Charles Burchell is a multi-instrumentalist, producer, composer, educator, and diplomat from New Orleans, LA. He has studied at the New Orleans Center for Creative Arts, the New England Conservatory (B.M. ’12), and most recently completed the Masters of Arts in Education program at the Harvard Graduate School of Education (Ed. M ’13). Burchell has recorded and produced albums with Wes “Warmdaddy” Anderson, Delfayo Marsalis, Ran Blake, Ciel Rouge, his band The Love Experiment (featured in Touring on a Shoestring), and has performed and given master classes at various music festivals around the world. Burchell also works as a cultural diplomat with the Next Level Program and is currently a teaching artist for Carnegie Hall’s Digital Music Production Workshop and Musical Connections Program in which he works with court involved youth and students from various boroughs throughout New York City. Burchell continues to perform regularly around the U.S. and internationally as a DJ, drummer, and bandleader.

Cardioid polar patterns are typically best for recording single voices as they offer the most noise rejection. Bi-polar, or bi-directional, pickup patterns are great for recording interviews as they capture sound from the front and back of the microphone. Omnidirectional pickup patterns capture sound from all directions, which is great for recording a large group of people, but it often captures a lot of ambient noise.

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All these elements contribute to how engaging your podcast will be. In addition to these technical components, people like consistency when it comes to podcasts. The vast majority of listeners consume podcasts on their commute to work and likely have a routine and structure to their day. While spontaneity is great, consumers also want to know what they are expecting with each episode and how it might unfold. Write down several structures for your podcast and do research on other podcasts as to what you like and don’t like about them. Make it your own, but have a clear goal where you want to go with your content.

And if you’re as spellbound by those infectious grooves as we are, check out Soundfly’s conversation with Dan Freeman on the beat-making techniques of Quincy Jones here.

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With social media promotion becoming trickier and harder to do for free, band websites are more important now than ever. From selling merch with no middleman to promoting a new release and upping your SEO game, personalized music websites are crucial in helping get the job done right. But how exactly do you “personalize” a website? Social media platforms are great for promotion because they’re so easy to use, but websites are much tricker to customize and update.

Found Sound Nation leverages mobile technology to create opportunities for youth and underrepresented communities to record and produce high quality music worldwide. Found Sound Nation utilizes a grassroots partnership model with local organizations and has developed work with artists and communities in Senegal, Zimbabwe, and South Africa.

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+ Pursue your dreams faster with a Soundfly Mentor! Share your musical goals with us and we’ll pair you up with a professional musician, engineer, educator, or music industry veteran who will help you achieve them in a customized four-week session.

Angela Mastrogiacomo is the founder of Muddy Paw PR, where her artists have seen placement on Alternative Press, Spotify, Noisey, Substream, and more, as well as the Director of Community and Events for Music Launch Co. Her free training ‘Reaching a Wider Audience Without Spending A Dime’ helps emerging artists cut through the noise and get in front of fans and industry influencers in just a few steps. She loves baked goods, a good book, and hanging with her dog Sawyer.

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In order to get access to your Spotify metrics, you need to be a verified artist. Fortunately, the process is now much simpler than it was before — just go here and fill out the short form. Once you’re verified, you’ll be able to log into Spotify for Artists and see all of your data.

“Look Alive”: Aaand we’ve got more Drake. Aaand we’ve also got another somewhat subjective tonality. What we’ve got is three intervals, A and E (an A5 chord), A and D (D5/A), and B♭ and D (B♭ no fifth), and a bass line that adds an F in there (for a♭VI chord, arguably). There’s also no singing to help us establish tonality, and so I first heard it in D minor, but after repeated listening, I realized it was just my brain filling in gaps to meet my tonal bias. It would actually be truer to classify this as A Phrygian because with the A  F  D  B♭ bass line, and without any concrete triads, it’s best to leave it up to the musical scale that matches the sound, and the Phrygian scale here clicks better than anything else.

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These bass lines are often much simpler, yet follow the same basic rules as electric bass lines. You have a couple options for how to go about programming these, but let’s start with the sound.

Seeing that contrast between where she started to where she is now is just so incredible from a fan’s perspective because they know they’ve helped her make that journey.

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