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Fallout Shelter Radio Show on IndieRock FM

April 27, 2012 1 comment
Fallout Shelter Radio on IndieRock.fm
Tune in, Get Turned on as we Turn it out!

The Fallout Shelter hits your airwaves starting on Friday, April 27th    from 8 to 10 pm. Every Friday night Griffin Avid, Drew Spence, Domino Grey and Xodus Phoenix mix up anything with a groove that makes the needle move. From electronica to experimental hip hop, it’s a radio show unlike anything you’ve ever heard.

Guest DJs drop in to the Fallout Shelter Radio Hour and spin the best in electronic music. We’re on IndieRock.FM. Point your browser to the number one international independent online Platform for hearing the best underground music from around the world. It’s Lower East Side radio blasted by the Fallout Shelter!

Tune in, Get Turned on as we Turn it out!

IndieRock.FM

LRS.FM | Live Radio Shows |was founded in 2011 and will be providing quality radio to the public. Located in the heart of the Music Industry in New York City, the Lower East Side.

IndieRock FM
Fallout Shelter Radio Show on IndieRock FM

Drew Spence Interview and Fallout Shelter Music in Rapper’s Delite Magazine

December 28, 2011 1 comment

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.

Read this issue

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 know 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.

And thanks to Producers Corner

Blu Warta: The Legend in the Making Who Left Too Soon

January 31, 2011 Leave a comment

Blu Warta: The Legend in the Making Who Left Too Soon

The anniversary of his passing was only a few days ago.

The Sun Rose on 05/08/1974 and Set on 01/27/2005 for Dion Blue, known to many as Blu Warta -and if you followed Hip Hop intensely you’d call him N-Tense and remember rocking to his record “Raise the Levels of the Boom”.  We first crossed paths on the M-Train; a college radio show I hosted with Dawn Cee and DJ Makin Noize at Adelphi 90.1. It was one of the first times I played back an interview the next day for pure listening enjoyment. His crew, the Invisible Men (INV), killed their appearance and freestyle session.

There was something different about him. It was more than the “I already been on wax” polish. He had something, something special. I was listening to a real rapper. You know when someone can convince you of something by simply saying it’s true? He had that gift. He was a great communicator that could geek-out and talk Transformers one minute and explain why a hustlers hand-to-hand kept him on the street-level the next. He could make a Conspiracy Theory sound logical while formulating a game plan to turn idle dreams into reality.

He was a man of Firsts. He tapped commercial licensing early by having his songs featured in video games [Midnight Club II]. He was ahead of his time when he meshed his New York State of Mind with Southern Swag by embracing and working with Juvenile and his camp. The fact that many of his ideas have been used by other rappers to great success illustrates his forward thinking.

I had the pleasure of recording a few songs with Warta. Oh, he was also the first to bring an ‘R&B chick’ to the studio – back when singing hooks were very rarely used. I keep his memorial t-shirt hanging up on my bedroom wall as a reminder that no matter how special we may be, we are never guaranteed a tomorrow so do it today. Even as his health was failing he continued to record and many say his passion for music is the only thing that sustained him for so long.

It is sadly ironic that in the end, his spirit was too strong for his heart because I doubt there will ever be such a perfect combination of talent, determination and heart.

Blue Warta For-eva.

Hear his track from Midnight Club II

http://www.goldmic.com/video/Midnight-Club-II-soundtrack-Blu-Warta/24536

Watch his video of  “Raise the levels of the Boom”


Watch a video dedicated to his Legacy