Two things that are pretty cool this week. Griffin Avid hooked me up with some questions about making music from a site called Producers Corner and couple of tracks I produced with Fallout Shelter got bundled with the newest issue of Rapper’s Delite Magazine. The deal is, you can download a bunch of beats for free in every issue or get a bunch more when you become an MC Subscriber. There’s even some beats from my friend Sean Maru; the writer for the Vintage Series.
Rapper's Delite Magazine the Original Sugarhill Gang
Here’s the issue sampler so you can get an idea of what everyone donated.
And here is the interview hook up.
Drew Spence is the Owner and Editor in Chief of Producer’s Edge Magazine. It is a quarterly publication centered on the production of Hip Hop, R&B and Rap music. After creating a raucous underground radio show called the M-Train at Adelphi University 90.3 FM, Drew Spence worked as media editor for Don Diva’s Magazine D3 DVD. He creates music under several aliases that range from underground hip hop, Nu Jazz, pop to Electronic Dance Music. After collecting numerous accolades and glowing reviews, he has turned his attention to creating a modern journal for beat makers and music producers.
”Music production is the relationship between the creativity of the artist and the craftsmanship he is able to employ through the mastery of his tools.”
1. Sampling. How important is it in producing music?
There’s a distinction between sampling and using samples. For Rap and Hip Hop music to be accepted in a larger commercial sense, it had to be sell-able. Un-cleared samples became such a legal problem, that sample interpolation became the new sampling standard. Being able to create music without using the works of others is paramount for establishing a career in this modern industry.
2. Where do you see new producers making mistakes?
Sharing their music too soon. Every beat maker thinks it’s time to share a beat once it’s finished. You only get one chance to make a first impression. Why have someone come to your site or profile and hear unfinished music or tracks that are not up to par? It taints your image and lessens any confidence a potential customer could have about your music.
3. What software do you recommend for making beats? And why? And what do you use?
I don’t see an influence in a producer’s sound depending on what he uses. The most I hear is producers only using the very basics of their tools, because they haven’t taken the time to learn them properly.
4. To all those new aspiring producers reading this learning to produce music / make beats, what advice can you give them starting out?
Great writers do more reading than writing. If you intend to make great music, you need to understand the working behind what we consider to be the best music. That means knowing the history of your genre to understand where it has been, where it is going and gaining valuable insight to where it’s going next. Higher understanding also involves absorbing music outside of the genre you intend to produce.
5. What are the 3 most important steps to making beats?
I’d say One is choosing the direction of the instrumental which is tied to understanding the purpose behind creating the track. Making a story track? – then it means to be evolving and dramatic. Making something for lyricists? – then it needs to be open and have room for the vocal to lead the intensity. That’s the general principle.
Two, would be immersing yourself in the culture of the intended genre. They are different approaches to every genre, tempos, song length, arrangement and even complexity.
Lastly would be understanding the industry behind the marketing, promotion and selling of the music. Making battle track and presenting it in the same fashion as a club banga is a mistake.
6. Very few producers make it to the top of there career as a world famous producer. What’s the difference, in your opinion, between a famous producer and one who can’t seem to it? What do the ones that make it do that the ones don’t?
People that don’t make it fall in to two categories: ones that give up and those who don’t take advice from those around them. When you are sure that you know better than everyone around you and you are still not making forward progress, it’s time for a reality check.
7. Which do you prefer new producers start with when learning to make beats: Hardware or software? And Why?
Use whatever you’re attracted to. Understand the final delivery medium and be sure you are able to present your tracks in a proper industry format. You don’t need Pro Tools, but understanding how records are made should influence your early choices.
8. What makes a quality beat? What must it sound like? How do you know when you’re done?
A quality beat actually sounds like the instrumental to a full record. Many producers only present the foundation, which is enough to inspire the artist to create over the basic skeleton. Even in this open state, the track should indicate a general direction for the artist to build off of.
9. Should I go to school to learn more about music?
If you feel you learn best in a formal setting then yes, but don’t discount the life experience gained from internships and mentoring programs. Real world experience is invaluable in transforming yourself into a valuable asset in this production industry.
10. Any final thoughts or advice to aspiring producers?
Take the time you spend doing music seriously. You never when your life will change course and music won’t be able to be your number one pursuit. When beat makers have the luxury or time to make music every day and to follow music as their number one interest, it should be cherished. Regrets based on the things you wished you did outweigh the things you wish you didn’t do. Do music, take it seriously. No one will take you seriously if you don’t take your music and art seriously.
Thanks you for supporting Producer’s Edge magazine.
Producer’s Corner Interview with Griffin Avid
Griffin Avid
A blogsite about making beats did an interview with me and Drew Spence. Very Cool.
http://www.pegmusic.com/producers-corner/producers-corner-griffin-avid/
Griffin Avid is a sound designer, music producer and media editor attached to Producer’s Edge Magazine where he handles all of the content featured in the publication.
1. Sampling. How important is it in producing music?
Sampling records was the earliest production tendency and the nuances and [beloved] artifacts of the sound design have been indelibly imprinted in our minds as the sound of authentic hip hop. Every producer as some point has tried to fake it by adding sounds like turntable hum, scratches, pops and even noise to emulate a vinyl source. The lo-fi aspect is emulated with bit-reduction and some producers buy vintage samplers to capture the character of our earliest rap records. Even when beat makers are looking for drum kits and commercial samples to incorporate, the packages listed as being dirty, crusty and dusty remain the most popular.
Sampling even impacts the arrangement of our music. The huge change-ups and number of musical elements that are linked together are a throw-back to producers manipulating samples that were composed of multiple instruments playing on top of each other. Very few producers have been cable to capture that style of arrangement once they play or perform all of the instrumentation themselves.
So in conclusion, sampling as a sound is the most important aspect of rap and hip hop music. This still holds true long after traditional sampling has all but been eliminated by the modern producer.
2. Where do you see new producers making mistakes?
Thinking selling beatz is the shortcut to being a producer. They wrongfully believe they will sell a beat to a well-known rapper and once they have that one major placement; they will become the next super-producer. Being a true producer is what happens around, on top of and after the beat. There is no shortcut for this. You start the journey by producing the records of whoever you can and you certainly do not want to put off your growth by waiting. Take your career in your own hands and start making it happen for yourself now.
3. What software do you recommend for making beats? And why? And what do you use?
None of that matters to me. I’ll use anything. Usually, I get stuff to review for the magazine or at least to be familiar with to remain current and use that. I think cats should choose their tools by the amount of inspiration they feel using it. If it feels right to you, you are more likely to dive deeper and master your toolset.
4. To all those new aspiring producers reading this learning to produce music / make beats, what advice can you give them starting out?
I would suggest they avoid the trap of doing the same thing over and over again while expecting different results. I see the advice ‘practice makes perfect’ and beatmakers think they will magically get better by simply making more beats. The learning process comes from experimenting and studying the different aspects of production, and not just from repetition.
5. What are the 3 most important steps to making beats?
1. Choosing to make beats that you like and not beats that ‘should be liked’ by others. This is really related to number 2.
2. Making sure it works in whatever context you are making the beat for. Bangerz should bang in the club. Battle beats should inspire freestyle verses. It seems simple, but many producers focus on adding signature elements and not sculpting the overall vibe.
3. Adding that final 10% that turns a beat into the instrumental for a record. That’s pretty much the part producers never show you because it’s the workings of their inner ear. Anyone will show you the building of the foundation. No one shows you the roof being put on.
6. Very few producers make it to the top of there career as a world famous producer. What’s the difference, in your opinion, between a famous producer and one who can’t seem to make it? What do the ones that make it do that the ones don’t?
Being famous is a matter of your hard work running into luck and chance. Everyone will have their turn, but for most, it won’t happen until you are ready for it. If your opportunity arrives before you are ready, you will miss out and probably never know what you could have accomplished.
7. Which do you prefer new producers start with when learning to make beats: Hardware or software? And Why?
Doesn’t matter. I usually advise producers to physically imagine HOW they want to work and go in that direction. Either approach or a mix of both will get it done so why choose?
8. What makes a quality beat? What must it sound like? How do you know when you’re done?
A quality beat sounds right for an artist to use. Lots of beat makers have beats that sound great, interesting, original and impressive. What’s hard to find among a huge catalogue of beats are usable tracks.
9. Should I go to school to learn more about music?
School is about creating an artificial environment that fosters learning. At best, it gives you real world experience. At worst, it gives a false sense of entitlement. The paper is a statement about your dedication and commitment. If you understand that most courses only provide you with the material and it’s up to grab your own education, you’ll be fine.
10. Any final thoughts or advice to aspiring producers?
Start producing today. Live the music, not the stuff that happens in-between the beats. Focus on the stuff that counts, which is the end user’s reaction to your art. I see too many beat makers overly focused on the opinions and thoughts of other producers. Rappers and those concerned with making records need to be the most important people in your mind. Thanks for the time.
Rapper's Delite Issue 02 Winter 2011
issuu.com/producersedge/docs/rappers_delite_issue_02
Rapper’s Delite Magazine is back with their Winter 2011 Issue. It’s The Original Sugarhill Gang y’all! We’re taking you back to the first top 40 hip hop chart buster and dive into the movie based on their trials and tribulations entitled I Want My Name Back. This interview is a must read for any true hip hop head. Also in this issue, Grafh, Fred the Godson, Pac Div, Casey Veggies, Chuuwee, Emilio Rojas and film director Roger Paradiso.
A big thank you to DJ Cut Supreme for supplying us with the Sugarhill Mix. You can find the full mix spinning on our Soundcloud Page.
http://soundcloud.com/rappers-delite/sugarhill-mix
We are glad to present a free blast of beats in every issue
Spinning and Winning in this Issue
Fallout Shelter, Legasey, Neurologists, P.R.O. and Sean Maru
* Direct download link is found inside the Current issue. Thank you Producers for submitting your music.
REVOLVE, GET INVOLVED AND EVOLVE
RAPPERS!
Need Beats to write to? Need tracks for your next project? Become a More Content Subscriber to Rappers Delite Digital Magazine and get (more) FREE beats in every issue. We will slam your ears with over 20 rockin bangers in multiple styles. Each track comes with extra contact information to network with the producer.
Get 4 issues of downloads for 9.95 or get 8 issues for only 14.95
Subscribe now and get the issue 2 starter kit instantly delivered to your booth.
Producers Edge Magazine Naughty or Nice
Get down on the get down. Let’s find out what kind of year you’ve had and whether Santa should be wrapping or if your Christmas is a wrap.
Here’s an example question. lolz
1. Your best rapper’s crew crashes at your studio after a late session. His girl pushes up on you. You then….
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Click here to take the quiz. have fun and post your results!
http://www.quiztron.com/tests/producers_edge_magaz_quiz_205587.htm
This was taken from the Special Issue 09 2011
http://issuu.com/producersedge/docs/issue_09_producers_edge_fall_2011
Special Holidaze Issue FALL 2011
Are you Naughty or Nice with it?
Producer’s Edge Digital Magazine Issue 09 has dropped. This is a special Holidaze themed issue. It’s all about the giving and the getting- – ready to have a productive 2012 and beyond. We’ll rewind with tips for making better beats and finding your signature sound. By the end we’ll know if you’ve been Naughty or Nice.
Xtra Content Subscribers do not need to download any of the FREE content inside this issue. You will be getting every item included in your normal Issue Download Package. Check your email. This issue’s Download is 1 Gig in size and can be purchased separately.
This issue’s package contains samples from:
Big Fish Audio Southern Grilin
Big Fish Audio Grind Mode R&B
Big Fish Audio The Crate Ultimate Urban Samples
Big Fish Audio Beatage
Enjoy the Holidaze Season and be safe, full of sound and productive.
-Drew Spence, Editor in Chief Producer’s Edge Magazine.
Issuu Producer’s Edge issue 09 Holidaze Special
http://issuu.com/producersedge/docs/issue_09_producers_edge_fall_2011
Subscribe to the Producer’s Edge Downloads
D.A. The Future is Now!
Rapper turns front man and wins In the Groove’s Battle of the Bands.
The band backstage and back walled
We have recently been extolling the virtues of adding live musicians in to your production system. The idea of having live instruments mixed in with your electronic and sampled foundation is nothing new to our music. While most producers are content to have samples replayed, there is a whole ‘nother universe behind working off of a live chemistry. On the Rapper’s side, there is the idea of performing a show to something other than the stale and unchanging dat-tape or worse, performing on top of their own record. As part of this new identity, D.A, The Future, a young and up-coming rapper, has embraced the idea of adding a full band [A.D.D. = Always Determined & Dedicated] behind his sound. Chapter one begins with winning a Battle of the Bands in Long Island City New York.
The Band jams
You knew things would be different once the host did the roll call and asked “Is long Island in the house?” and the place roared. The performance was tight and solid. To be honest, it might have been over once D.A. hit the stage. He came to win. The band played to win and so they did. It was a four song set, including “It’s all so Clear” and “I’m addicted to You”. DJ Shuttle worked the wheels and did the hype-man honors while interacting with D.A. The crowd participation was brand new and fresh – it was actually very …Churchy. Yeah, there was a lot of stomping of the feet and hand waving- all while rocking.
In the Groove meets the Future
Jordan, Jamiee and Jake "I hold the microphone like a judge"
Ali moves the crowd and moves things along
The host and judges for the night have a band of their own (Scarlet Fade) and are all related- yeah, some kind of 2012 Partridge Family. Ali, the host, kept it moving between sets and Jordan, Jaimee and Jake struck the perfect balance between showing natural emotions and critiquing the performances. They offered helpful comments to the bands and left each group feeling like they won for simply being there. The judges took note of DAs’ commanding presence, the power of Shea’s voice (they all mentioned her standout talent) and the killer violinist [Classique]. They never saw anyone play the violin and jam-on-it like an electric guitar.
Afterward it was something to eat next to the 5 Points and we took time to honor the legend. Kings from Queens indeed. Congratulations to D.A. The Future and everyone that helped make this win possible. The event was sponsored by Local recording studio Tonic Couture, the musician’s one stop shop Sam Ash and New England’s School of Groove.
Legendary DJ Jam master Jay is immortalized
Afterwards Words
While I was there, I connected with another band called Johnny Hirsch. They play all over the city and sound like a mix between Steely Dan and Jamiroquai.
Johnny Hirsch bands together
As we got to talking, they asked me “What do you play?” and I said “Um..everything. I’m more of a producer who…” and it dawned on me- about how much we really are a one-man-band. Now of course, I’ve been around for a minute and play a bunch of instruments (horribly), so I’m NOT suggesting you go out and take lessons for four different instruments, but I am saying respect their nature enough to study the musical context and consider the idea of bringing in a true player instead of noodling around on your keyboard for every instrument. I think D.A. is forever changed by the experience of performing in front of a band and I think every producer will be changed for the better when you unlock your own musicianship by influencing and being influenced by actual players.
There is a great article by Phil Clendennin in Producer’s Edge [Issue 04 Teddy Riley Page 32] that touches on voicing traditional instruments in our workstation keyboards. It’s really a great read. Here’s my parting shot: Next time you’re in the studio creating a joint, try turning your room into a stage and see what happens. Stay Productive.
Producer’s Edge YouTube Griffin Avid Channel reaches 8 Million.
Griffin Avid and YouTube
Oh yeah, it’s some kind of milestone, but I’m not sure what to do about it. If it was a FAIL or cat playing with a ball of yarn or a celebrity clown shot, then it really wouldn’t be significant. BUT! These this is a channel that is supposed to be educational- in the way of sharing information about products and services related to Music Production. Learning stuff is boring to most people.
I will admit I had so little faith in a product-heavy channel that I said no to launching it and made Griffin Avid host the channel under his name. I was wrong, boy was I wrong. But I will take credit for bringing the specialist and the ‘here’s how this works’ demonstrations to the front. No one was paying attention to those workshops but I instantly saw how valuable a living manual could be. A big shout out to Remix Hotel (from the Remix magazine people), KORG for the M3 Workshop and our good friend Nate Tinsley who showed so many ROMpler-heads how to sequence in some of the most popular keyboards (that no one knew how to use). Props to Sam Ash and NAMM for always supporting the magazine.
Here’s a few gems.
Most viewed video. Props for being the champion.
Highest rated video. (And the most blocked comments insulting other producers [in multiple languages])
Video with tons of personal feedback
Awesome, but here comes the Drew Spence curveball. The views are nice, but what’s most important is the amount of people and companies our video channel has been able to help. More important than those YouTube gold-star badges are the personal emails and comments thanking us for posting these videos. As I said before, most people want a quick-fix to everything and most don’t invest enough time learning their tools. I think it’s important to squeeze every bit of usefulness out of your purchases. Okay, okay. Thank you for watching the Griffin Avid YouTube channel and supporting Producer’s Edge Magazine. –Drew Spence, Editor in Chief Producer’s Edge Digital Magazine.
Happy Thanksgiving 2011 from Producer’s Edge Magazine
Clap yo hands, stomp your feet
Live and Direct
Sometimes I feel like a pastor trying to come up with a sermon when I try to connect my recent experiences or encounters into a meaningful theme. But it hit me this morning when I got up. See, I spent last night watching a live band rehearse a few numbers. They are preparing for a battle of the bands coming up on December 3rd. I was invited by Shea the Doll, who worked with me on the Domino Grey albums and D.A. the Future; a skillful rapper making a big impact in my city. They needed a guitarist with both Soul and Rock so I called Jennifer Campbell from Issue 08 DJ Premier, Summer of Synths [http://issuu.com/producersedge/docs/pe_issue08_dj_premier] and in a few minutes a brand new member, with his electric guitar, walked into the session. Thanks Jen!
At first, the vibe was very studio-like and controlled- like practice-through repetition. Their band leader Curt, wanted more emotion and jamming and for everyone to loosen up. It wasn’t happening until the band started talking in-between run-throughs. Once they connected on a personal level, they were able to connect as a band.
D.A. the future and the band jam out
Not every idea sounds good to the band.
Okay, here am me thoughts:
At times, our one-man-army production flow can become a dry and static experience. You rotate from instrument sound to instrument sound, never taking on the persona of someone who would be PLAYING THAT INSTRUMENT. Yeah, that’s a cool bassline, but no bass player would play the same pattern for the entire track. Same for all the other elements in your track, except maybe the person with the cowbell, who’s dating the main cat or his manager or the non-musician buddy. Where was I?
As (beat creating) producers taking on the huge task of creating all the music ourselves, we need to consider the Dynamics of Interplay the next time we construct a track. You might be saying: “Well shoot Drew Spence aint you about to give us a bunch of loops from Big Fish Audio- what a contradiction?!”
No, not really, there are numerous means of manipulating your samples into motion and adding life to your tracks.
1. Chop those loops. Avoid just using the 4 parts of intro, verse, bridge and hook and create subtle variations. Yes you can do more than double the snare.
2. Use effects (a slight EQ increase or decrease) to accent the drums for the hook or a huge change in Q at transition points.
3. Learn to modulate your bassline, over time, to create a light sweep over several measures.
4. When laying down drums from a sampled break beat, use additional versions of the different hits and avoid using only 1 snare, 1 kick and 1 hat element from an otherwise varying drum loop sample.
5. When creating drums from multi-sample pack, lay down the same pattern with different velocities so you have the same drums recorded at different intensity levels.
6. If you are creating from a limited palette, you can actually swap out drum elements. More than just swapping out the snare for a stick, you can trade between similar snares. I know you had a second choice for snare in that folder.
7. Instead of pattern recording, you know, tick tick tick of the metronome for 4 or 8 bars- try letting the track play and jamming over it for …well, until the track runs out. Use different areas to create longer loops instead of a short, repetitious perfect take.
8. Turn off that quantize. nuff said.
9. When creating different loops or manipulating loops, choose new defining names- instead of intro, bridge and hook, think about “verse with more energy”, “hook and louder hook” You get the idea.
10. And finally; try adding a traditional musician into your mix. A live player will give you energy to feed off of and if you roll with a drummer, you can experience tempo changes as a way to control the feel of a track.
Usually at the end of a sermon they pass the plate, instead, I’m hitting you with some free sounds from our good friends over at Big Fish Audio. Don’t forget to take advantage of their Thanksgiving sale and also support the companies that support us. Have a good Turkey day. Keep producing, keep creating.
-Drew Spence Producer’s Edge Magazine
Happy Holidays from the staff at PE Mag 2011
Big Fish Audio presents The Crate Ultimate Urban Samples $99.95
http://www.bigfishaudio.com/detail.html?512593#
Come discover a goldmine of pure and raw Hip Hop and R&B samples. You won’t find any construction kits here, but only the finest urban loops and hits around for your sampling pleasure. At nearly seven gigabytes of content, you’re sure to find new and inspiring material every time you start digging through this massive library. You’ll find everything here from over 2,000 amazing drum hits to guitar loops, orchestral hits, sound effects, and a whole lot more. In total there are over 6,000 individual loops and hits in this collection. Choose between the 24-bit WAV version or the 16-bit WAV version to suit your need. So come get yo samplin’ on with Big Fish Audio’s “The Crate: Ultimate Urban Samples”.
Subscriber’s Link to FREE SAMPLES
http://www.ProducersEdgeMagazine.com/GriffinAvid/2011Thanksgiving.zip
25% OFF all orders of $199 or more
http://www.producersedgemagazine.com/
Read about a Battle of the Bands in New York on Dec 3rd
Music Production: Where should I start?
Words by Griffin Avid
One of the most frequently asked question is ‘What do I need to get started with Hip Hop production?’ It’s overheard in music retailers and posted on forums. The typical answer usually consists of entry level software, a staple drum machine or workstation keyboard. More important that what you should get is what you bring to the table and how you intend to work.
My initial foray into Hip Hop consisted of commandeering the home stereo system (a phonograph was my first turntable) and digging through my sister’s closet for a microphone that came with her tape machine. The first sampler I ever used had 90 mins sample time. Don’t sleep on the dual tape deck. My parent’s record collection was raided for my first sound library. Today, you might be utilizing mom’s old computer and the Casio keyboard you received for your 12th birthday.
No matter how you approach a production task, the workflow will involve both hardware and software. Hardware is controlled by software, software runs on hardware. Increasing the quality of either will have a positive effect on the sound quality of your production work. But! keep in mind it’s the relationship between your creativity and talent in conjunction with your tool set that decides the final results of your production work.
Teach me how to make beats
No one can teach you how to make beats. True, you can pick up a book about production or magazine and read up on the subject, scan a production website and dig through all sorts of tips and tricks. Yes, you can watch videos of another producer laying down tracks and adopt some of their working system. You might even be advised ‘Work at these tempos’ and ‘Put the snares and kicks here and here’. A mentor may even bring you along and share a production style or workflow. Fledgling producers may even snatch up the original samples used in a track and reverse engineer the composition. All these ‘educational exercises’ add tools to your box, but they do not teach you How, Why and When to use them. The actual learning occurs as you are producing.
What’s In a Studio?
The level of a studio is obviously defined by the sound coming out of it. There is base level of equipment any producer should aim to stay above. For the analogy of a tool set, you can imagine a wrench that was machined improperly. Now, instead of gripping and loosening, your tool is stripping the nut and damaging whatever you were working on. It follows then, you don’t need the most expensive tool set available to achieve great results, but I also stand by the cliché of selecting the right tool for the job. We won’t be discussing budget here since the ability to actually produce music is more important than assembling the ultimate studio on your first trip to the gear shop.
Audio Interface
The soundcard is a very important part of your studio chain and often a huge factor in the overall sound quality. The default card in a computer is usually inappropriate for music production since it lacks the base level connectors (RCA [back of your VCR]) and the number of adaptors needed to make studio connections degrades the signal too greatly. Be sure to take note of the actual connection points in your studio before you pick up a dozen XLRs and find you needed ¼ inch cables instead. Also pay attention to the end points. ‘Males’ are the plugs and ‘females’ are the sockets/openings.
MIDI Connections.
MIDI allows computers, synthesizers, MIDI controllers, sound cards, samplers and drum machines to control one another, and to exchange system data. MIDI does not transmit audio—it simply transmits real time digital data providing information such as the type and intensity of the musical notes and technical cues played during a performance.
Flexibility is key here. There is more to MIDI-ing up a studio than Out going to IN. If you have several tone modules and drum machines all connected, you can use any MIDI interface to trigger any sound source and increase the total possible combinations of tools/sounds available. A MIDI interface is an excellent addition to any studio.
Keyboard and MIDI Controller
A MIDI keyboard is a viable option for the producer who wants to use rack mounted tone generators and VSTs. Full sized keys and a full length board increases the playing options since you may not always be the only producer working out of your studio. The aim here is a well rounded studio which is able to accommodate various workflows without the avoidable limitations. You may not play the keyboard well today but…
Microphone, Vocal Chain and Acoustics
There are many opportunities to record artists beyond making demos or pre-production tracking. Even for the recording of ideas or inspirations, a microphone is a vital tool in any studio. It is always best to record the vocals dry (without any effects like reverb) and minimal processing from a compressor (to decrease the variation in volume level) and Gate (to eliminate ambient noise). The reflection of sounds off the walls of your studio will adversely affect your ability to properly hear your production and negatively impact your mixing curves. Padded walls and bass traps are recommended.
Speakers verse Monitors verse Headphones
A car is about the worst acoustic space you can find which is why it’s always a good idea to test your mixes on the road. Home stereo systems tend to have an inaccurate/sweetened bottom end, diminished middle and a curve upward on the highs. The EQ line looks like a smile and is the reason why everything sounds good coming out. Headphones will enhance the stereo field. The best option is a system without as much coloration as possible. Studio monitors are meant to deliver the most accurate account of ‘what’s doing with your audio’. Beyond reviews, salesman recommendations and company reputation, you’ll have to select monitors YOU can mix with. Once you have selected your monitors you will have to ‘learn them’ by listening to well recorded material and hearing the impact of your studio space on the material.
Sequencers
I saved this aspect for last because I feel it’s the most important element. Your interface, whether it’s the LED from a drum machine/groove box or the GUI from a software tracker, is the place where you will spend most of your studio time. It’s the studio tool you’ll turn on first and turn off last. Countless hours will be spent here as you search for inspiration, fine tune ideas, mix and even master your latest production. All of the major sequencers have enough functionality to bring your creative sparks into reality, but they differ greatly on presentation and workflow. Here is a listing of some of the most popular sequencers available.
Ableton Live http://www.ableton.com/
Apple Logic http://www.apple.com/logicpro/
Digidesign ProTools http://www.digidesign.com/
Cakewalk Project 5 http://www.cakewalk.com/products/Project5/default.asp
Cakewalk Sonar http://www.cakewalk.com/
Cockos Reaper http://reaper.fm/
Imagine Line Fruity Loops http://www.flstudio.com/
Mackie Tracktion http://www.mackie.com/products/tracktion2/
MOTU Digital Performer http://www.motu.com/products/software/
Propellerhead Reason http://www.propellerheads.se/
Sony Acid http://www.sonymediasoftware.com/products/acidfamily.asp
Steinberg Cubase http://www.steinberg.net/
Steinberg Sequel http://www.steinberg.net/27_1.html
Total Solution Hardware Workstations
AKAI MPC 2500, 5000
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http://www.akaipro.com/prodMPC5000.php
Best value MPC 1000
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KORG Triton Extreme, M3
http://www.korg.com/gear/prod_info.asp?a_prod_no=TRITONEXTREME&category_id=1
http://www.korg.com/gear/prod_info.asp?a_prod_no=M3&category_id=1
Best value microX, microKorg TR
http://www.korg.com/gear/info.asp?a_prod_no=TR&category_id=1
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And so…what should I use to make my beats?
A classic production related question that has no definite answer. If you round up any group of producers and pose this question you usually get a suggested favorite workflow. Assuming the talent levels are even you can make music using any workflow or combination of studio pieces.
“Music production is the relationship between the creativity of the artist and the craftsmanship he is able to employ through the mastery of his tools.
When I read that quote I thought ‘damn, that’s an ill definition, but it really doesn’t spell out the hidden tangibles. I consider music production to be “the result of a particular sound placed when.” That’s all you really have to go on. You choose a sound, whether it’s an existing tone or something you created and manipulated and decide this is a puzzle piece and decide next when to place it in time. This encompasses all the aspects of sound design and timing -also known as rhythm. Most of us in the studio have agreed to use the term EAR as in an ear for music. Your ear tells you when elements are out of tune and when timing needs to be tighter or looser.
Should I pick my gear by what other producers use?
You can never buy a piece of gear and suddenly become as talented as another producer. For some elements of sound design, it’s prudent to pursue a particular bit of gear to add the tone many other producers have taken advantage of. There is a confidence that lies behind a studio tool knowing it has been used on countless hits and is reliable to deliver a musical tone. Many artists and producers start out emulating other producers and eventually switch to the pursuit of their own voice and a unique and original sound. It doesn’t hurt to explore different techniques and explore the various methods of production so feel free to mix and match systems.
As stated above, you spend a great amount of time staring at the screen of your chosen sequencer and interacting with your hardware. Features and specs only tell half the story. What may be the most important factor is the comfort level you are able to achieve with your workflow. The final choice rounds down to which method of production allows you the freedom to use your ear and sense of rhythm to produce the music you want to.
Press pause. See you in the lab.
Griffin Avid
http://forum.producersedgemagazine.com/
http://www.producersedgemagazine.com/
http://www.studioavx.com/
Advice on making better beats
Strangely enough, most of these thoughts DO NOT center on buying more equipment, better sounds or taking lessons.
I don’t believe you get better by making more beats either. I see advice like “Just keep making beetz and you’ll get better”
In the beginning, it’s mostly about technical concerns. How Do I…?
Eventually, it’s about Control. You want creative freedom to do what you want in the way you want to. You want what fits your style.
A better MIDI controller/keyboard/DAW. A Simpler work flow. A more organized system of production.
After control comes the quest to control your creativity. You want to understand WHY you get the results you do and even what went wrong when you don’t.
Is it tied to your mood? Your focus? Some cosmic…energy or synergy? Why were those last 4 beats usable, but today I just made okay stuff?
Let’s go back and answer some early questions and see what bubbles up.
What helped yall to make better beats?
1. Putting your ego aside that you don’t know everything. Lots of producers make consistently “good” beats and think they suddenly know it all. That causes them to stop progressing. Even when every beat is ‘excellent’, you can still continue learning/improving.
2. When you listen and adjust to feedback. What’s the point of asking for opinions if you are already convinced that you are the best you can be. There needs to be a balance between pleasing yourself and pleasing others. Avoid making beats that you don’t like, but you think others might. (mostly) Avoid making beats that are fun to make or nice to listen to. You want to create music that is usable in whatever context you are aiming for.
3. Stop building beats/songs/tracks around drum kits and sounds. Ideas and concepts make memorable records. When you merge a mood to the music, you have something special.
4. Aim for the top. Accept that your career is what happens AFTER you make a hot beat. When rappers begin to think about performing in front of a large audience, they make different rhymes/music. When rappers think about standing in an office pitching their music, suddenly a lot of things that seemed cool in the studio or on their profile page are no longer good enough. Imagine that THIS RECORD/THAT BEAT. That union of rapper to your music is supposed to make it happen. Are you turning out the kind of music someone (rapper + label) can bank it all on?
5. Focus on learning what you need to know. And knowing it WHEN you NEED to know it. Lots of cats try to master aspects of the production chain when they only need a working knowledge. I see cats trying to find DA BEST EQ and learn EVERYTHING about EQ when they need to only understand the basics of mixing and what EQ is for. It’s better to grasp what it’s for as opposed to using it on EVERYTHING because you keep reading that it’s the answer to HOTT BEETZ (along with over-used compression). Why are you studying the intricacies of Publishing when you still haven’t learned how to deliver a finished track in the proper format(s)?
6. Sharing them with the intended audience and seeing what happens. My girl loves my beats. So do my homies. The local rappers aint really feeling them. They mostly say They Aiiight. Do I need to step it up?
And when did you realize that your beats were starting to sound good?
1. When people wanted to use them for records.
2. When people are willing to pay for my time and talent. I would start charging for beats when people ask “How much do you charge for beats?”
3. When people started calling the room with all my equipment in it- a studio.
4. When I started wanting to share my music with rappers and NOT with other beatmakers.
5. When people began to imagine known rappers over my beats “You should give this to…”
6. When my music stopped sounding like beats and started sounding like the instrumentals to records.
7. When people began hearing my beats and asked questions. How did you…What did you…
8. When I began to answer those questions without naming drum machines, synthesizers, DAWs or samples.
I don’t believe you get better by making more beats either. I see advice like “Just keep making beetz and you’ll get better”
So what’s the friggin answer, Griffin?!
Look outward for the reality, look inward to make reality real.
Mighty Zen of you.
Sometimes. Would it be clearer if I said develop the YOU and YOUr music will improve?
Still too hard to understand.
How about “Make music as an exercise in self-expression. Take inspiration from everything around you and NOT just what you hope to gain from the exploitation of your art.”
Okay.
