This is very important because vocal melodies need to have room for a singer to breathe and you must also consider the pitch range - a singer's pitch range is more narrow than most instruments.
center (key) to begin with. You don't have to stay in that key for the entire song, but it is wise to at least begin in a single key.
Choose a tonal
Begin with Chords and Melody at the same time
I like this one a lot. Begin with a single chord and a melody note or phrase, as you add on the next chord and more melodic notes, write them together. Experiment by changing the chord but not the melodic phrase. Experiment by changing the melodic phrase but not the chord
. Force yourself to disallow any of your favorite rhythmic patterns to creep into your new song idea
If you are thinking about dynamics while composing each part of the song, you are already ahead of the game.
- The variety of instruments you use, and the sounds you get out of those instruments brings color to you music.
Begin with Texture first
- The density of sound and timbre may influence the types of melodies you compose. Consider how the density of texture may change from section to section.
Begin with Form firs
Starting here can do wonders to keep you out of trouble (musically speaking). When you don't think about the form (arrangement of the parts of a song) early on in the writing process, it is easy to paint yourself in a corner late
Great article about strategy of making mix. Step by step. Without any secrets off.
Besides at the bottom of the page you will find the links to other articles, as:
Mixing and Mastering
Choosing a Mixer for your Studio
Understanding your Mixer
Digital Mixers
Classic Analog Mixers
How to Hookup a Mixer
Guide to Control Surfaces
How to use EQ
How to Use a Compressor
Using Pan Controls
The Perfect Mix
Review of the UAD 4k Processors
Mixing on a Virtual Console
Tascam DM3200 Resource
Mackie 8 bus Console Resources
Elements of Mastering
Mixer catalog List
Music Theory Online, a Journal of Criticism, is the refereed, electronic journal of the Society for Music Theory. Published several times each year, each volume of MTO includes features such as articles, reviews, commentaries, and analytical essays. In addition, MTO publishes a list of job opportunities and abstracts of recently completed dissertations.
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As with anything else in the audio world, there are very definite rules about which microphones you should use in different circumstances. There are particular mics regarded as the best. Like rules everywhere, the definitive ones are just easy to break, and "best of" lists that don't consider budget simply aren't practical.