Trust Song Free Download
Cherrie Patete
"I am able to live off just my royalties alone now! I was collecting money prior to my Songtrust situation, but it was only income from my PRO and a few YouTube videos. My international royalties have increased and I collect from all sources now, not just YouTube...I would not be able to produce music and run my own publishing company without Songtrust's help."
"There is so much to learn with publishing and it is very confusing. I followed a path of many different agreements, learning as much as I could, and trusting someone who took me under their wing and led me to Songtrust."
Kira Bird is having a bad time expressing her emotions about her bratty little bird brother. Where and why does she have these feelings that make her want to "explode?" With the help of her 'Feathered Godmothers' she discovers the power of music to let those feelings out. The Power of the Blues! Using the music and video of the true Queens of the Blues like Bessie Smith, Big Mama Thornton, Aretha Franklin and more, Kira learns to share her feelings in a positive way through creating her own Blues song that brings her family closer.
Support from The National Blues Museum brings this unique and heartwarming production to life for elementary aged and family audiences. Original musical and video tracks from Big Mama Thornton, Billy Holliday, Aretha Franklin and more supplied by The National Blues Museum in St. Louis.
StoneLion does not run a traditional brick and mortar theater but takes the arts into communities to reach those who do not have funds or ready access to the arts. This has resulted in more than 100 free performances and workshops annually for Title One schools in area school districts, featured performances at other theaters across the country and the creation of the Art Festival, Illuminated Waters, which has run for 14 years (pre-pandemic).
StoneLion was involved in a two-year project funded by The National Geographic Society to film underwater scuba-diving puppets in the Red Sea to educate the public on the need to ban single-use plastic.
They are currently partnering with the Mpala Research Center in Kenya and Project Central for a multi-year project on using puppetry to engage and teach environmental sustainability actions on biodiversity, health and climate in the Kenyan education system.
StoneLion is a U.S. State Department-funded Arts Envoy with past work in Israel, Ukraine, Vietnam, Laos, Fiji and Kenya. StoneLion is on the Kansas City Young Audiences, Missouri Arts Council and Mid America Arts Alliance Touring Rosters.
I remember the first time I heard about this band was during the SXSW festival in Texas in 2018, where they played some live shows. From that moment on, I felt a connection with their music. The band consists of bassist Jessy Caron, Dragos Chiriac as multi-instrumentalist and producer, and Emma Proulx as vocalist and guitarist. They claim that both their music and their image are sustained by their idyllic place of residence, Quebec, where nature has been a source of their inspiration.
With all the guitars recorded, I went on to record and shape the bass sound. It is a round and percussive bass, with a color close to the characteristic Hfner. In fact, it has helped me a lot to have a Hfner to record this bass and thus have a good base sound to refine later. It is important to note that the more similar the base sound (without effects) is to the original, the easier it will to achieve a good result. Perhaps recording this track with another type of bass with more bass presence and less bright can make it harder to achieve the same result.
Once I recorded the entire bass track I could see that, without any effect, it was already close to the desired color. For this type of sticky-sounding bass, very beat-grabbing, melodic and with hardly any sustain but with good punch, I find it very effective to record them with a pick and palm-mute, hitting hard. In this way, a strong attack is achieved by cutting the tail of each note, freeing the overall space of the mix, and making this bass more understandable and melodic.
I have added some Waves plugins, such as compression to reduce these peaks generated when playing hard, an EQ that shapes some frequencies, and the Bass Rider, which regulates the volume to control dynamics and adds some color.
Although the songs of Men I Trust usually have quite a few synthesizers, in this song they go quite unnoticed. However, a faint organ does appear in some parts that adds warmth and fills in some of those frequencies that guitar strumming does not fill.
For this I have used the Arturia Prophet V, a recreation of the classic analog synthesizer manufactured in the 70s and revolutionary for being one of the first to implement patch memory, a functionality that saved the user's preferences for all the synthesizer parameters in an internal memory.
In the organ sound bank I found a preset that provided that warmth I was looking for. I reduced the cutoff value to make it more mellow and combined with the Vulf Compressor, from Goodhertz. Specifically, this plug-in not only compresses, but also brings that ribbon-like warmth and some modulation to the organ.
There is another pad that goes quite unnoticed. It is a kind of strings that act as a pedal note throughout the duration of the chorus. Whenever it is strings that play sustained notes for a long time and have a fill-in function in treble, I usually use the Solina by Arturia. With a viola sound a suitable sound is achieved for this line.
For the drums I used an Addictive Drums 2 kit where everything sounds clean, with small room feeling. It is a VST where you can modify all kinds of details of the drums, starting with choosing what kind of kick, snare or cymbals among a wide variety. Then you can add all kinds of EQ to each element, filters, distortion, reverbs and other types of effects. In this case, it was important that both the snare and the kick drum sound without much hall sound so that it was quite round and compressed, like hip-hop style.
Finally, I have had the pleasure of working with Erica Bender to record the vocals. Erica is the singer of Terry vs Tori, a band from Sevilla with whom I have shared stage in Spain and with whom I also coincided at the SXSW festival in Texas (USA). You can listen to their music on spotify.
Erica has a mellow voice that fits perfectly with Emma Proulx's vocals, so that made things very easy. To give the vocals more body and stereo, there are 5 different tracks, all singing the same line and panned sideways. It's a basic trick that usually works for dreampop vocals. I just added some EQ, the Waves Vocal Rider to control the dynamics, and the Valhalla VintageVerb, one of my favorite reverb plugins, that gives that ethereal space to the voice. Below you can hear her vocals. You will also be able to appreciate how in the chorus some choirs appear making a perfect fourth interval (2 and a half tones) over the main voice.
In music, relative keys are the major and minor scales that have the same key signatures (enharmonically equivalent), meaning that they share all the same notes but are arranged in a different order of whole steps and half steps. So in this song, we find A minor as the relative key of C major.
So if the song contains the C major and A minor chords, which key do we choose? In this case we will consider the song in A minor key because the song starts with the chord Am7 and it appears a lot throughout all the song, acting like tonal center and the resolution point. There are more evidences, like the E7 dominant chord (5th degree) that always leads to Am (1st degree). In music, the dominant is the fifth scale degree also noted as V of the diatonic scale. It is called the dominant because it is next in importance to the first scale degree, the tonic.
However, even if there are a lot of E7 throughout this song, you can find a G7 (also dominant) in the pre-chorus part. G7 is the 5th degree of C major key (and the relative minor of A minor key as said before!), so it does not sound out of the scale and it adds an extra color to the song in this part.
Also, the Bbmaj7 and Amaj7 chords are not in the A minor key. Bbmaj7 is one semitone above the tonic A and it is used sometimes in music and its called upper-neighborhood. The Amaj7 chord is borrowed from A major key (we are in A minor key) and it adds that special "major" flavour when the chorus starts, giving that sunrise feeling. This is called modal interchange.
Recuerdo que la primera vez que escuch el nombre del grupo fue durante el festival de SXSW en Texas en 2018, donde dieron algunos shows. A partir de ese momento sent una conexin con su estilo de msica, donde las canciones destacan por bajos meldicos con un sonido caracterstico y compacto, guitarras melanclicas y una voz que te susurra al odo.
La banda est formada por el bajista Jessy Caron, Dragos Chiriac como multi-instrumentista y productor y Emma Proulx como vocalista y guitarrista. Afirman que tanto su msica como su imagen se sustenta por su idlico lugar de residencia, Quebec, donde la naturaleza ha sido una fuente de su inspiracin.
Para dejar planteado el esqueleto de la cancin, lo ms sensato ha sido empezar por grabar todos los rasgueos de acordes que aparecen a lo largo del tema. Para el sonido de la guitarra part de un preset de Guitar Rig 5 que suelo utilizar como punto de partida para cualquier guitarra de este estilo con rasgueos suaves y orgnicos, al que he metido un chorus para darle ms espacio.
Sobre este preset normalmente cambio algo de EQ y toco los valores de delay o reverb en funcin de cada caso. En esta cancin, ya que no se trata de una guitarra rtmica con muchos golpes si no tan solo un rasgueo por acorde, s me pareca imprescindible tirar de chorus y reverb para que estos rasgueos tengan ms cola y acten de colchn para el resto de elementos, y as evitar que se quede demasiado vaco. Para ayudar un poco a este propsito, tambin le pase por un compresor con efecto de cinta y por una reverb adicional con una EQ final para evitar que tenga excesiva presencia en agudos y acte como grueso de la cancin en medias frecuencias.