Efa Etoroma, Jr. is a Los Angeles-based professional drummer, composer, and educator who is known for his stylistic versatility, expressive creativity, and his deep musical instincts. He performs and/or records with a variety artists including Moonchild, Sneakout, Ellen Doty, Bennie Maupin, A La Mer, BRNSTRM, The Writers’ Guild, and Sensae. In addition, Efa Jr. serves on the drum set faculty at the Musician’s Institute in Hollywood, California and teaches songwriting and music production at Citystage LA. Efa Jr. uses Yamaha Drums, Paiste Cymbals, Promark Sticks, Humes and Berg Cases, and Remo Drumheads, exclusively.
As for listening, I love heavy grooves, but I also love music with a huge sound and epic quality, which could be anything from a John Williams film score to Ella Fitzgerald singing with a bombastic big band, to massive EDM and other electronic tracks—I think they have more in common aurally than most might realize.
There’s a ton of debate about whether they really do sound like the real thing. In my experience, amp simulators come extremely close, so much so that it does actually make sense to invest in one of these systems both for touring because of the convenience and ease of use. In the studio, though, where you’ll likely have several options available to you, it really comes down to taste and playability.
National endowment for the arts grants
However, adding a little bit of lemon to your water can promote clear, healthy singing, because it’s a natural mucolytic, which helps your body produce thin mucus.
“I’ve come to love these awful quality files. In most cases, listening to their lossless versions just doesn’t sound right to me. My 128 kbps version of Mario’s ‘Let Me Love You’ still has the intro skit from the music video attached, hearing the song without it is jarring. With each layer of compression you can practically hear the thousands of others who shared and copied the same MP3, like a destructive digital fingerprint…. I’ve got dozens of tracks like these on my computer still. A 58 kbps copy of Kyuss’ ‘Supa Scoopa and Mighty Scoop’ that sounds like it’s being played through a payphone. A bootlegged CD of Hendrix demos transcoded up from somewhere to 128 kbps.”
Add a little something extra to your music. Learn about all of the different scale types and modes that exist and the popular songs that make use of them, and all inside your DAW’s piano roll, in Soundfly’s game-changing free online music theory course series, Theory for Producers, taught by NYU professor Ethan Hein. Take your time, start and stop, and come back to it whenever you like! Check out the excerpt below and join the free course here.
Early in my career as an electric bassist, I was hired to play in a wedding band. Right off the bat, this meant adding thirty or so tunes from Billboard’s holy list to my existing repertoire in about three days’ time. That first gig went pretty well, and with a few hours of having new material under my belt, I figured I was through the thick of it… but no. The coming months saw a stream of strangers’ special days, each of which came with its very own, personalized collection of “Today’s Hits.” For a while there, I was learning tunes in real time (and thanks to some off-the-setlist song requests, there were definitely times when that was happening in a very literal sense). Unsurprisingly, the experience made my ear more accurate and even enhanced my melodic and harmonic vocabularies.
Content alone in a lyric may not be enough to sustain a listener’s attention throughout an entire song without a strong enough melody for the words to ride on — no matter how important the topic.
Best hip hop albums of 2000s
One of the keys to a successful career as a musician is to create a culture that continually serves a thriving fanbase. While there are many key components to getting noticed, if your fanbase is happy and feels taken care of, you will get noticed by larger and larger communities and begin to grow.
If you sample someone else’s music, make sure you’ve covered all your bases too. Reach out to the original songwriter to discuss splits and obtain a mechanical license to use their sample in your music, and then register and administer the percentage that you both agree upon. Don’t find yourself in a sticky situation — do your homework and know how to properly go about using samples.
Notice how over the Dm7 chord we play the 5, 6, ♭7, and ♭3. It’s not uncommon to omit the root note when soloing over chord changes, or at least delay the arrival back to the root until the end of the solo for maximum resolution!
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