, musicians started to use small devices that included a recorder and a single tape loop capable of simultaneously recording and playing sound. This would create a delay effect.

Unfortunately, it’s going to be pretty sour against the G string at 64/27 Hz. So maybe you should just tune the G string a major third below your new B, at 12/5 Hz. Now the G and B strings sound great together, but the G is out of tune against the D string at 16/9 Hz. So maybe D should be a fourth below G… but then the D string will be out of tune against A. If you tune the A based on your new D, then it’ll be out of tune against the low E. And if you tune the low E based on your new A, then it’ll be out of tune against the high E. There’s just no way to win.

The key to editing is storytelling. Does this story make sense? Would it flow better to have certain parts shifted around? Does the tangent the guest went off on ever come back around to the theme? You would edit a written piece that gets published, just as I am doing as I write this. The same needs to be done for an audio piece.

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Lulu has been languishing in jail, and the stage directions require a pre-recorded film to play, which begins to run in reverse halfway through the reel. The music matches this, pivoting on dense piano arpeggio that mirrors its ascent and descent: