Going right back to the beginning what moment/person got you interested in music?
Witnessing how excited my parents were when they came home from a Jimmy Smith concert in the 80’s.
From this point how long was it until you started creating your own songs and beats?
I started writing my own music at high school and then made my first beat with Kutcorners (Serato) in 1998, we borrowed a Boss SP202 from our local music store from our friend who was the manager of the store (he now works for Ableton).
You have appeared in many different musical bands and projects over the years including Open Souls, She’s So Rad and now Leonard Charles. All these projects are distinctly different in terms of genre and sound. Have you always had such an eclectic taste? Are you seasonal in what you listen to?
I just listen to what I like on any given day. I have a fairly decent record collection so in the morning I just reach for the record I want to hear. I usually end up working on music influenced that record when I get to the studio.
With all that experience under your belt who is the coolest person you have met in your musicaljourney so far? Can you explain what your first encounter with them was like?
A huge part of my musical experience I owe to Dave Cooley. He is a mastering engineer / producer. He always has time to share knowledge and is a genuine person within the global music industry. The first time we met he invited me to a recording session he had at Sunset Studio’s in LA working with a band called Silversun Pickups. They gave us a some tips on riding the busses in LA.
Tell us about your project ‘Basement Donuts’. What inspired the project initially and how did it evolve?
Inspiration for Basement Donuts is all J Dilla. People who know me know how important J Dilla’s music is to me. I’m not exaggerating when I say he has influenced every single piece of music I have released or produced. I was invited to perform at a night to raise money for the Dilla Foundation and so I decided to make it a special performance and remake J Dilla’s album Donuts but in my own way. The most important thing about J Dilla’s music is that it is unique to him so in order for me to serve the music right I needed to make my version unique to myself. I feel confident that I achieved this, I was hesitant at first because I really didn’t want to step on the toes of one of Hip Hop’s greats. I had the honor of playing some of my tracks from the release to Guilty Simpson andhe was feeling it. That seal of approval was enough for me to know I was doing the right thing.
The bulk of this project and a lot of your music is made in your basement studio. What was the first bit of equipment you bought for it and what gear do you have now in your studio?
The first equipment I bought was an MPC2000 and a turntable back in 2000. I have a bunch of gear now but the main things I use are: Ableton with Push. Roland Rhythm330, Roland MP600, Moog Voyager, Roland Chorus Echo, UAD Apollo, UA LA-610, Akai MPC3000, Fender Rhodes, Fender Jazz Bass, Fender P Bass, Fender Coronado, Premier 1075 drum kit, the list goes on.
In 2008 you performed at the ‘MPC Championship of the World’ under the name Jeremy Ota. Are you able to tell our viewers more about this event and the hours taken to build your cardboard MPC suit?
Haha, The event used to be held every year in New Zealad. It was an invitational MPC beat battle. A week out from the event all the competitors are given the exact same samples and get to make whatever they want to out of the samples given. I decided to do a tribute to all the Hip Hop I love by manipulating the samples they gave us and remaking classic beats. Some of the beats I made were even by people I was competing against.
You have helped design lessons for Melodics in the past primarily in the Chiptunes and Classic Breaks genres. What is it like having a Leonard Charles lesson released?
It’s cool. I really like the educational element to Melodics and I love building lessons that push peoples imagination. I hope that some of the elements from my own lesson will inspire people to go and create music.
What can Melodics users expect from your “Can We Go Back” lesson? Do you have any tips for how a newbie should approach the lesson.
I think a good approach is to go and listen to the godfather of modern funk – Dam Funk. Then go back to the lesson and just feel the drums. The drums are so important, the way the kick sits in the rhythm.
Who are the three artists you are listening to the most right now?
Mulholland – he has a studio above me so I hear his music all day.
Abdullah Ibrahim (Dollar Brand)
What advice would you give to an aspiring music producer or beat maker?
Be yourself.Respect the architects/ creators of the music you are making. Look to the past for education and look inside yourself for creativity. When it is time to make music forget the world around you and just feel what you are doing, get in the zone, that is where the magic is.
We were lucky enough to get an interview with the talented Beats By J Black this week to commemorate his first ever release on Melodics. He discusses his rise to fame online and delves into his production story so far.
You started producing six years and saved up to buy a Casio WK-3000. What made you want to get into production in the first place and do your still have that keyboard?
What made me want to get into production was being the kid in high school that made beats with mechanical pencil on the cafeteria table at lunch time. I got a lot of cred for that” and no I do not have that key board anymore.
What gear do you use now for your production? Are you still exclusively MPC?
The gear I use now is a MPC2500 and Maschine and I record into Logic.
You stated that you are inspired/influenced by the likes of ‘Ace Hood’ and ‘Araab Muzik’. Can you delve into how they have inspired you?
Araab Muzik opened the gate for us finger drummers, he actually made beating on a pad a career and Ace Hood ,he has that “go get er” attitude and he’s all about motivation!
You have an uncanny ability to take an existing track and flip it. Whether it be a DJ Jazzy track or a remix of Flume. What is your process when flipping a beat? How do you get so much feel in these songs?
I listen to a lot of older music, I grew up around a older influence so my taste in music is older than my age, not that music has an age limit on it.
The amazing videos of you playing your beats live is a huge contributing factor to your large following on social media. What made you start producing these videos and at what point did you start to blow up?
I’ve been doing these for videos for 2 years and started blowing up in December 2015. What made me start was friends always video taping me when I jam out so I thought id shared with everybody
This week you are releasing your first ever Melodics lesson. What can your fans expect from the lesson? Do you have any tips for them?
Be as loose as you can! And don’t just follow the squares follow the rhythm.
2016 has been a big year for you already getting featured on social for Akai and collaborating with 9FIVE and fellow producer OddKidOut. What does the rest of the year have install for you and where are you wanting it to go?
Canada , Australia , New York, Atlanta , Colorado is were I will be in June through August for shows and workshops helping people learning how to produce. Plenty of collabs in store . I really want to visit Brazil!
If you were stuck on a desert island for a year and can only bring three albums with you. What would they be
This week Melodics is bringing you ‘Sleng Teng’ lessons and a series of Loopmasters lessons entitled Django. While all our lessons have rich histories the story of Sleng Teng is particularly unique.
The Sleng Teng Riddim is iconic for bringing reggae into the digital era. While relatively simplistic this sample was originally a Rock preset on the 1985 Casiotone MT-40 keyboard.
The keyboard was bought by reggae artists Kingy Jammy and Wayne Smith with the rock preset being used as the bassline for their 1986 track ‘Under Mi Sleng Teng’. The interesting thing was that Smith didn’t even want to buy the keyboard but did so due to financial reasons.
The person who created the preset is a Japanese engineer but the name of Hiroko Okuda. In subsequent interviews Okuda has stated she based the preset on 1970’s British Rock song however refused to say which one. While there are a few theories as to which song many believe it to be David Bowies 1972 song ‘Hang On To Yourself’.
Another interesting fact about Okuda was that she said she listened to a lot of reggae while at University. Perhaps these influences may have subliminally emerged when creating this preset. This piece of information combined with the fact that King Jammy and Wayne Smith never intended to purchase the MT-40 keyboard in the first place make this story even more incredible. Maybe it was destiny.
Here are some high profile songs that have used the ‘Sleng Teng’ riddim since.
So now that you are schooled up on the history of this weeks lessons it is time to play them for yourself. As always feel free to post any videos of you playing Melodics on social media. We love sharing your content on our channels.
At only 20 years of age Butch Serianni also known as OddKidOut is the youngest person ever to release a lesson on Melodics. A drummer since age six and beat maker since his early teens the Philadelphia based producer has gone from strength to strength.
Showcasing his beat making talents on Instagram over a year ago has seen OddKidOut earn 65,000 followers and a feature on the websites main channel. This week OddKidOut was kind enough to discuss with us his influences, beat making process and of course his fresh new lessons ‘Amore’ now available on Melodics.
The city of Philadelphia where you are from has been a big influence on your sound and upbringing. You have previously said how the ‘In the pocket Philly soul groove is what makes you feel truly at home’. Are you able to provide some song examples for people unfamiliar with the sound?
Of course, literally any Root’s album is exactly what I’m referring to. QuestLove is one of the people who opened me up to the natural swing. If you listen to the way he drums, specifically on one of the Root’s less popular side projects called “Dilla Joints”, you can hear how he sways the beat behind the metronome but still holds time based on feel. Speaking of Dilla, most of his beats emulate the same formula. Usually the hi-hat and snare will be pushed slightly back or forward, and the kick will be almost exactly on time. It creates a natural feel, instead of a quantized, robotic groove.
Your name ‘OddKidOut’ has been integral in building your fanbase. You have said you wanted it to build a community for people who feel different from the crowd and eradicate them from being stereotyped as ‘weird’. What made you want to take this approach and how does it relate to your own personal story?
Well growing up, I was always very sociable and had a lot of friends, but I always felt like I wanted to do something different. I played every sport and lived like a normal kid, but it wasn’t where my heart belonged. And this feeling is still inside me as a 20 year old in college. I don’t really care about going out to parties, or getting drunk on the weekends. There’s absolutely nothing wrong with doing that, but for me I just felt like I would much rather spend my time being creative and innovative. I still have a very large group of friends, an amazing girlfriend, and I definitely go out from time to time. But I felt like the odd one out because no one else wanted to hop in the studio and be creative on a Friday night. And what always irked me was that the social construct trains us to look at the small amount of individuals who actually do worthwhile things as outcasts, or “not as cool” because they don’t conform to what the norm is considered. I want to eradicate that because it’s bullshit.
You are the co-creator of #FACTInstaBeats hashtag which has an Instagram phenomenon for beat makers to get exposure. How did the idea come about and how did you get it off the ground with FACT Magazine?
So after about 2 months of posting my videos, I received a DM from Fact Magazine from a guy named Max Schiano. He essentially told me he had an idea to create a hashtag for Instagram beat makers where we could all share and feature each other. Together we came up with the #FACTInstaBeats hashtag and we both began working to promote the tag. Fast forward almost a year and now it has over 10,000 uses. The greatest part about the hashtag is featuring other artists. I will go through the hashtag, pick my favorite video of that week, and write a little bio and send it over to Fact. When they post it, the videos usually get over 20,000 views and to see how happy it makes the person who I’ve posted brings me so much joy. I love helping out other people who deserve the recognition.
You stated in an Instagram interview that you used the format you learnt for drums and transferred it to the pad controller. Was this an easy transition? How long did it take to adjust and to begin churning out the beats you wanted?
It was actually a really easy transition. I was always the kid who obsessively tapped on his desk during class and was constantly smacking items around to make different sounds. Even when I would walk, I would be snapping my fingers to the beat of my footsteps. Everything for me is rhythmic. So as soon as I got my Maschine, it was pretty much a go. What has been a struggle for me, though, is learning how to split my fingers up. I often play with my fingers together to emulate drum sticks, but I’m now training myself to split my fingers to utilize more pads at once.
Talk about the importance of the track ‘All Good’ by J Dilla and how it has influenced your musical development? Is this your favorite Dilla joint of all time? Man, this beat honestly means the world to me. It’s impossible for me to say it’s my favorite Dilla beat of all time, but it’s certainly in the top 5. It was so impactful because at the time when I first heard it, I had never listened to music like that before. I distinctively remember hearing it…my mom and I were driving to a gig I had in Delaware (I was still too young to drive) and I had randomly purchased the “Yancey Boys – Instrumental” album before the drive. I plugged my iPod in to the aux chord and played through the album, amazed the entire time, but really was blown away by “All Good”. Even my mom was like, “Woah, what is this, it’s beautiful”. The way Dilla samples the horns and then fits the beat behind it, ah it’s so simple yet so powerful. That’s what inspires me the most about Dilla; using so little to make so much. And when your mom is vibing to a hip-hop beat, you know it must be really special.
You have described live instrumentation as being ‘A natural feeling and connection between the mind, the soul, an instrument. Some of that gets lost behind the quantization of computers’ Are you able to explain this quote in more depth? How has live instrumentation/finger drumming helped with your music production skills and beat making?
Being a drummer, I was born in to the world of live music before I knew anything about electronic music. So my understanding of music is rooted in natural grooves. I feel like now a days, a lot of music that is popular sounds like it was gestated from a computer and has no real soul, no feeling of a few people in a room making sounds that are not exactly on beat, but in beat on their own. Again, everything has it’s own place and can flourish, but I just like to produce music that is one take, so as to capture that raw groove.
Tell us about your track Amore and what Melodics users can expect to learn by going through your lessons?
Amore is a love song that was inspired by my girlfriend, Addie Jonas. So users can expect to be learning a song that has a lot of emotion and a lot of passion infused into it. Speaking from a technical side, the users will explore how strings can be utilized in hiphop beats, and can also analyze how I orchestrate my drum patterns. From the kick drum, to the snare and hi-hat, each section will be split up and broken down so that the users can see where things such as open hi-hat’s should occur, or how the snare should be placed in reference with the metronome.
What was it about Melodics that inspired you to want to get involved? How do you think Melodics helps beat makers?
The thing I love most about Melodics is the fact that it teaches. As a producer who is self taught, I always found myself watching videos of Dilla, Pete Rock, 9th Wonder, just to study what they were doing on their MPC’s and then I would go and adapt my own rendition of it. But with Melodics, the capability to see exactly just what the beat maker is doing is light years better and is set up in a way that is informative and educational. There aren’t an abundance of sources that educate beat makers, so Melodics is definitely doing something special. And to be one of those artists that gets to contribute is an honor.
You were featured on Instagram’s main account which you said was one of the coolest things to happen in your young career thus far. Are you able to explain this story and the impact that it has had so far ?
Yeah, so a worker at Instagram, Alex Suskind, runs the Music channel for Instagram. He sent me an email and basically told me that he loved my videos and wanted to feature me on @Music’s page. So that in itself was a huge honor and I was so excited, but about 3 months later, I received another email saying that the editor of the main account for Instagram wanted to feature me as well on the main channel. And when I got that email I was smiling from ear to ear. I’m very, very thankful to Instagram and everything they have done for me. They’ve given me a huge audience (the video they posted received over 4 million views) and have been nothing but extremely helpful and nice throughout the whole process. I’m hoping to stop by their headquarters when I’m in California this summer!
The release of your Within EP has been a success. What did you learn from the project and what do you want to do even better for your next body of work?
WITHIN EP was a learning experience for me. To be honest, it was much more successful than I had anticipated it to be. I was really hoping to get at least 20,000 downloads by a few months, but I ended up getting 50,000 in the first day and 500,000 in the first week. It really blew my mind. It was a great first release because it was very introspective and kind of carved a path for my career to build upon. Now that my audience understands who I am more clearly, I think that future releases will make more sense. That being said, I want to capture a different vibe for my next project; my debut album. I want the focus to be more on music that is appealable to all genres. I don’t necessarily mean pop, but I want to create songs that make you bob your head rather than make you think. That being said, I’m happy that the EP was the way it was, and I’m really excited to share a more brighter side of myself on the next project!
OddKidOut’s brand new lesson ‘Amore’ is now available on Melodics. As a special offer users can access these lessons through using the promo code ‘OKO-MELODICS’. If you have not downloaded already feel free to do so with this link. Finally check out the trailer video below to get a feel for these lessons.
Starting out as a DJ back in 1993, Buddy Peace has naturally progressed into the realms of beat making and production. Known for his attention to detail and his ‘collage like’ offerings, Buddy continues to push musical boundaries. This week were able to ask Buddy a few questions about some tracks that have inspired him through out the years, and also delve into his creative process when it comes to production and DJing.
On your Youtube Channel you have a series of Finger Drumming videos called the ‘Bag Lunch’ Sessions. Each episode sees you finger drumming in a different location including a schoolyard, train and even a rooftop. Can you give a bit of insight into what inspired this series and the eclectic locations?
I really wanted to make some battery powered pad-tapping performances where I wasn’t bound by plugs and mains outlets, just me outside with a battery powered sampler and a recorder. They weren’t all rigidly rehearsed, mostly I just familiarised myself fully with my pad arrangement and got a rough idea ready, and then just powered through. They were made around some of the coldest times of year too and the will of myself and that of the cameraman didn’t hold out to laborious sessions, so I made them as quick as I could. I just wanted to have something interesting in each session, just different and pleasant or somewhere I passed by a lot in London. The train one was fun, and the rooftop one was cool because of the time of day. You can get some lush sunsets round London sometimes.
You stated in a previous interview “Some ideas I have start rattling in my brain and I can’t work on anything else until they’re finished, I get proper tunnel vision on things like that.” Are you able to explain this and how it relates to your creative process?
It’s a process that still retains control over me to this very day… Sometimes I have ideas that grab me by the collar and won’t let me go, and I’m basically a slave to them until I’ve seen them through – not all the time, but usually with the bigger ones that’s how it goes down! I’m a little better these days with time division though actually. I had to spread my efforts around a bit more efficiently to get certain things done, but yeah I do get that locked on tunnel vision thing happening a lot!
You have also been asked if you could have a scotch with any musician dead or alive it would be Jason Molina? What about his music or as a person inspired you? Do you have any songs from him that you would recommend to people who have not listened to his music before?
Ahh… That’s a musician choice which, in retrospect, I wish I had made differently. I said that before he died, and as far as I’m aware his death was very much connected to alcohol. That was devastating, I guess you can only know so much about certain artists but I definitely didn’t know that his private life travelled that path. I was lucky enough to see him play solo before he passed, and it was pure magic. I knew his music so well before then, but what hit me was the way that literally on the first second of him singing his first note, the entire venue – which at that point in the show was full on noisy and chatty – completely fell silent. His voice quite literally shut the whole place up with such quickness and it gave me chills. He and one of his bands (‘Magnolia Electric Co’) made one of my favourite songs ever, which is called ‘Farewell Transmission’. Again, something that just hits you from the very first chord as soon as the track starts. I’m getting goosebumps thinking of it, I have to play it now! So yeah – check that and the whole album, as well as the album ‘Didn’t It Rain’ (by his band ‘Songs:Ohia’), and his solo ‘Pyramid Electric Co’. All gorgeous, all haunting as all hell, and just wonderful bittersweet, soulful, end of the day perfection.
We all have songs that shape us musically as we move through life. Are you able to give some insight into the relevance of these two songs and this album for you personally?
Yeah that’s my trio of childhood right there! Wow. Basically my first 5 years distilled into three track titles. ‘You Can’t Hurry Love’ triggers a very exact memory in me as a toddler, sitting playing with cars sitting by the radio. I’m right there as soon as I even think of it, it’s like memory synaesthesia or something. ‘The Show’ was one of the first rap records I full on fell in love with. My brother bought it and we rocked that 45 for all it was worth. As for Dire Straits, that was a firm fixture in the car stereo on many road trips for me as a kid. As far as Adult Orientated Rock music goes, I’m sure that still has power in it to melt me into tearful mess as a full grown man. Ah I can’t front, I still like them!
You’ve worked with many great emcees in your career so far from Sage Francis, Buck 65 to B.Dolan. What for you is the most inspiring thing about collaborating with others when creating music?
It can cut through a lot of the voices you have in your own head when you make stuff solo, which is a good thing indeed. I don’t mean necessarily negative voices either – just those judgmental ones and some that want you stay on that familiar road. When you work with someone else, especially in the same room, you have so many intangible benefits and conscious/subconscious cues happening that all add to the end result (I mean, if you get on, of course!). I think I’ll always enjoy the process of working by myself first if I’m truly honest, but I love the differences and the enjoyment of working with others – it really is a refreshing process and gets you out of your own head.
You have previously said that it all started with DJing for you. Tell us about who ‘DJ Chronic’ is and your first mixtape in 1993?
Haha, good lord. DJ Chronic was the ever so awesome name I gave myself in my very first year of DJing with a Technics hi-fi turntable with pitch control and a Soundlab DLP-3. I was reading a ton of hip hop mags and listening to non-stop rap radio and was crazy inspired by it all and so I gave myself that name after all that weed I wasn’t smoking and started drawing graffiti ganja leaves on everything. My graf was okay actually back then but yeah, that name was shortlived (probably lasted like 6 months) although I did keep scratching and mixing.
What was the first equipment you used for Djing and production. What set up do you have now?
That janky mixture of turntables I mentioned above, as well as I think a Kam mixer, which had one of those shitty built in samplers. You’d sample in and boom, an instant low-grade low-bit barely audible sample at your fingertips. It was fun sampling gunshots though, I had a time with that. My first sampler was a Yamaha SU10, which is dope for loops and things but not a lot else. I did make a lot on it though. It was all Akais after that. I now use mostly laptop but I still have a gang of controllers and pad-based toys around me, loads of Novation goodies, that kind of stuff.
What advice would you give to a person who woke up this morning and decided that they want to become a hip hop beat maker like you?
It helps to have a core love for it, which won’t be shaken by either fame or setbacks. Some people can blow up quickly, some people can take a while, but it’s the same with most areas of music and creative arts – if you’re in it for that fame then you’re missing the most interesting parts. It sounds simple but love for what you do, and of course skill and practice, will take you a long way. You’re also off to a good start if you know music – music in general, as much as possible from all areas. I think in my day things were a little more walled off than today, and it was harder to widen your musical perspectives as you couldn’t look anything up on the internet which was a far off sci-fi idea for many of us. There really aren’t any excuses to broaden your interests these days which is awesome. Get inspired by it, it’s amazing.
The word ‘collage’ has often been used to describe your productions and mixes. Are you able to give a bit of insight into this and how a mixtape by DJ Riz played a role in this development?
That Riz mix triggered all of that in me for sure! Goddamn, that tape. That thing was insane. I was into the Steinski stuff from years ago, which I heard on old radio shows and my brother got me into old jungle which I always recognised samples and breaks from, and I just loved the idea of taking chunks of music and contextualising them into whatever form you like. I wanted to start doing that soon as possible, and Riz was a huge inspiration scratching-wise. I love hearing it now and knowing what’s going on – back in ’93 I was just having my wig pushed back by an avalanche of 80’s and 90’s rap and wasn’t sure what were the tracks and what were the mix parts (I did know some of it though at that point from radio tapes and such). Later on I got into DJ Shadow, Skratch Piklz and all them, Beat Junkies, Madlib, Mr Dibbs, DJ Signify, and stuff like that. Lots of DJ stuff but mainly around drum heavy and psyche bits and pieces. I think that’s why I fuck with Gaslamp Killer and the Low End Theory squadron these days. I love all of that stuff so much!
How did you find out about Melodics?
I met some wonderful people through Novation, and was invited to perform a demo for their Launchpad Pro, and Sam from Melodics got in touch with them who got in touch with me, and that was basically it! Sam showed me what it was about and talked me through it, and I was all in. It’s such a great idea and to be honest, a long overdue one! There are a lot of pad-pushers around and with so many innovations in controller technology and interface improvements, it’s an area that’s really growing and developing in such an exciting way. I’m really glad Melodics are here!
You are releasing your Melodics lesson called ‘Disco Frost’ What can Melodics users expect to learn from these lessons?
That one was a steady uptempo jam which is a goodie for just hitting certain pads simultaneously which can be trickier than it looks. It’s not a complex one by any means, but I use mainly separated chops and not whole chunks of beats or samples that often and that’s what this is really. I have a ton up my sleeve though, you’ll hear those soon!
How has finger drumming changed the game for both producers and DJ’s? How do you incorporate it into your work?
It’s kind of what I said above really, the changes in technology mean that you can chop beats very quickly, and you’ve probably already got your controller there ready and waiting for you, so right there you have so many barriers to creativity broken down instantly. From there you can just jam and bat ideas around with those chops, and it’s a cool way to get that rhythm in your hands. Also with DJing meaning different to things to people now, you can use pad controllers to control a DJ set which can be a set in Ableton, so again, you can incorporate all that stuff into a set so easy. I like to do just that actually – recently I’ve really been enjoying making sets using vocals and drums and just layering things up in Ableton, with parts in there to allow me to rock some pad-drums live. It’s so satisfying and while I’ll always love turntable DJing, after doing that for around 20 years or so this way is a really interesting change up for me. I’ll always want some kind of turntable element and I don’t want to change forever or anything, but having a new take on it all is mad exciting.
I understand you have been spending a lot of time in South East Asia and have visited all sorts of locations and places like Bangkok and ‘Noble Remix’ – What has been the most inspiring part of your travels so far and what was your reason for visiting this part of the world?
I can’t believe there was a signpost for ‘Noble Remix’. So dope. My girlfriend is over there a lot and we try and roll as a unit for the most part, so we end up hitting parts all over the place there and digging all over the place. I’m a big fan Zudrangma Records / Studio Lam and everyone involved, they’re a great crew who really put in work for that side of the world and I played at Studio Lam back in 2015 which was fantastic. It’s just madness, such a busy and frenetic place but with such dope musical heritage. They have some beautiful music in their past and right now in the present and I’m always so heavily inspired whenever I leave there, just tons of ideas floating around my head. I discovered Khruangbin in early 2015 too who use a lot of cue points from Thai music, and I’m a huge huge fan of them.
You are stranded on a desert island for a year and can only bring three records with you. Which ones would they be?
Melodics™ is the best way to build your musical skills.
Free to download, play 60 free lessons for 5 performance minutes a day to start building your rhythm, timing, and muscle memory immediately. Then subscribe for unlimited access to premium lessons, including exclusive lessons from acclaimed artists.