Do Producers Earn Money?

Answering the most frequently asked questions about producers according to YouTube’s auto-complete search function, including…

Do producers own masters?
Do producers make money?
Do producers use presets?
Do producers have to clear samples?

I keep screwing up my audio levels, so sorry about that. It’s mostly fixed but still crummy in places. Not up to my normal standard so sorry about that!


Arpeggios 1 – Maj, Min & Dim Triad Arpeggios

Arpeggios form a neat middle-ground between chords and scales – you’ll be voicing chords in a manner similar to playing a scale. Today we’re going to cover the three different triads that appear in the Major Scale. A Tonic Triad, as you should know, is built by stacking thirds in your given scale, so the formula for each is as follows:
Major:              R          3        5
Minor:              R        m3      5
Diminished:     R        m3      b5
In each of these we start with our root note, (the 5th fret on the E string), and then play the third. In the case of A Maj this is the 4th fret on the A string, but the 8th fret of the E string for the other two. Our fifths are on the 7th fret of the A string, but flattened to the 6th fret for A Dim. All our Octaves are on the 7th fret of the D string.
We’re playing all of these arpeggios in A, which should allow you to see the differences between each triad. As with scales, it’s important to keep to the one-finger-per-fret rule.

           Well, now what? I’d suggest trying out each of these in various positions on the neck, remembering that they are moveable shapes, (you can play them rooted on the A string as well).
Once you’re happy you can move them around a bit, try applying them to the Nashville Numbering System and see if you can play arpeggios for every chord within a given key using both the E and A string as roots.

Example Song #4: Power Chords & Palm Mutes

             This song is a demonstration of two very common techniques within rock, pop and blues music. Power Chords, as you should already know, are used in place of full Open or Barre chords, in genres where guitars are usually distorted. Palm muting allows you to control the tone and volume of your guitar. If you’re a bit shaky on either concept, you may want to go back and refresh your memory.
Palm mutes are usually indicated by dots under the notes, as you can see below every open E string note.

In the first three bars we have an alternating un-muted / muted pattern. We start off playing the E5 twice un-muted, followed by two muted open E notes, (these are all quaver notes by the way, and should all be played evenly). We then play two un-muted D5’s, followed by the open E string twice again.
We continue to alternate like this until the end of the third bar where we leave off the final pair of open E mutes.
In the fourth bar we hit a pair of C5’s followed by a pair of D5’s. These powerchords are of the larger variety, which include the octave and give it a bigger sound.
Remember the repeat markings at the end. In the video we repeat this once before ending on the E5.


         Aim to build up to around 110bpm. In the video I start at 100bpm, but there’s no shame in starting at 90 or 80 instead if you need to.