Issue 01 Heatmakerz

Windows XP running on a Macintosh?!

Say it aint so!

R

emember the good ole’ days when you could waste countless hours locked in a circular debate about which platform was best? It was the immovable object of Macintosh Systems verse the irresistible force of Microsoft Windows. How do you feel now about all that wasted breath and locked threads knowing the next release of the Mac OS X (code named Leopard) will give you the ability to run Windows XP?

H

ow? The software (tentatively) called Boot Camp will create a Windows partition on your Mac and give you the option of choosing which operating system runs on start-up.

F

irst, Boot Camp burns a CD Rom with all the necessary Windows Drivers and sets aside enough hard drive space for the install. Next, you install your XP Windows CD and follow standard operating procedures. A few thoughts to keep in mind- Windows does not become any more secure when running on a Mac based platform so you’ll need the same security measures if you plan to venture out into the World Wide Web.

T

he new possibilities are seemingly endless for musicians as software, developed exclusively for a particular platform, is now open for exploration. I can’t wait to argue about which platform…Windows runs better on.

Requirements: •Mac OS X Tiger v10.4.6 (check Software Update) •The latest Firmware update (check Support Downloads) •10GB free hard disk space •An Intel-based Mac •A blank recordable CD •A printer for the instructions (print them before installing Windows) •A bona fide installation disc for Microsoft Windows XP, Service Pack 2, Home or Professional.

2 Producer’s Edge Magazine Summer 2007

The public beta of Boot Camp is available immediately as a download at www.apple.com/ macosx/bootcamp, and is preview software licensed for use on a trial basis for a limited time.

The final version of Boot Camp will be available as a feature in the upcoming Mac OS X version 10.5 “Leopard.” Apple does not provide support for installing or running Boot Camp and does not sell or support Microsoft Windows software.

Who’s In First Producer’s Edge Magazine

Info@ProducersEdgeMagazine.com

Editor In Chief

Drew Spence Senior Editor

Crystal Johnson Proof Editor

Will Loiseau

Brand Manager Pedro Mojica

Business Consultant

Darius Myers Magazine Consultant

Eddie Ugarte

Cover Art

Derrick Johnson Media Internals

AVX Productions DVDROM

Griffin Avid CONTRIBUTORS

Griffin Avid, Joe (SFS),

LROCKZ, Nate Tinsley,

PRO, Richera Jones

Saga Legin, Scarpen, Taj

Sean Maru, Fine Print. © Producer’s Edge Magazine.

No part of this magazine may be reproduced, stored in a retrieval system or resold without prior written consent of the publisher.

Producer’s Edge recognizes all copyrights contained in this issue.

Where possible we acknowledge the copyright holder. All contributions are submitted and accepted on the basis of a non-exclusive worldwide license to publish or to license others to do so unless otherwise agreed in advance in writing Don’t just read about music production, live it in the pages of Producer’s Edge Magazine.

W

elcome to Producer’s Edge Magazine. We have worked very hard to present you with a clear and easily understandable blueprint for music production. A solid foundation is being created with direct input from the movers and shakers of the music industry. We haven’t come to you with our own opinions and biases -we give you the truth of what’s happening today so you can make informed decisions for yourself.

The magazine staff, including the featured writers and researchers, have been hand picked to be well rounded and knowledgeable without being jaded.

Hardware/Software Specialist

Nate Tinsley

Fine Print

P

roducer’s Edge will cover all aspects of Hip Hop, R&B and Rap Music Production from the moment you decide to invest in music tools to the day one of your productions lands on the radio. If you have a unique perspective and a voice that needs to be heard; we offer an open dialogue and hope your time on our forums will be well spent.

I would like to also take this space to thank everyone who contributed to the success of our magazine launch.

It’s been a long time in coming. What you hold in your hands is the first issue of an incredibly unique reading experience. Always forward, forever upward. Special thanks to AKAI USA, AllHipHop.com, AMG (Matt 8), Asmatik, BET,Big Fish Audio, Blue Williams, BMI, Cop Shop (Eddie), The Cryptic One, Darius Myers, Demo Shoppers (Mike Chan, Suave) Dipset, Dirty Awards, Dolly Turner, DonDiva Magazine, Drawzilla, Dynamics Plus, Eddie Ugarte; Ghetto Blaster Magazine, Fine Print, Frequency, Griffin Avid, Inasirkl, Industry Standard Producer Showcase, IK Multimedia, Janna A Zinzi, Jerry Graham, Leslie Moore, The Lenzmen, Lingo Music, The Heatmakerz (Rsonist and Thrilla), Mary J Burns & John S Ryan, Mia J, Nate Tinsley, Next Millennium Entertainment, Quad Studios, Raj Jadeja (Relentless), Redsecta Mastering, Rolston Thorne, Romeo Studios, Saga Legin, Sam Ash Music Stores, Scarpen, Sean Maru, Sonny Carson, Sounds For Samplers, Spenzilla, Strange Proof, Swirl PR, Taj, Tony A Perez, VH-1, Writer’s Block Party, Xodus Phoenix.

Last and very important is Heav (Darius Hubbard) who added some much needed focus at the end of the magazines’ assembly. - Drew Spence

Griffin Avid

Scarpen

Sean Maru

Redsecta Mastering

3 Producer’s Edge Magazine Summer 2007

I

’m so proud to be a part of introducing Producer’s Edge to the world. We value the ability to reach and communicate through the magazine and pledge to do our best to help inspire the next generation of talent and respect the work of the pioneers who have come before. To the people that have been around since Producer’s Edge was just an idea: it’s been a long time coming but we are here and there are so many people I would like to thank for all their help and support. Firstly, a special thanks to Wes Johnson for all your support. A thank you to my girl Lesslie Moore, the Executive Editor at DonDiva Magazine. Thank you for everything that you have done. Girl, we have been through a lot, but the most important thing is we are here and doing our thing.

Thank you to Tiffany & Kevin Chiles of DonDiva Magazine. Thanks to the entire staff of AllHipHop.com. A special thanks to Jana & Melody at PR Swirl for showing Producer’s Edge love and including us in all the Hip Hop Week activities.

That meant a lot to us. Shout out to VH-1 for inviting us to The Hip-Hop Honors, we had a blast, BET for inviting us to the 1st annual BET Hip-Hop Awards.

A special mention to all the record labels that have given encouragement such as Bad Boy Entertainment (Harvey Pierre, Hen Rock & Sean Prez). Dolly Turner and LaRonda Sutton from The Writer’s Block party and BMI. Shouts to Ice T. & Coco: it’s nice to know that, you can still keep it real- even with all the fame. Ahyende Sany of Black Line Entertainment & Patty Laurent – X-Factah Management. shout out to Chip from Blackout Underworld. Thank you to everyone that has been a part of this project- every artist, musician and producer.

“Work hard, play later.”

Crystal J. Senior Editor

4 Producer’s Edge Magazine Summer 2007

T

BALLLLLIN!

hrow dem bows, snap ya fingas, and walk it out...

From New York to Atlanta. This is “Big P” aka Pedro... Welcome to Producer’s Edge Magazine... That’s what’s up!... A Music Tech magazine that will show the world, the full package of what makes you want to move at least one part of your body if not all of them. First of all big shout out to the staff of Producer’s Edge Magazine for putting together a body of info for all walks of life to enjoy.

Shout out to those who never heard of Producer’s Edge Magazine but love the sound of it... Kid Capri, Rakim, Red Alert, Chuck D, Zoo Man, Doug E Fresh, Paul Wall, Kurupt, Young Dro, Lil Scrappy and Earnesto the comedian... for choppin up tha video plug. Thanks to fam, Richera Jones for the interview with Jeff Sledge (Exec of JIVE Records), Doc Erving (Production Director of Radio One), Tahira Wright of Platinum Dynasty for making the Dirty Awards possible. The media room was very accommodating with the flat screens and buffet. The interviews were up & close with Ciara, Luda, Uncle Buck, Da Brat, DJ OOMP, Rico Wade, Shaka Zulu, Rick Ross, Trey Songz, Bone Crusher, DJ Drama, and many more.

Can’t forget the DJ s that Bigged me up at parties and events... DJ Kid Capri, S&S, DJ 4our FIVE, DJ Has and all the DJ s at Magic City and Body Tap. Shout out to everybody in the SWATS(South West Atlanta), My man Eddie Gold Teeth (The originator of gold caps... Check him out in the book “BLING” by Reggie Osse and Gabriel Tolliver) I look forward to highlighting future events that compliment the goals of Producer’s Edge Magazine.

This issue is dedicated in memory of my lil bro Ishalm Robinson...

“Ride On”...

Pedro Brand Manager

XC Subscribers Package Issue 01 Summer 2007 DEMOS AMG ONE VST Dig in with the demo of Advanced Media Group ONE and switch up your workflow.

SOUND QUEST MIDI QUEST Make synth programming a snap by using this robust Software Editor. Dust off that old rack unit and take it off eBay already.

BIG FISH AUDIO: NOTORIOUS HIP HOP R&B We have the world exclusive of another serious offering of drumloop meat. It’s a NOTORIOUS world premiere from the good folks at BFA. IK MULTIMEDIA: SONIK SYNTH 2 & R.A.W. We include the FREE version of this baby and a whole load of sounds from R.A.W. Universal Groove Kit

VIDEO // IN STUDIO SERIES:

THE HEATMAKERZ You know the anthems and the neck-snappers. PE Mag goes in the studio for the real deal Q&A with one of the strongest production engines behind Dipset. Crystal J asks the most important question of all.

AMG ONE VST Drew Spence goes in with an elegant app to turbo charge your beat mangling. It’s a general introduction to what this loop and sample player can do.

INDUSTRY STANDARD PRODUCER SHOWCASE We went, we saw and Spen Zilla took the night. We have video highlighting of his entry and the results.

WRITER’S BLOCK PARTY We were there. The BMI sponsored event featured speakers Blue Williams and Tony Perez. Dolly Turner and LaRonda are on hand to explain what this networking powerhouse is about from start to finish.

DOWNTIME

JIVE RECORDS JEFF SLEDGE We went covert stealth-mode with Richera Jones to catch a few minutes of Downtime with Jive Records heavy Jeff Sledge. Words from The President about BeatMakers and Producers, MySpace and the internet.

SAMPLES AND SOUNDS BIG FISH AUDIO What needs to be said? The company that brought us Smokers Delight is ramping up for an even more productive 2007. We present several samplers of their libraries.

The PROPHETIC IN HIP HOP SEMINAR

The organization exists to educate people on the gift of the prophetic, which is the ability to speak something into existence. Using the power of the word will help shape your destiny and fate. Biggie and Tupac are the prime examples of speaking a future into existence. The question centers on people speaking of their demise and then it occurs or their own glory and it comes to pass. Is there a law that governs the prophetic or is there a source that ignites it?

SOUNDS FOR SAMPLERS Feed your sampler with a generous offering of drum kits. Did we mention they make tutorials too?

MICROKORG PATCHES Flip your MicroKorg from a Techno-synth Monster to a Hip Hop Bassline Beast with over 100 patches POWERED

BY MIDI QUEST 9XL and programmed by Griffin Avid.

5 Producer’s Edge Magazine Summer 2007

Turntables Of Contents Issue 01 Summer 2007 MUSIC TECH 8 FEEDBACK FROM MY FAM A gross smattering of letters sent in response to the electronic version of issue 0 or the E-Press kit or from, well, wherever.

10 NEAR GEAR What’s new and exciting?. NAMM 2007 goodies. It’s all the hardware, software and stuff in-between.

50 CRATE DIGGIN WITH DA CRYPTIC ONE The Atoms Fam lyric and production wizard drops some knowledge about stepping into the vinyl game. And yeah, we do leak some spots.

53 60 SECONDS We steal one minute from the life of rising producer Asmatik. Learn the man now.

INDUSTRY CRASH

54 MASTERING SERIES PART I Redsecta Mastering stops by to present An Introduction to the History and Technology.

The next time someone says Platter – you won’t have to ask if it comes with home fries.

31 LATE PASS What are you sleeping on? Time for a rewind on some products that went over our heads the first time around.

34 VINTAGE SERIES Ensoniq samplers revisited 38 GRIFFIN AVIDS’ CORNER Where’s the Track will organize your sessions and MIDI-Quest will expand your hardware.

41 IN THE LOOP Big Fish Audio is the company down for a Q&A session.

60 DEMO SHOPPERS How many times have you been sent straight to voicemail because you interrupted an important conversation about which store has the nicest bags? We’re going to take a look at a company geared towards getting your material heard.

64 YOU GOT BEATS? I: INDUSTRY STANDARD PRODUCER SHOWCASE Words from a movement designed to give a producer real world feedback and display their talent in front of a discerning panel of Hip Hop and Producer judges.

THE PRODUCER’S EDGE 44 SONNY CARSON AND THE BROOKLYN MINT What happens when you grab a rugged cast of Emcees, toss them over some Brooklyn Style production and film the whole thing? A DVD and MIxtape experience.

45 DRAWZILLA When he’s not backing up the room with the sounds, he’s in the lab twisting out remixes.

49 FREQUENCY Fresh off the Snoop Dogg Blue Carpet Treatment placement comes a perfect story to illustrate the wonders of being in the right place at the right time and doing the right thing…er, you know what we mean.

6 Producer’s Edge Magazine Summer 2007

67 YOU GOT BEATS? II: BEAT MANAGER ON FOCUS –LINGO MUSIC You may not have the time or temperament to represent your own music. Connecting with a Beat Manager is an excellent way to multiply your grind.

70. YOU GOT BEATS? III: PRODCUTION COMPANY RELENTLESS MANAGEMENT We talk with industry heavyweight Tony Perez to explore the possibilities behind working with a team to get your career going…on the fast Track.

INDUSTRY BLAST

FOCUS GROUP: DIPSET

73 THE WRITER”S BLOCK PARTY

We have words with Hell Rell, Juelz Santana, JR Writer and Duke Da God. Words about Cam’ron, Jim Jones and special guest studio engineer Saga Legin.

We put you on …the inside Track (yeah, I know) to an incredible networking opportunity. The room was crowded and the talent was thick. You should have been there.

76 FLASH FORWARD It’s the photo gallery where we post a few pics from our busy social calendar. Someone EQ that.

Email your quotes to

caption@ProducersEdgeMagazine.com

82

THE HEATMAKERZ

We’re back on track (ouch) with The Production Engine behind some of Dipsets’ biggest anthems.

103 THE WRITER’S BLOCK Dedicated to the Emcee and Rhyme Writer. Scarpen goes Beyond the Paper to see if you’re A Biter or A Writer (This issues’ quiz) and Strange Proof digs for the fuel behind the flames. It’s a conspiracy theory special.

111 THE WRITER”S BLOCK DEAD END It’s Tah-Born the multi-talented Emcee dropping jewels on the Ghost Writing game and enough knowledge to make a change.

7 Producer’s Edge Magazine Summer 2007

T

he letters and feedback are based on the electronic version of issue 1. We sent out promo copies of the magazine early and solicited opinions. The E-version did not include every feature in print, but did supply readers with links to the site for additional content. The music tool kit was not the Sounds For Samplers version shipping with the DVD, but a special sound kit created by Griffin Avid. We have and will edit printed letters for content and clarity. We will also omit any references similar to a promotional drop- including changing the authors’ signature as we see fit. Hit us up. Send any correspondence to feedback@producersedgemagazine.com

Wait A Minute Mister Postman “Feedback On My Fam“

F

irstly, congrats on the dope mag. I hope the [print] magazine doesn’t stray too far from the internet [Eversion]. I read REMIX mostly, but might switch over if you guys stay consistent. A lot of the other magazines just focus on Hip Hop stars and I think it’s a good idea to be about producers. You had a temp cover on the site that said the issue had everybody from Dipset in it. I like Dipset, but I don’t think it’s a good idea to focus on just one group. Good luck.

TKidd via internet Thanks. Featuring a camp this size really came down to including enough members to present a total focus. We still couldn’t fit every personality in a single issue so you’ll have to stay tuned. In future issues we’ll have room for more producer features when the team on focus isn’t so large.

W

hat’s poppin? I’ve been waiting for a magazine like this to come out. I stopped checking SCRATCH and REMIX. I usually read FUTURE MUSIC when they have a special on Hip Hop or Reason. I read the letter on the web and I think you should have reviews in the magazine.

And you should have producer reviews too like how well this album was made, how good it sounds. As a producer I would buy a quality album to study the mixing even if I didn’t like the group that much. Maybe you could do 5 MPCs like the SOURCE if it’s fiyah. Check my music out and let me know what’s up.

APHeat via internet What up, AP? For the rest of this year we’ll be quaterly so it really doesn’t make sense to include music reviews.

We’d either be too early to make an impact or too late to be on point. There is a Pro’s Picks that will inform you of a gem you might have missed and we have a special with Redsecta Mastering. You’ll be able to submit your joints for mixing tips and once a month a submitted record will be mastered for commercial release. Crystal J checked out you music and said your name was accurate. Keep bangin them out and reading.

8 Producer’s Edge Magazine Summer 2007

W

hoa. I met a couple of y’all at the producers showcase (I’ll be in one soon) and even got a business card. It doesn’t say that you’re a real magazine so I thought the site was it. How do I get in the magazine or DVD? I produce hot beats. Check me out at www.com...Let me know what’s good. @yahoo.com via internet Yeah, I think a few of you didn’t read the FAQ carefully enough. Oops! I like the spirit of the up and coming producer, but you have to realize we have many producers with serious contributions to the game that have been overlooked. If you’d like to be considered for the 60 Seconds With feature, you should hit us at the site and check the science.

I

’m a music producer from RI and I’ve been making beats for 7 years. I use the MPC 3000. I’ve been reading Hip Hop magazines for a long time and I have to admit yours is a breath of fresh air. I thought your magazine might take the spot of The Source, but your focus is more makin the beats than the lifestyles of the rappers. If the real magazine continues like the demo I think it’s going to work. You just need more pictures. Good luck and keep doing you. Please check out one of my groups ...and leave a comment.

Peace.

D. ConChords via email That’s what’s up. The E-version did not include many of the artist pics. You’ll be very happy with the launch issue.

BTW Your group is very talented, but I don’t know if using a hook from the same artist and same song on three of your tracks is the way to go. We love Biggie too, but not on every chorus.

I

was thinking someone should make a magazine about getting into production. I think you should have a beginners section where you break down what gear to buy 4 a beginner budget and how to hook it up and some tips on getting started with equipment. I’m waiting to see what’s on the DVD and I will be subscribing soon.

Fyahmarshallbill via email

Feedback On My Fam continued...

Yes sir! we will definately focus on getting started. Next issue will have a big MIDI blowout by Griffin Avid. Thanks and keep supporting us.

I

was looking over the package and the magazine looks great. The combination of music tech and music culture is a real smart move. The DVD is a great idea and opens up all sorts of possibilities for exposure. I hope you can deal with the pressure of the industry and remain true to your own ideas. The concept of being a journal could be more fully explored and maybe you should develop that into a segment of the magazine where you could follow a producer getting into the industry. You could place his music on the DVD with video of who he’s meeting with and how he gets on. Just an idea. The magazine looks great and I wish you great success. You guys deserve it.

New York name withheld.

You must be reading our minds. We developed an idea for following an artist around and getting footage dealing with the whole signing/launching a career process, but we found so many other reality-based DVDs in production- we figured it best to just feature their segments on our own DVD. As far as the pressure goes...we don’t have pressure to respond to. This magazine answers to no one and our reading body is all that counts. We produce the magazine for...producers.

Y

ou got something. The keyboard video was real good and It made me want to get one. The software one was okay and maybe next time you should do something more popular like ProTools or Logic. I don’t need anymore drum sounds, but the ones you had [a download from the site] were good. I think you should include hard to get sounds like pianos or bass. I know strings are really big files so maybe you could include them on a separate DVD. The only thing missing was the DJ. I didn’t see anything on mixtapes. I know you don’t do music reviews, but you could do a review of all the mixtapes out. As a producer I like to hear what other cats are doing to keep my ear fresh.

Maybe divide it by region since you guys are in New York.

I think this could be good for Hip Hop if you give the lesser known producers some shine. Good luck and I’ll buy the mag when it drops.

Micos.....via internet Don’t worry we certainly have not forgotten the DJ. we have a special suprise from a very...let’s just say legendary DJ who is going to show some serious tablist skills. The camp on focus? Let’s just say You’re A Customer.

Y

o. I’ve been looking for something hot to read. Why are there 800 techno magazines when techno aint even poppin in the US? I’ve bought some of them in the past when they do something on ProTools or Live. The Hip Hop drums are wicky-wack and most of the crews I aint checkin for. Mad old…dudes messin with corny thin-synths. Bring back sampling! Yo, you had Jadakiss on the cover like he was going to be IN THE ISSUE and then had an old ass story about him. It is what it is, but ya’ll are right there.

First off, European Hip Hop is different than US Hip Hop so expect some differences in what we call bangin and they call [insert Euro slang here]. We respect Hip Hop culture from all over the globe and don’t feel it’s restricted to one place (not even New York) or technique. We don’t believe in color or age restrictions either. If you’re bringing something fresh to the culture, by all means jump on in.

Secondly, it was Sheek Louch on a mock cover we sent out a long time ago and you can read the interview on the website. And finally, the Fine Print article is about a 9-11 Conspiracy Theory DVD and not a feature based on JadaKiss.

W

hen it comes out Ima buy it no doubt. I believe it’s gonna sell as much or even better than SCRATCH Magazine....Trust Me....

Tony K. via MySpace

H

ey ya’ll, my name is Symphany from Houston and I was just wondering if you had a team of hot producer’s I could work with for my up and coming project. I write so thats not a problem i just need that fire for the summer.

Symphany via MySpace You should hit up our forums- lots of talent on there.

H

ey I just read ur profile on ur magazine.. I just wanted to say as a fellow producer Im always looking to find new ways to keep up on my craft.. Congrats and good luck on the following issues. Im sure you may hear this alot but..

I would love to help your company in anyway.. I respect the work your doing for producers and I would love to work with a company like yours. If you need an intern or anything please let me know. I have an resume if you would like to find out more about me.

Jemstone via MySpace Good looks. We’ll keep your name on the short list as we ramp up.

Got somethin to say? Don’t hesitate to crack at us on the forum or send your thoughts.

feedback@producersedgemagazine.com

9 Producer’s Edge Magazine Summer 2007

Near Gear Harw are New for the Tool Box: With Winter NAMM behind us and more events around the corner, the software and hardware manufacturers are previewing some of the hottest gear for 2007. Let’s take a look at some of the sonic toys and studio tools coming soon.

YAMAHA MOTIF XS

T

he Motif series has always excelled at recreating acoustic sounds.

Now, Yamaha pushes further into the live territory with their Expanded Articulation (XA) tone generation system.

In their own words: “A wide selection of special Mega Voices provide even more expressive nuance, when used with sequencer tracks or the special Mega Voice Arpeggios. Mega Voices are not meant to be played from the keyboard because of their complex velocity layers, but have special expressive sounds that are designed to be precisely triggered by recorded data—for example, letting you create an acoustic guitar track with authentic sounding muted playing, slides and bell-like harmonics.

In their own words: The included phrases have always been an easy launch pad for any music making session. The XS has blown this area of instant inspiration wide open. There are approximately 6,000 different Arpeggio phrases on board, and you can have four different Arpeggios, playing four different instrument parts, running simultaneously-in perfect sync, of course. The music making possibilities are virtually endless. Have a drum Voice play an automatic rhythm, add an Arpeggio bass phrase, and fly in other instrument phrases as the inspiration hits you. Everything stays in sync, and everything follows your chord changes.

On sampling: Another powerful feature is the Integrated Sampling Sequencer, which seamlessly combines audio and MIDI recording. Simply install optional DIMM modules (up to 1 GB) and record the audio directly to tracks on the MOTIF XS. Record your vocals or acoustic guitar (with a microphone), electric guitar or bass, or even short rhythm loops from a sample CD. 10 Producer’s Edge Magazine Summer 2007

“There’s also a Slice feature that automatically chops up your rhythms and riffs into their individual beats and notes, letting you manipulate the component parts of your sample loops as MIDI data—giving you the power to easily change tempo and rhythmic feel, without disturbing the pitch or sound quality.”

We’ve seen this before, but the new twist is going to be combining sample chopping with the Arpeggiator programs. This is definitely a workstation to watch.

YAMAHA MM6

F

or the producer or musician looking for a more performance bed of Motif sounds- the MM6 has been pushed forward as the ‘Street Smart’ solution. Styled after the venerable AN1X, the wedge shaped unit is aimed at portability due to its small foot print and reduced weight.

In their own words: “The MM6 has a full set of Patterns that give you rhythmic backing in a wide variety of music styles including Hip Hop, Rap, R&B, Dance, Ambient, Pop, Rock, Jazz and even World styles. These Patterns are just what you need to shake up the dance floor. All dynamic, all powerful the MM6 gives you the real thing. Patterns that stay in the groove, but never sound mechanical. Drum loops with a truly human feel that dance and float around the beat, yet remain firmly in the pocket. Riffs and licks that get you inspired, get you moving, and get you creating some serious music.

Generate some excitement. The powerful Arpeggiator feature lets you automatically create repeating rhythmic phrases and note patterns. A full 213 Arpeggiator types are built in, letting you trigger a variety of musically useful and exciting patterns to get the house jumping. Many of these Arpeggiator types use synth lead, piano and guitar Voices to generate melodic and broken chord patterns based on the chords you play with your left hand. Bass arpeggios and Drum Voice rhythm loops are also included, letting you easily set up dynamic riffs and beats to jam over. This is the way to got for a keyboard driven Motif Soundset that will be easy on the wallet.” We’ll see how it fairs against the very popular Motif ES Rack.

Arturia Origin

O

rigin is the first Arturia Hardware synthesizer. It is a modular system of a new generation opening innovative avenues in sound design.

L

oaded with modules extracted from the best synthesizers of all time (Moog Modular, ARP 2600, CS-80, minimoog and Prophet VS) Origin lets you combine these modules and benefit from the additional possibilities put onboard. The result: a new type of sound accessible through an extremely intuitive interface.

•More than 500 presets created by talented musicians and synthesizer specialists •Up to 32 voices of polyphony for a typical patch •Create your own patch or use an existing audio structures: an Origin patch made by connecting independent modules, or the minimoog V, the ARP 2600, the CS-80, the Moog Modular.

•Superb audio quality with TAE® engine. 24 bits/96 kHz supported.

•Compatibility with most of the presets from the Arturia Classic virtual Analog synthesizers.

•Origin lets you open dedicated software on your Mac and PC and use it as an AU or VST plug-in. All the sounds are calculated on the machine while you work on your computer as you would do with a native application.

•Analog: 2 audio ins, 10 audio outs. Digital: SPDIF out, USB 2.0 •Large selection of effects: Phaser, Chorus, Delay, FX Reverbs, Distortion, Param Eq, Compressor, Bitcrusher •16/32 step sequencer •Innovative Macro, Advanced LFO, modulation modes, Advanced Joystick modes.

•MIDI : In, Out, Thru or USB 2 www.arturia.com/evolution/en/products/origin/intro.html 11 Producer’s Edge Magazine Summer 2007

KORG M3 Workstation

T

here was a question where KORG would go with its next workstation. I heard rumors a year ago about a new KARMA in development. Many producers feel the OASYS is too much of an investment, but wanted many of the features of the super-workstation. There was even talk among beatsmiths of the Triton range being maxed out with the arrival of the Triton Extreme. Although the M3 unit holds little in common with the M1- it’s a surprising move for KORG to bring this line back to the front. Of course this new flagship does more than House pianos.

Read on.

The M3 features a number of innovations distilled from the flagship OASYS including the new EDS (Enhanced Definition Synthesis) sound generator derived from the HD-1 engine design, the advanced second-generation KARMA functionality, and the multi-purpose control surface. Adding innovations such as the new concept of “virtualized hardware” that allows an even closer integration with DAW systems, Drum Tracks which provide a instant groove to play along with, and the new “Korg Komponent System” concept that facilitates more flexible system construction, the M3 music workstation/sampler opens a new and exciting page in music making - it’s the workstation that rightfully deserves to wear the “M” that started it all.

Eight sliders, eight switches, and eight scenes provide dedicated realtime control and the ability to store complete snapshots of your settings. It looks as though KORG is prepared to answer all the questions and desires of the Korgers with one elegant solution.

Second Generation KARMA The second generation KARMA functionality that first appeared on the OASYS and received wide acclaim from artists and users world-wide is fully implemented in the M3. KARMA is the inspiring, real-time music generation system that can help you play everything from natural instrument gestures like intricate finger-picking, strumming and harp glissandos, to complex cascades of notes, dance-riffs, gated and chopping effects and “improvising” drum grooves. KARMA continues to set the standard by which all other arpeggiators, phrase players, and musical effect generators are judged. The inspiration that KARMA offers, coupled with the unheard-of phrase variability is second to none.

In Program Mode, one KARMA Generated Effect (GE) can be assigned to a single drum groove, melodic phrase, comping gated part or other musical effect.

12 Producer’s Edge Magazine Summer 2007

M3 Software Editor www.korg.com

KORG R3

T

he MS2000 is still regarded as a solid synth and a good buy with its simple knob laden surface and full sound. Korg recently reinvented the MS2000 and its little brother the MicroKorg with the Korg Radias and its smaller sibling the R3. Let’s take a closer look.

In their own words: The R3 is a full-fledged synthesizer that provides an easy and affordable way to enjoy sophisticated synthesis and advanced sound creation. In a compact and light-weight body, it packs 37 full-size, velocity sensing keys, along with two-timbre/eightvoice performance power.

The sound generator section uses the same acclaimed MMT (Multiple Modeling Technology) used by the KORG RADIAS, delivering thick, gutsy, and crisp analog sounds. With quality that will satisfy both professionals and beginners, the R3 is a great choice for adding synth sounds on stage or in music production. 2 Timbres maximum (when using Layer, Split, or Multi) and 8 voice polyphony (maximum). As of this issue video was not yet available from KORG. From the MP3 demos, this unit has the potential to add a classic synth driven texture to modern productions.

13 Producer’s Edge Magazine Summer 2007

ROLAND VP-550 : Vocal & Ensemble Keyboard

M

uch more than a traditional vocoder or harmonizer, the VP-550

Looking to add something extra to

uses Roland’s breakthrough vocal-modeling technology to bring

your production? Look no further than

the highest-quality, interactive vocal sounds to a dedicated instrument.

the Roland VP-550. A list of features:

Connect a mic, select a sound, and play. You won’t believe what can come out of this instrument: spectacular classical choirs, soulful gospel choirs,

•Generate expressive, interactive

pop and jazz voices, male & female ensembles, vintage vocoder, and lush

backing vocals in real time

string/vocal hybrids.

•Vocal Designer types: Classical, Gospel, Pops, Male/Female, vocoder •Ensemble types: mixed chorus, jazz scat, boy’s choir, humming, full strings, slow strings •Play Vocal Designer and Ensemble

Not specific to one style of music, the VP-550 can be used for a wide variety of musical applications. It’s ideal for musicians who perform alone or in small groups, for example, and who need an interactive, real-time backing chorus. Or, film and TV music composers who are challenged with time and budget can use the VP-550 to generate high-impact choral arrangements on the spot. Churches in need of a choir (or choir enhancer) will love the VP-550.

The VP-550 is also equipped with high-resolution vocoder modeling, which can be used to generate surreal vocal effects — great for electronica, pop, R&B, hip-hop, and the like. Inject a dose of “robot voice” charm into your next recording without the hassle and expense of a separate vocoder.

14 Producer’s Edge Magazine Summer 2007

sounds simultaneously •Exceptionally user-friendly operation •Invisible D Beam infrared controller for high-impact performance

WALDORF

Y

ou know you’re in for something special when the product website has nothing more than a big red button on its homepage. One press and you’re invited into the brand new world of Waldorf Synths. The company known for robust synths with weird color schemes is back in a big way. The name lived on in software with the excellent PPG Wave and D-Pole Plug-ins, but has now returned to the table with 3 interesting boards shipping this year.

This is the desktop unit shipping with 1,000 Waldorf presets. The Wavetable synthesizer boasats 25 note polyphony and should retail under $500.

Stroemberg. We call

this the flagship- and rightly so as it contains all the previous Waldorf engines under the hood enabling this beast to physically model and generate all the sounds from the Waldorf Wave, Microwave and Q. Polyphony: 100 voices. PPG Comb and cascade filters.

Features a freely routable tube module to generate warm saturation on individual parts or the master bus. 5.1 Surround with corresponding effects. External Audio can be integrated into the signal flow. Backlit knobs made from solid aluminum.

1,000 presets with an additional 100 multiprograms. 6 analog outputs, 2 analog inputs.

MIDI and USB 2.0. Arpeggiator with user pattern, freely programmable including accent, position, length, glide, chords and random notes. Expected to drop in Fall 2007.

Zarenberg Electric Piano. Totally digital unit with downloadable presets and built in speakers (including a sub) along with jacks for studio use. Advanced physical model sound engine emulating five classic electric pianos including two E-Pianos with tone forks, 1 with tone reeds, string and an E-Clavichord. These are editable through included software. USB 2.0.

76 (real wood) keys available as custom order.

And speaking of Electric Pianos…

15 Producer’s Edge Magazine Summer 2007

Rhodes MK7

I

t would seem this is the time for manufacturers seen as being on the way out to launch a new line and re-dedicate themselves to highest ends of musical craftsmanship. Although the (Fender) Rhodes tone has reached legendary

status among pianists and keyboardists, the mere mention of owning or selling a Rhodes led to a raised eyebrow and the question of which one and even made when? So the bigger question is- can a company return to the solid manufacturing habits of the past, including authentic materials, and deliver a true instrument for the future with an authentic Rhodes sound? The early word is yes! If you’ve ever dreamed of using a real Rhodes or needed inspiration to get your chops together [in a keyboardist sense – you sample heads!] then this new MARK 7 may be your best opportunity. http://www.rhodespiano.com/

A BIT MORE ABOUT THE MARK 7 All Rhodes Pianos True Rhodes Electromechanical Designed.

9 new models featuring state-of-art-design and Mark 7 technology Three different sizes: 88-, 73-, and 61-key sizes in passive, active, and active MIDI configurations. Light, transportable, hi-performance neodymium speaker systems.

Passive-to-active capability with MIDI. Pre-amp with hi-performance 3-band equalizer Wood keys and key bed. LCD screen and Ventilated humidity system. USB port (side panel). Inverted lifting handles. New stand designed to conveniently fold up - carries 300 lbs.

16 Producer’s Edge Magazine Summer 2007

Alesis MasterControl FIREWIRE AUDIO INTERFACE/CONTROL SURFACE

M

asterControl is a solution for studio projects looking for an all–in–one audio interface and control surface. Providing up to 8 channels of 44.1–192kHz audio directly to your computer via FireWire connectivity, the audio interface features 2 mic (XLR) inputs with phantom power and channel inserts, and 6 line (TRS) inputs. An additional 18 inputs of digital audio are are possible with the MasterControl’s S/PDIF and dual S/MUX ADAT Lightpipe options, for forward-thinking expansion. For monitoring your recordings and sessions, the MasterControl features 6 analog outputs, configurable as discrete, 5.1 Surround or Stereo x 3.

In addition, the MasterControl functions as a fully-featured, programmable control surface with full MIDI I/O, providing hands-on, dedicated control over your HUI-compatible DAWs and external MIDI devices. Equipped with motorized faders, dedicated transport control, multifunctional jog wheel, assignable buttons and knobs, the MasterControl gives you control over the parameters of your DAW. Features Continued: •2 X 16 character LCD provides instant controller feedback and enables customization of knob and button functions •Fully-editable presets allow for instantaneous, dedicated control over DAWs (HUI-compatible) and external MIDI devices •Removable, customizable templates provide total visual overview of preset operation •Preview button shows knob, button, and fader parameters before sending them out to DAW •Built-in talk-back microphone and control-surface based cue mix setup •Bundled with Cubase LE software and compatible with most digital audio workstation software products www.alesis.com

17 Producer’s Edge Magazine Summer 2007

Behringer Bcontrol DJ BCD3000 The B-CONTROL DEEJAY BCD3000 DJ mixer lets you play, mix and scratch any MP3, WAV or other audio format with a real vinyl feel. Packed with mind-blowing features such as mixer, dual-player, effects, mic/phono preamps and a full-fledged monitor section, this 4-channel USB audio interface perfectly complements the included Native Instruments Traktor 3 LE DJ software or most other DJ software, running on Windows XP and Mac OS

Lexicon MX500

Dual Stereo Reverb

The MX500 lets you switch effect routings via front panel controls, so you don’t have to spend time behind your rack changing cables to instantly re-purpose its four powerful processors. From basic quad mono, to stereo to more complex dual stereo configurations, you can have ‘em all at the twist of a knob. All MX500 reverbs, delays, dynamics and effects parameters can be accessed and edited from the included PC VST® and Macintosh® Audio Units plug-ins or via MXEdit™ editor/librarian software.

18 Producer’s Edge Magazine Summer 2007

Features •17 Lexicon® reverbs , delays & modulation effects •dbx® compression and de-essing •Quad-processor design •Streaming dual stereo FireWire® audio processing •7 effect routing options •99 Factory/99 user programs for Stereo mode/ 99 Factory/99 user program for Dual-Stereo mode •25 Factory/25 user surround programs •MX-Edit™ Editor/Librarian software •Dual S/PDIF Digital Input/Output •24 bit, 48kHz/44.1kHz sample rates •MIDI IN and THRU < O I TRS unbalanced balanced 4”>

Behringer U-CONTROL UMX61

The company that has the well-earned reputation of doing what the big guys do for less is now taking on MIDI keyboard controllers. Expect the versions to cover 61, 40 and 37 keysall with spring action.

The U-CONTROL UMX61 is an ultra-compact master keyboard. It features 61 full size, velocity-sensitive keys, 10 programmable MIDI controllers plus 8 user-set buttons.

Advertised Features •Velocity-sensitive USB/MIDI keyboard featuring 61 full-size keys and unbeatable programming versatility, real-time control and playability •USB/audio interface to connect your instruments and mixer, etc. to your computer for recording and playback •Powerful DAW software Ableton® Live Lite 4 BEHRINGER Edition included •Plug and play with Mac OS® X and Windows XP® •8 real-time rotary controls plus 10 assignable switches •Freely assign MIDI control changes to the modulation wheel, volume fader and pedal port for ultimate flexibility •Full 128 tone range via the octave shift function

with multi-purpose LED status indication •Separate MIDI Out allows controlling external samplers, synths and other equipment -Runs via USB bus, batteries or a power adapter (not included)

50 virtual instruments that allow you to rock straight out of the box. Hit the keys of a grand piano or take off with breathtaking synths, sound samplers etc. Download more free instruments from www.behringer.com [We did and had a blast making kicks and snares...and..uh...odd sounds too]

Plug and play your software instruments or MP3 tracks and run them straight into your sound system with the included USB/audio interface. Or simply record your stereo tracks on your Windows® or Mac® PC.

19 Producer’s Edge Magazine Summer 2007

Roland MV8800 Production Studio

T

he MV-8800 is a fully equipped sampler and synthesizer with parameters that can be edited and automated with the assignable sliders and/or with a VGA monitor and mouse (VGA monitor optional, mouse included). It’s also an advanced multitrack recorder equipped with an automated 24-channel stereo mixer and mega effects processor. Mastering tools are provided as well, including a parametric mastering EQ, enhancer, expander, multiband compressor, mastering limiter and soft-clip algorithm with output dithering.

Pitch & Time Control

Sound Library Onboard

An incredible lineup of modern and vintage effects is built into the MV-8800, including models of classic Roland SRV reverbs, SDD-320 Chorus, SBF-325 Flanger, Boss BF-2 and HF-2 pedals, and the legendary RE-201 Space Echo. The MV-8800’s multi-effects processor includes an Analog Modeling Bass that turns the MFX engine into a virtual SHstyle bass synthesizer. All MFX knob tweaks can be automated as you mix.

Create your own sounds or load up to 128 instruments or drum kits at once from the MV-formatted sound library that’s preinstalled on the hard drive. Newly created drum kits are provided, including a special collection of 16 vintage drum machines such as the legendary Roland TR-808 and TR-909. Acoustic and electric pianos, strings, guitars, horns, synth basses and other essential instruments are also included.

20 Producer’s Edge Magazine Summer 2007

Load hundreds of loops, hits, or vocal phrases at once, all with realtime BPM matching. Just tap the tempo, and all the samples lock to your new tempo!

You can match the pitches of melodic phrases just as easily. Create loop-based tracks on the fly, all locked together in perfect pitch and time sync.

Vintage & Modern Effects

Tascam FireOne R e s o u r c e s , Rev amps and Re-ups

Firewire Audio Interface

RAPTURE 1.1

T

ASCAM has launched the FireOne - a FireWire Audio Interface with shortcut keys and a weighted & illuminated jog wheel to

inspire creative interaction with the artist’s music. The FireOne is the first stereo audio interface in its class that records two mic ins and two outs over FireWire at 96kHz/24-bit audio resolution The most unique feature of the unit is its large, weighted, backlit jog wheel, which allows musicians to zip through their song while the backlight provides useful feedback such as a visual metronome.

Cakewalk® Releases Free Rapture 1.1 Update: —Free download for registered customers includes Native Windows Vista® Support; RTAS & VSTi Universal Binary support for Intel-based and PowerPC Mac customers; Stand-alone mode; Advanced MIDI Learn functionality; New multi-stage DSP section; Powerful new Step Generator options •Native Windows Vista® Support •Universal Binary support for Audio Units, VSTi, and RTAS (Pro Tools 7.3 compatible) •Updated dropdown menus for all SYNC Rate selections within Envelope Generators, LFOs, STEPGENs, and Global STEPGENs •Comprehensive MIDI Modulation Matrix with new enhancements •50 new Rapture programs by ProSounds and B Rock designed to highlight the new features in Version 1.1

The FireOne features a pair of mic inputs with phantom power and pad switches. A front panel guitar input allows convenient direct recording of guitar or bass. MIDI input and output are also provided for 16 channels of MIDI. It’s the first FireWire interface in its class to record and play at up to 96kHz/24-bit resolution. It includes multitrack recording software, so you’ll be set to go right out of the box. In addition to its weighted & backlit jog wheel, the FireOne has transport keys and eight shortcut keys to control functions in most popular DAW applications. Video at: http://www.tascam.com/Products/fireone.html

WAVES drops the L3-LL.

Waves presents the L3-LL, a multiband peak limiter that lets you maximize your mix, track by track, instrument by instrument.

•5-band crossover with phase-compensated filters •Brickwall limiting on 5 user-definable bands •Mono and Stereo components •IDR™ Increased Digital Resolution dithering & noise shaping •Complete L3 preset sharing and saving •Double Precision processing.

The L3-LL Ultramaximizer is available exclusively to owners of the Platinum bundle with current Waves Update Plan coverage.

L3-LL is Native and TDM and requires iLok.

21 Producer’s Edge Magazine Summer 2007

Softw are Sounds and SAMPLES Arturia Jupiter-8V Virtual instrument

A

rturia announces Jupiter-8V, the software recreation of Roland’s famous Jupiter 8 which was in production from 1981 to 1984. The Jupiter 8 was a synth that not only inspired a generation of musicians ranging from Prince to Howard Jones, from Depeche Mode to Moby, it was also a unique machine that offered a sharp and crystalline sound while being uniquely phat.

Solid State Logic LMC-1 Plug-in

Want to squash and crush the hell out of some drums? In their own words: Long-time SSL user Hugh Padgham was one of the first to capture this new drum sound on tape,while working with Steve Lilywhite on Peter Gabriel’s ‘Intruder’, he told Mix magazine:* “On a normal console, you have a button to press to talk to the musicians in the headphones, but you did not have a button to press for us to listen to the musicians. To do that, you’d plug a microphone into a spare channel on the desk and listen to your musicians through that. But the SSL had a reverse talkback button and there was a microphone hanging up in the studio already, a dedicated input into the reverse mic input on the console. And on this microphone, they had the most unbelievably heavy compressor, so you could hear somebody who was over in the corner. h t t p : / / w w w. s o l i d - s t a t e - l o g i c . c o m / resources/lmc1plugin.html

The Jupiter-8V is the latest born in the Arturia family of analog synthesizer recreations. Offering the unique sound palette of the Roland Jupiter 8 with a bass that can bring down the house.

Based on the latest version of TAE®, the Jupiter-8V also brings to you an advanced step sequencer, a new line of dynamic effects and a module combining LFO’s called Galaxy. All in one, the Jupiter-8V comes with a perfect blend of classicism and modernity.

22 Producer’s Edge Magazine Summer 2007

The Mono/Poly adds on to KORG Legacy Collection with another resurrected old friend. In their own words: Along with being a complete reproduction of the original Mono/Poly, this new software version extends the Mono/Poly to its ultimate form. It features 128-voice polyphony with up to 16-voice unison, and a powerful eight-way virtual patching matrix. The virtual patch functionality lets you use 159 different modulation sources such as MG, EG, velocity, and keyboard tracking to modulate 35 different destinations such as oscillator pitch, level, filter, MG, or EG, giving you an awesome capability for creating complex and diverse sounds.

Quantum Leap Fab Four and Pianos

F

AB FOUR is a virtual instrument inspired by the sounds of the Beatles, using the same kind of period instruments and authentic rare EMI recording equipment the Beatles used to create their music. FAB FOUR sound engineer KEN

SCOTT worked on five Beatles albums, including “A Hard Days Night”, “Help”, “Rubber Soul”, “Magical Mystery Tour” (engineer), and “The Beatles” (engineer) - also known as the “White Album”.

Drummer DENNY SEIWELL and Guitarist LAURENCE JUBER were both members of Paul McCartney and Wings.

“In their own words: “No expense was spared finding the same kind of period instruments and rare authentic EMI and other recording equipment the Beatles used to create their sounds to produce this collection, much of which, ironically, will end up in EASTWEST Studio 3, where the Beach Boys “Pet Sounds” was recorded, the inspiration for the Beatles “Sgt. Pepper’s Lonely Hearts Club Band” album, according to Paul McCartney.

Well over a million dollars worth of instruments, amplifiers, microphones, recording desks (including very rare EMI REDD tube and TG12345 desks), outboard equipment (including Fairchild limiters and EMI RS124 modified Altec compressors), and Studer J-37 tube multi-tracks were used in this production. If you are a film/tv/game composer, or a musician/producer looking for sounds not found in other collections to create with, this is it. Blending these unique and sometimes bizarre sounds with today’s music should enable you to produce something truly spectacular! “

Q

uantum Leap Pianos. In their own

words:”The most detailed collection of the world’s finest grand pianos, recorded in one of the ‘temples of sound’, EASTWEST STUDIOS (more RIAA certified platinum and gold records awarded than any other recording studios) with 3 mic positions for each piano by the same producers (Doug Rogers and Nick Phoenix) who produced Symphonic Orchestra and Symphonic Choirs. The collection includes a Bechstein D-280 Concert Grand Piano, with close mics engineered by KEN SCOTT (Elton John/Supertramp/David Bowie/Beatles), Steinway D Concert Grand Piano, Bosendorfer 290 Concert Grand Piano, and Yamaha C7 Grand Piano. The PLAY interface includes impulses from the same hall the producers used to record Symphonic Orchestra and Symphonic Choirs so the pianos can also blend with those collections.”

These additional sets round out the collection of new sonic goodness.

• QUANTUM LEAP GYPSY - A collection of detailed virtual instruments capable of playing completely realistic performances. This product is mostly intended for film, tv and game composers.

• QUANTUM LEAP MINISTRY OF ROCK - A HUGE collection of Rock Drums, Basses and Guitars recorded in the famous EASTWEST Studio 2.

• QUANTUM LEAP VOICES OF PASSION -A virtual instrument of Female Vocalists from Wales, Syria, India, Bulgaria and America. Ethereal, Passionate, Flowing, Mysterious, Wailing and Whispering vocals for Film, TV and Game composers as well as Songwriters, New Age Artists and Zen Horticulturists.

• QUANTUM LEAP SD2 THE NEXT GENERATION -The sequel to Stormdrum, SD2 is a stunning collection of exceptional acoustic percussion instruments. The exclusive selection of drums and percussions exceeds all other existing libraries out there.

23 Producer’s Edge Magazine Summer 2007

Ultimate Soundbank PlugSound Pro Beat Virtual Drum machine Module (This eventually became MOTU BPM -GA]

I

n their own words: With today’s computer it’s quite easy to make very complex

software. Most of the time, the needs of the musicians or the producers are far from the programmer’s reality. Beat Inc. gives you a direct access to the most important parameters to improve your workflow.

With the same software you can manage your beats and your own samples, but also external soundbanks from the UVI Soundcards.

BEAT INC.™ operates as a MAC/PC stand alone application and as a virtual instrument software plug-in for Mac OSX and Windows in all major hosts including Digidesign Pro

These presets can be designed thanks to the Plugsound Pro sound design section, which allows you to add up to four effects per instruments, from classy convolution reverberation to analog modeled Chorus and Flanger, from a Studio Limiter to high-class EQ... This section also provides Filters and 4 LFOs per instrument. And don’t forget that Plugsound Pro can import up to 64 Retro Keyboards instruments for creative layers and splits, and much more.

Control your effects, filters and LFOs with any MIDI keyboard: Each parameter can be automated in Plugsound Pro thanks to the instant MIDI-Learn feature.

The Universal UVI Player is provided with UVI Soundcard Retro Keyboards. It operates as a MAC/PC stand alone application and as a virtual instrument software plug-in for Mac OSX and Windows in all major hosts.

UVI Soundcard Retro Keyboards can be also imported inside Plugsound Pro and MOTU MachFive 2, bringing more creative features than ever, providing inspiring sound design, easy live performances, ergonomic studio productions and much more. Please visit the Plugsound Pro page for more information.

Tools™, MOTU Digital Performer™, Apple Logic™, Ableton Live™, Steinberg Cubase SX™, Nuendo™, V-Stack™, Fruity Loops™, Sony Acid Pro™, Cakewalk Sonar™, Project 5™ and any other VST, RTAS, MAS, DXi and Audio Unit host applications.

24 Producer’s Edge Magazine Summer 2007

UNIVERSAL UVI PLAYER™ operates as a MAC/PC stand alone application and as a virtual instrument software plug-in for Mac OSX and Windows in all major hosts including Digidesign Pro Tools™, MOTU Digital Performer™, Apple Logic™, Ableton Live™, Steinberg Cubase SX™, Nuendo™, V-Stack™, Fruity Loops™, Sony Acid Pro™, Cakewalk Sonar™, Project 5™ and any other VST, RTAS, MAS, DXi and Audio Unit host applications.

loops are fully recombinable for making endless grooves, songs, and remixes. The Acidized Wav and Apple Loop formats allow flexible loop manipulation and automatic beat synching for producing millions of different grooves.

Recorded in some of the world’s top studios, R.A.W. offers high quality 24-bit loops for a great sounding collection of drum loops and grooves.

Propellerheads Reggaeton Refill

T

he Salazar Brothers Reggaeton ReFill is your gateway to the sound of that floor shaking Bomba-Reggae-Hiphop hybrid they call Reggaeton.

This ReFill comes packed with all the sounds you need to build Reggaeton beats from the ground up, or to simply add a touch of that Latin-Jamaican flavor to your Reason tracks.

This ReFill gives you 360 MB of loops and samples. It comes with a great set of Reggaeton style Combinator patches, 220 Drum & Percussion REX files, as well as 75 NN-XT sampler patches for quick access to great sets of Drums, FX, Stabs, Vinyl FX, Vocals and more. Also Included are a wide selection of synth patches, MIDI files and song starter demo tracks to guide and inspire you.

The Customized Combinator patches will be your short cut to great sounds, rhythms and melody lines that are tailor made for this specific sound.

The Reggaeton ReFill was put together by the Salazar Brothers, an award winning production crew with a long history of Hip Hop production. Apart from being respected beatmakers and award winning producers, the three Chilean brothers Salla, Masse and Chepe also run The Redline, one of Stockholm’s finest Urban/ Latin Clubs. Demo Available http://www.propellerheads.se/

IK MultiMedia R.A.W. Universal Groove Kit Virtual instrument

T

he R.A.W. Universal Groove Kit features over 5,000 loops with drum, percussion and groove elements, each in three expertly sliced formats (Rex, Acidized Wav, Apple Loops) that can be used in any DAW or sampler. The Rex and Acidized Wav libraries are supported by an extensive list of DAWs and samplers such as Reason, Style RMX, Logic, Cubase/Nuendo, Sonar/Project 5, FL Studio 6, NI Kontakt, MOTU MachFive/Digital Performer, and many more. Apple users can take full advantage of the R.A.W. Apple Loops library with applications such as GarageBand, Soundtrack, and Logic. R.A.W.

The package is organized as: 1. Drums (DRM) The “DRM” folders are of acoustic and electronic drum kit grooves. These range from a raw acoustic studio sound to fully produced and processed drums that are ready to go for a mix where they fit stylistically. In this section a variety of different acoustic and electronic drums have been recorded all over the world in some of the best studios. You even have a diverse selection of loops taken from Sonic Reality and Joytown Production’s “Studio ProFile” sessions featuring many unique styles and famous artists as well as the best variety of classic and new Sonic Reality, Qup Arts and other sought after grooves that would otherwise cost you thousands of dollars to obtain this much variety.

2. Percussion (PRC) The “PRC” folders are acoustic and electronic percussion loops. Many of these are meant to be layered (like the “groove elements” of section 5) with either other percussion loops or the DRM drum loops. Whether you want to build up tribal rhythms, latin flavored grooves or simply add shaker, tambourine, congas and other percussion to a drum track, this section offers a large variety of different percussion from all over the world to spice up your track and add feel.

3. Instruments (INS) The “INS” Instruments section is a nice addition to the R.A.W. library because it offers the chance to play around with a diverse range of instrument loops. Perhaps the most useful will be the bass lines and various guitar riffs which can often even be re-pitched independently of the tempo depending on which sampler or DAW you use (consult your sampler or DAW’s owner’s manuals for more information on what you can do with these loop formats of REX, Apple Loops or Wave). However, we’ve also included miscellaneous stringed instruments, wind instruments, horn sections and more for experimentation. With over 5,000 loops in RAW there’s a great variety of choices.

4. Effects (FX) The “FX” folders have all kinds of various effects from film score to video game to electronic, acoustic and other musical sound 25 Producer’s Edge Magazine Summer 2007

effects and more. Some effects as well as the Dimension folder in the DRM section have 3D panning built-in for really outrageous spatiality. You never know what might be useful for the track you’re working on. Slowing them down or up, re-pitching and processing can yield an incredible variety of interesting results. With the effect section as well as the entire RAW library, you can think of the collection as both a set library of loop material to choose from as well as the starting point for creative sound design and production.

5. Groove Elements (GE) The last section called “GE”* is for “groove elements” which are pieces of grooves broken down so you can mix and match them to create an almost infinite amount of NEW composite grooves using both the other groove elements as well as the percussion and other loops within the RAW collection. You have broken down grooves such as individual hi hat patterns that you can lay over a variety of different kick and snare patterns and much more. This is a place to experiment with tremendous control and flexibility. When formats like the REX versions are used in samplers that can map out the individual slices within the loop, this section is even more ideal for playing the sounds of the loop because they are more sparse with individual hits and longer decays. In this section and all together you have well over 50,000 different slices you could play as single hits in programs such as Stylus RMX™, Reason™, Kontakt™ and other samplers that read REX2 format.

Sample Format: Rex, Apple Loops Wav Total Sounds Included 13 GB 15,705 loops Specifications/Requirements Each loop in this Style Pak is delivered in 3 formats for the ultimate in groove control and flexibility.

Rex 2 format files for use directly in Reason, Stylus RMX (with drag and drop support), Kontakt or any other Rex 2 compatible DAW or sampler. Apple Loops Apple Loops format files for use directly in Garage Band, Soundtrack, Logic or any other Apple Loops compatible DAW or sampler. Acidized Wave Acidized Wave format files for use directly in Live, Acid, FL Studio or any other Wave compatible DAW or sampler.

Current owners of the original KORG Legacy Collection (w/MS-20 Controller) or original KORG Legacy Collection - ANALOG EDITION (not available in all markets) can add the Mono/Poly software synthesizer as the ANALOG EDITION 2007 upgrade to their suite for $99 Note: In order to use the Mono/Poly software synthesizer, you must upgrade your Legacy Collection software to version 1.2 (copy protected via USB key).

http://www.korg.com/index.asp

Fxpansion ORCA Free VST

We have been generating some serious tones with FXpansions free (registration required) VST ORCA. ORCA is an experimental monosynth built to showcase some exciting new technology that we’ve been developing. Based on detailed and accurate models of analogue synthesizer circuits and components, ORCA excels at deep, squelchy basses and thick unison leads.

ORCA is available as a VST 2.4 plug-in for Windows (XP) and OS X (10.4 PPC and Intel), and can be used in other hosts (Audio Units, RTAS) via our VST-RTAS or VST-AU Adapters. The latest version supports disabling of animation which helps some users who have been experiencing large cpu usage due to graphics.

The filter algorithm has also been updated for improved resonance drive. http://www.fxpansion.com/

Erratic: If you’re ready for some off the wall drum programming with an incredible twist on randomizing drum patterns then look no further than Erratic. Our favorite brainstorm from De LA Mancha (http://www. delamancha.co.uk/erratic.htm) is a virtual instrument and stand alone drum sampler and sequencer. In his own words: erratic is a drum sample player with some added ‘randomizing’ features to give variation on every cycle. The randomizing is adjustable for each sample and can be switched off if desired. You can independently adjust the randomization of the hit probability for each of the steps in the sequencer- for each sample. Cool. While you’re snagging this gem, check his digital graffiti gallery.

26 Producer’s Edge Magazine Summer 2007

M-Audio KikAxxe

M-Audio GForce

Vitrual instrument

Virtual String Machine

G

Force the company that gave us the impOSCar, M-Tron, Oddity and Minimonsta, TimewARP 2600 takes the idea of a string and comes at us with the itrual String Machine.

V

K

ikAxxe is a faithful emulation of the ARP Axxe analog synthesizer that descended from the venerable ARP 2600 in the mid ‘70s. It uses the same technology that has garnered developer Way Out Ware significant critical acclaim as one of the most faithful analog synth emulators on the market. Play it from a MIDI controller or the integral Sequencer +, an emulation of the ARP step sequencer that contributed to the signature sound of artists like The Who, Depeche Mode, 808 State, Vince Clarke, Jean-Michel Jarre, Billy Currie of Ultravox and Visage, and filmmaker John Carpenter. This combo gives you a powerful tool for creating distinctive synth bass lines. And to enhance lead lines and effects, KikAxxe also includes an emulation of the unique sound of the Echoplex—the original tape delay device that preceded digital delay units.

KikAxxe’s Sequencer + also includes a complementary staple from the same era—a drum machine with dedicated step sequencer. With five sample-based drum kits, you’ll find the sounds responsible for many hit songs across several decades—and then some. KikAxxe gives you the ability to create great bass and drum backing tracks in a single unit. RTAS (Mac/PC) VST (Mac/PC) AU (Mac) Universal binary for Intel- and PowerPC-based Mac computers

In their own words: The Virtual String Machine from GForce brings the evocative tones of over a dozen of the finest vintage string synthesizers to your personal studio—Freeman String Symphonizer, Eminent 310, ARP Omni II, ARP Quartet, Crumar Multiman, Polymoog, Elka Rhapsody, Korg PE2000, Logan String Melody, Eminent Solina, Roland RS202, Yamaha SS30 and more. Far more than a preset device, the Virtual String Machine lets you layer any two of the 60 Sample Sets and apply an intuitive synthesis engine to each—as well as add master vintage phaser/ensemble effects. The result is a truly authentic and highly versatile range of textures, perfect for just about every musical genre. Mac/PC stand-alone or host operation (RTAS, VST, AU) The Virtual String Machine doesn’t stop at simply emulating the best string machines of all time. It allows you to layer any two Sample Sets and apply synthesizer parameters to each layer—creating different envelopes, filter settings, pitch LFO, pan positions, fine-tune amounts and more. And to top it all off, you can apply a vintage-style phaser and/or ensemble to the final patch. The 500+ factory presets are just the beginning of the possibilities for the retro string sound of your dreams.

Authentic Emulations Each string machine had its own unique quality.

Moreover, some of these gems were rarities only available in certain parts of the world. The Virtual String Machine unites the cream of the crop—Freeman String Symphonizer (the first of the genre), Eminent 310, ARP Omni II, ARP Quartet, Crumar Multiman, Polymoog, Elka Rhapsody, Korg PE2000, Logan String Melody, Eminent Solina, Roland RS202, Yamaha SS30 and more.

This manifests in over 60 different Sample Sets spanning the many different settings of these venerable instruments—over 3,200 meticulous samples.

You can use the Virtual String Machine by itself or as a plug-in with most popular host applications including Pro Tools M-Powered/LE/HD, Ableton Live, Cubase, Logic, GarageBand, SONAR, Digital Performer, and ACID. Compatible formats include VST 2.0 (Mac/PC including VSTi), RTAS (Mac/PC) and Audio Units (Mac). In other words, you can integrate it with the rest of your studio and use it just about any way you want.

27 Producer’s Edge Magazine Summer 2007

AmpliTube 2 Live

Amplitube Strealth Plug 1/4” jack to USB audio interface cable for your Guitar or Bass

Amplitube Strealth Plug

A

mpliTube 2 Live comes with 128 presets. All are fully editable with the ability to save an unlimited number or your own. All presets can be changed live using a MIDI foot controller. Emulate the widest range of sounds and select them live or use them to record and edit within your preferred sequencer.

Additionally, all presets are compatible with the full version of AmpliTube 2, so when you upgrade you’ll be able to transfer all your settings

SpeedTrainer SpeedTrainer™ is an audio player integrated into the standalone version of AmpliTube 2 Live. The pitch and speed controls make it perfect for learning ANY of your favorite songs. Slow tempos of guitar solos without changing the pitch to track any riffs! SpeedTrainer allows you to drag any WAV or MP3 from your hard disk (even iTunes files!) and set loop points easily for playing over and tracking your preferred riffs. Also an included metronome (set by BPM or Tap) is very useful for the studying and practicing guitarist. * If you have a MIDI guitar pedal board, a guitar effects processor that has MIDI output, an expression pedal hooked up to a MIDI keyboard, a MIDI knob box, etc., you can control AmpliTube 2 Live. * Ultra-Realistic models of a British Tube Lead Head, an American Tube Clean and a Bass Amplifier.

28 Producer’s Edge Magazine Summer 2007

StealthPlug Features • 9’/2,5m length cable with integrated audio interface • 1/4” jack connector MONO IN • 1/8” mini-jack Headphone STEREO OUT (suitable also for Amp/Powered Speaker OUT) • USB 1.0/2.0 connector • Activity LED • Volume UP/DOWN buttons • USB bus powered • 16 bit A/D -D/A converter • 44KHz/48KHz Sampling Frequency • Ultra-low latency ASIO and Core Audio Drivers • Hi-Z direct Guitar and Bass-IN (suitable for any instrument with line out also) Included Software In their own words: StealthPlug is the first audio interface for guitar and bass integrated into a simple, miniaturized, 1/4” jack to USB cable with full input/output processing for your PC or Mac. It’s so easy to use that you will be able to plug into your computer as you would plug into an amplifier. Be ready to rock in seconds and plug into the world of software-based amp/effects modeling and recording.

• AmpliTube 2 Live standalone, guitar and bass amp and effects with SpeedTrainer (Only available with the StealthPlug) • AmpliTube 2 Live plug-in, guitar and bass amp and effects for VST, RTAS, AU (Only available with the StealthPlug) • Mackie Tracktion 2.1 Audio/MIDI Sequencer • SampleTank 2 SE with 64 Sounds Included for VST • T-RackS EQ 6-Band Mastering EQ for VST • 500MB of Sonic Reality’s Loops of Guitar, Bass and Drum Grooves $129.00

MixMeister Fusion DJ SOFTWARE PACKAGE

Numark Total Control PROFESSIONAL DJ SOFTWARE CONTROLLER

A

tabletop controller for DJs who yearn for the control they left behind when they switched from traditional mixers to the multi–processing power of laptop DJing. This fully class– compliant USB MIDI device is the ultimate for any performing computer DJ. Total Control’s 31 buttons, 20 knobs and 5 faders send MIDI data from the controller to your DJ software of choice, making the inconvenience of mouse or glide–pad software control a thing of the past. No assignment of software parameters for the Total Control is necessary – simply connect the controller to a computer with a USB cable, enable it on the user’s computer’s “config” menu, and watch the virtual controls respond to Total Control’s actions. The Total Control comes packaged with Numark’s Cue LE and Native Instruments’ Traktor LE software, with pre–mapped controls and overlay “skins” for both applications Video at Numark.com

N

umark’s MixMeister Fusion is a powerful mixing/ sequencing application that give DJs greater ability to expand into remixing and producing mixes beyond traditional mixing and blending.

Numark’s MixMeister Fusion allows a DJ to reconfigure a mix with a workflow similar to DAW (digital audio workstation) software. This innovative approach makes it possible for a full-length mix to be constructed and produced on-screen. By automating most beat-mixing tasks, MixMeister Studio DJs can mix up to eight songs simultaneously and take advantage of exciting features like intelligent looping (up to eight measures) and the ability to overlay samples and sound effects. The software records all of a DJ’s actions and manipulations and allows them to be tweaked and altered to create the perfect mix.

In addition, Numark’s MixMeister Fusion adds the spontaneity and excitement of live DJ performing with multiple audio outputs and support for headphone/monitor HDX HARD DRIVE cueing. Fusion features include an ultra-stable “perform mode” playback option, wireless remote control of mixes TURNTABLE and the ability for DJs to manually beat-mix with external umark announces audio sources. MixMeister Fusion lets live performers the HDX, a tabletop expand and manipulate already-complex mixes to make HD/CD/MP3 player with the most of live mix manipulation. an ultra-high torque, motorized 12-inch platter that holds a vinyl record for a vinyl Numark’s MixMeister Fusion offers expansion via scratch feel. Styled after Numark’s highly successful CDX player, connectivity with a wide range of MIDI hardware the new HDX is the most advanced DJ media player available. controllers, and when the mix is complete it can be Incorporating an onboard hard drive accessible via USB 2.0 and exported as an MP3 or burned to a CD using the an 8x CD reader, the HDX is the perfect tool for professional and software’s integrated burning tools. aspiring performing DJs, mobile DJs, as well as club installers.

Supported File Types

N

80 GB hard drive supporting MP3, WMA, and WAV. • > Audio: MP3, WAV, WMA Onboard Gracenote® CDDB (CD database) to automatically recognize and tag audio CDs. Support for PS2 connectivity- • > Playlists: MMP, M3U enabling string searches and navigation through the menus via a www.numark.com/products QWERTY keyboard.

29 Producer’s Edge Magazine Summer 2007

TRAKTOR SCRATCH Software

TRAKTOR SCRATCH Audio Interface

T

RAKTOR SCRATCH is the professional DJ system allowing you to spin your digital track collection on vinyl or CD turntables. It comprises of intuitive software, special ‘timecoded’ vinyl control records and CDs, two professional multi-core connection cables, and AUDIO 8 DJ - a high-end audio interface built specifically for DJs. In their own words: Rock-solid and reliable, and featuring ‘Instant Connect’ plug and play usability, every element is master crafted by the Native Instruments team in Berlin, Germany. The result is TRAKTOR SCRATCH - the perfect fusion of analog confidence and feel with the freedom and potential of digital. Never before has technology had so much soul.

• Professional DJ system to control digital music files using turntables or CD decks • High-end 24bit/96kHz low-latency audio interface with Cirrus Logic® AD/DA converters, MIDI I/O, USB 2.0 bus powered Portable size and robust aluminium case • 2 professional multi-core cables connect your entire system through single XLR jacks for easy plug & play • 8 hi-gain outputs, 8 inputs, 2 optional phono preamps with high impedance input mode, mic input, 20 individual status LEDs for full visual control • 2 timecode records & 2 CDs with high resolution for super precise track control • Intuitive DJ software based on the award-winning TRAKTOR 3 • Bass feedback filter and software controlled ground lift for maximum tracking stability • 2 playback decks with filter effects and high-quality key correction • 2 dedicated effect output channels • Track management with quick search, virtual record crates * iPod™ and iTunes™ compatibility and integrated BEATPORT Online Store 30 Producer’s Edge Magazine Summer 2007

The TRAKTOR SCRATCH software is based on the powerful TRAKTOR 3 engine, but specifically tweaked for turntable/CD DJs. Features include: Browsing in iTunes Playlists directly from within Traktor Explorer Instant iPod Playlists recognition High Resolution Timecode (2kHz) Scrolling Playlist via Vinyl function Automatic recognition of timecode medium (vinyl side A/B or CD) Automatic input level normalization Emergency mono mode in case of failure of one timecode channel. www.native-instruments.com/

: Adobe Audition 2.0 LATE PASS Integrated audio recording, mixing, editing, and mastering Audible scrubbing Quickly find the audio you want to edit using two modes of audible scrubbing. Tape-style scrubbing enables you to find hard-to-locate edit points, and shuttle-style scrubbing allows you scan through your audio rapidly.

Analog-modeled Multiband Compressor Control dynamics, adjust loudness, and master your mixes with multiband precision. Give bass and drums punch while allowing your vocals to push through the entire mix.

Mastering Rack in Edit View Apply and preview multiple effects simultaneously when working with files in Edit View. Save frequently used rack settings as presets for convenient reuse.

Spectral Pan and Phase displays Analyze audio with powerful visualization tools including the unique Spectral Pan and Phase displays, which plot pan, phase, and frequency over time. Spectral color bar and resolution settings Isolate a specific frequency range more easily by adjusting the Spectral Frequency Display color bar and resolution display settings.

Audition 2.0 is the first release to totally overhaul the fondly remembered Cool Edit Pro. Adobe Systems purchased Syntrillium Software in 2003 and only made minor cosmetic changes while adding on to its already impressive list of features.

Improved performance for editing

The easy to use interface was the main selling point behind Adobe Audition up to the last version of 1.5. Adobe has seen fit to bridge the gap between its video and graphic suites by switching to the dockable windows -so familiar to Photoshop and Premiere users.

The lack of MIDI based recording is one of the few features keeping Audition 2.0 firmly on the side of audio editing and multi tracking. Although Audition supports VST effects, virtual instruments can only run along side when rewired to a hosting app.

When we said overhaul we meant it. The list of new features and added functionality are staggering. Here’s a sample listing.

ASIO support Work with high-performance, ASIO-driven audio devices, which operate with very low latency and enhance performance by enabling features such as live input monitoring.

Recordable parameter automation Move volume, pan, and effects controls as you

Experience improved performance while applying effects like Reverb and Time Stretch, and when displaying clips for editing in Spectral Frequency Display.

Phase Analysis Histogram View listen, and record changes to your mix in real time. Changes appear as editable envelopes in the timeline.

Hardware controller automation Adjust mix and effects parameters using external control devices, and record all your changes in real time.

Quick Punch Quickly fix recording errors by punching in corrections on-the-fly as you rerecord: Toggle the record button to punch in your new take only where you want it to replace the old one. Punch in and out as many times as you want.

Use the histogram mode for an easier-to-read phase analysis view. See the percentage of your audio that is in phase and the overall phase content.

“Record, mix, edit, and master digital audio files with powerful tools that bring flexibility and control to your desktop studio. Easily create music, produce radio spots, and restore imperfect recordings. Bring audio and video together using smart integration with Adobe video applications. Get professional results in real time with Adobe® Audition® 2.0 software.”

Learn more about Adobe Audition 2.0 by watching videos and downloading the 30 day time limited demo at www.adobe.com/products/audition

31 Producer’s Edge Magazine Summer 2007

Late Pass: FXpansion GURU GURU’s loop mangling engine is powered by a unique slicer which categorizes drum elements by type. GURU will separate kicks from snares, hats or percs. The timing is maintained (the all-important groove) and can be transferred to a different loop.

You have the ability to record sequences with a MIDI controller on the fly or use the piano roll to create and vary the patterns. Of course all of this has been possible with software before, but never in such an intuitive and complete environment. This product is worthy of a second look and a late pass.

G

URU was developed by the same team behind Devine Machine and FXpansions’ DR008. Their collective credits include the sound libraries powering the incredible sounding BFD drum library VST and the drumloop-mangling monster DM Pro. One of the biggest challenges facing the software based producer is achieving balance between tone, timing and variation. A drum loop may be an excellent starting point for a track, but the current options for manipulation are tedious, time consuming and far from inspiring. Modules like Reasons’ Redrum or the Fruity Loops step sequencer ease the burden of pattern creation, but 16 steps becomes a very limited (and stiff) launch point as the surrounding techniques evolve. Unless the piano roll is combined with some sort of MIDI interface, pattern variations are about as exciting as filling out an online tax form. Here is where GURU was meant to step in as a hybrid workflow solution.

This months DVD Rom Features a special GURU primer with Dipset Engineer Saga Legin.

GURU’s architecture is perfect for anything from straight-up breaks and stomping floor-fillers to complex polyrhythmic, multi-layered grooves. The powerful built-in FX and graphical parameter automation allow you to mutate your beats into new, unheard forms, or create subtle variations. Mash up your sounds with pitch modulation, repeat triggers, start-point and timing manipulation, resonant filters and much more. Everything from precision funk to disturbing sonic mangling and glitch beatscapes is at your fingertips.

Stand-alone application, ReWire device, and VST, DXi, AudioUnit, RTAS plug-in formats, available for Windows 2000/XP and Mac OS X. Video tutorials and Demo is available at www.fxpansion. com/products

32 Producer’s Edge Magazine Summer 2007

Late Pass :Roland Fantom X-8

W

hen Roland released the version 2 upgrade kit for the Fantom X, Producer’s Edge was going to list the news in the product updates section, but re-evaluating the entire range seemed like an obvious choice considering what was on offer with a workstation this complete. PreVersion-2 Fantom-Xs can be upgraded via the FAN-X-UP1 Audio Track Expansion Kit. The upgrade kit includes a CompactFlash card with installer software, PC card adapter, plus a CD-ROM that contains Fantom-X Editor Software Version 2, including a Sample Editor, a Multisample Editor, and an S-700 file converter for Mac and PC. Onboard effects include separate reverb and chorus processors, plus three multi-effects processors loaded with sound sculpting tools ideal for creative sampling. These include algorithms like COSM Guitar Amp Modeling, Lo-Fi processing, tempo-synced delay, Slicer, Isolator, multiple effects chains and more.

The onboard USB port serves two functions: First, it can be used as a USBMIDI interface, eliminating the need for an external MIDI interface. Second, it can be used to import and export audio in WAV/AIFF format. Now it’s easy to bring in samples from your computer and use them in a sequence. Likewise, you can quickly mix down your song, re-sample it in stereo, and then transfer the file to a computer for CD-burning.

The 2.0 update adds eight stereo audio tracks (ASR 10 users?) that are real-time time stretch capable. You can plug into the inputs of the Fantom-X, use the built-in COSM® effects to sweeten your tone, and play or sing along. But wait, if you find that the track doesn’t quite fit into the groove you had in mind, simply change the tempo.

Magically all of the audio you recorded will stay in perfect sync with the MIDI tracks, and the pitch will not change. Skip Back Sampling (another Fantom first) can also be used to bounce down entire mixes to a single stereo audio track. Keep this in mind — with a feature like this you can have a full 16track sequence and eight stereo audio tracks going, then, by pressing the big blue Skip Back button, you can combine it all to a single stereo audio track.

This will free up all of the MIDI tracks and seven audio tracks. Then you can keep adding to your music. This is also a great tool when working with vocals, making it easy to create some very cool vocal layering tricks. Just copy the chorus of your song to a new Audio track, add some new COSM effects, press Skip Back sampling.

Audio Track Editing made simple.

Four slots for Roland SRX expansion boards. Load samples in .WAV and AIFF formats and back up data to convenient PC cards with up to 1GB capacity. Sampled loops can automatically synced to tempo via realtime timestretch Skip back Sampling: The board continues to sample itself, yes, every note and pad hit is recorded in memory and able to be retrieved.

When considering the complete audio solution from initial inception to final cut CD delivery, The Roland Fantom should be considered a strong contender. Here’s another late pass.

DVD Rom features Hardware Specialist Nate Tinsley getting loose on the Roland-X8

33 Producer’s Edge Magazine Summer 2007

Vintage Series: Ensoniq samplers revisited

P

roducers in 2006 have a mixed blessing. On the one hand, there is a vast selection of creative tools available. There are thousands of hardware and software options to help today’s producer sample, chop, synthesize and sequence their sounds.

On the other hand, all of these tools mean: to make beats you have to learn, maintain and eventually troubleshoot each piece of your arsenal. Some revel in all the options. They like to have highly specialized tools for each task, presumably so they can have the best of everything. Others like to keep things simple. They want the distance between Musician and the Music short as possible.

This should allow the operator to more clearly express themselves. If you fall in to the K.I.S.S (keep it simple stupid) camp then it doesn’t get much better than a hardware sampling workstation.

That is, one piece of hardware than can sample, synthesize and sequence all of your sounds in one place.

From 1988 until 1997 Ensoniq Corporation produced a series of workstations that are still being used by a lot of your favorite producers - assuming your favorite producers include RZA, The Alchemist, Blockhead, Stoupe, Timbaland, EL-P, etc. This line included three models that were available in either rack mount or keyboard configuration (EPS Classic, EPS 16 Plus, ASR-10) and two table top incarnations (ASR-X and the ASR-X Pro). The purpose of

this article is to help the uninitiated learn the difference between each of the models as well as how these legendary machines might fit into a modern production studio.

Common Ground Architecture

Before we talk about the differences between each instrument, let’s look at what they have in common. All of the aforementioned models use the same wavetable architecture. Architecture is another word for the way in which a synthesizer or sampler’s hardware and software interact to produce sound.

Most hardware and software samplers utilize simple sample playback architecture. Sound is treated as a single chunk of data with a fixed loop point. Although you can change the loop position of a sample when the sample is in edit mode, you cannot change the loop point in real time. The EPS and ASR series machines can do exactly that thanks to their wavetable architecture. Instead of storing a sample as a single chunk of data, sound is stored in a sequential series of waveforms called wavetables.

Each wavetable has a slightly different harmonic structure and timbre. Most importantly, you can access any one of these wavetables at any time while the sound is playing.

When you playback a sound it can start from one of many wavetables rather than from a single waveform which is the case in samplers using simple sample playback. An example of how

words by Sean Maru

this can be useful is to modulate the start and stop points of a single cycle waveform ( e.g. using the modulation wheel). As you move the mod wheel, you will hear all kinds of harmonic and spectral changes as the synth jumps from wavetable to wavetable.

You already have an interesting sound and you haven’t even touched a filter yet, let alone effects. Now imagine the sound of several complex textures being manipulated this way and you can begin to see how these machines are born of a slightly different strand of DNA. If you are interested in being able to create sounds from scratch that have evolving textures and harmonic motion, the EPS/ASR series are great places to start.

Bank Storage

All of these models allow you to store your songs as banks. Banks are files that remember what sounds you used for a particular song and which instrument slot they were loaded into, all of the sequence and mixer data and the effect settings. A lot of professional samplers carry this feature as well.

They usually differ in how extensively they save all song parameters.

Sample Editing

For those who learned to trim samples on a computer or even an MPC, sample editing on and EPS/ ASR will seem a little cryptic due to their lack of waveform display. Editing a sample on an EPS/ASR is done by adjusting the sample start/end via

35 Producer’s Edge Magazine Summer 2007

”I ’ve never seen a software solution pitched as a sampler that gives me the filters or effects quality like the ASR-10. She’s built like a tankover ten years and still performing. I just sample up and start bangin out beats. It gives me confidence to not have to worry about my sound when I’m on it. The keys are serious- it’s my MIDI controller.”

-EM Maestro

the sample number. For example, once you sample a sound and enter the sample edit page you will see a numerical display that reads {sample start 0000000}. This denotes the point at which the sample trigger threshold was passed. Chances are there will be some unwanted sound just before the start of the part you want. Thus, you will have to hit the keyboard to trigger the sample and adjust the sample start until you have advanced to the correct starting point. Adjusting the sample end point is important in most cases otherwise when you sequence the sound the untrimmed part of the sample end will flam with the sample start.

Once you have successfully trimmed the sample be sure to hit the Truncate sample button. This will return the unused portion of the sample back into available memory, which can be devoted to more samples or sequence data. This way may seem extremely old school and a bit of a drag but, once you have this mastered- you will find it can be done as quickly and as effectively as you could on a machine with a visual display. Some sounds (like those with soft attacks) are easier to edit this way in my opinion. Best of all during this process you are using your ears the entire time. This method requires that you listen closely. As a result, you become more intimate with your track. You will know every transient of every attack by the time your song is complete. The connection between artist and sound is quite clear.

Of course, if you just got to have a visual wav editor there is a shareware program available for the 16plus and the ASR 10 called Epsilon. If you are on a Mac a program is available called the EPS/ASR Visual Editing System™ (EAVES™). It is available through Chicken Systems.

Tip: If your root key is C3 then try testing the sample start a few octaves down (e.g. C1). This will slow the sample down to the point where you can really hear and eradicate those pops that are throwing your loop off.

Alternating between a clean C1 hit and a nice punchy C3 hit will ensure that your sequences flow properly.

Sequencer

They also share the same sequencer.

It is 8 tracks plus 8 song tracks. On the front of the keyboard you have 8 instrument buttons (hence 8 tracks).

When in song mode you are given an additional 8 tracks. If 8 instruments sounds limiting remember that each instrument can contain multiple sounds. You can have a maximum of 127 sounds in memory divided among your 8 instruments however you like. In all of the EPS and ASR workstations,

the sequencer memory is limited to the amount of room you have in memory.

Sequence data does not take up very much room so it is usually not an issue, especially in Hip Hop and related genres. Editing is easy. By hitting event>edit>track you bring up a page showing the individual notes of which ever track you have selected. Using the arrow keys, you can scroll through each note of your sequence. You will see the note name, the velocity of the event, and its position. At first, it is a little confusing until you start to recognize the meaning of the positions. Soon you will be able to quickly scan a sequence and identify numbers that look out of place. Sequence editing is not as quick as it is in a soft sequencer. The upside

36 Producer’s Edge Magazine Summer 2007

of this is that you will know your tracks inside and out.

If you are familiar with a modern sequencer you probably expect to have the option of input quantization.

That is, having the sequencer quantize notes as you play them. The stock EPS ASR series did not have this feature.

Although it was made available to ASR-X users via an OS update (2.5). Another feature that most modern sequencers have and the EPS/ASR models lack is percentage quantization. Percentage quantization allows you to place notes between the standard quantization values (e.g. 1/16 and 1/16T). Often the values range from 50 to 100% with 50 being “straight” time and 100 being full swing. A lot of Hip Hop falls in the range of the low 60s. Then again there are many that advocate not using quantization at all.

Tip: Although the EPS/ASRs do not have percentage quantization, you can still hit the in between values of a beat by hitting COMMAND>TRACK>SHIFT TRACKS BY CLOCKS and adjusting the value to taste. It is not quite as elegant as having percent quantization but it will get the job done. One additional use for this feature is to spark your creativity when all your beats are coming out the same. By shifting different tracks forwards or backwards by 8th or 16th notes you can hear your samples or drum sounds take on new relationships which may give you a fresh perspective on how things should go.

Layout

They all have virtually the same layout. Obviously as the line evolved new controls were added to access new features but the main navigation on the EPS Classic, the EPS 16 plus and the ASR-10 remain unchanged Sampling a sound requires 4 button presses total (hit the sample button, select instrument slot, start button to initiate sampling and a stop button to stop sampling). It could not be any easier than that. This crisp workflow is one of the reasons so many producers swear by these machines. They keep

their mind on the next idea instead of being distracted by windows and mouse clicks. To sequence you only have to make two pushes; one to select the instrument you want to sequence and one to hit play/record. Sure, it cannot make complex midi edits like most modern sequencing programs Logic, Cubase, etc) but it is so easy record or re-record parts manually you may not miss those omissions.

One feature that all of the EPS and ASR models share is the ability to play sounds while loading new sounds. A small but significant feature found in all of these models is the ability to set a bidirectional loop (a loop that plays the sample forward and then backwards).

How many modern samplers can do that with out resorting to tedious workarounds?

EPS Classic Last is the EPS classic introduced in 1988. The goal of the EPS (Ensoniq Performance Sampler) was to be a powerful but easy to use workstation that mortals could afford. At that time the industry standard AKAI 900/950s samplers. The EPS, which listed at $1999, put sampling into the hands of many people who could not afford the Akai’s [$2,500 back then]. Its age is evident in the specifications.

We are talking 13 bits (instead of the now current 24 bit) and a maximum ram of 2mbs. Even the most anemic DAW will have many times that amount of ram nowadays. You might think that these facts would render the EPS useless in a modern studio. This is not so. First, compare the EPS keyboard version to your average midi controller. The EPS is a capable controller. The keyboard has a respectable synth action feel to it. Beyond that it is able to transmit polyphonic after touch, something that even modern controllers often leave out. The next time you consider adding an inspirational bit of gear to your studio, consider the EPS and ASR10 range of hardware samplers.

Sean Maru is a Producer and Sound Tech catch him at www.seanmaru.com.

Pro’s Top 24 MySpace Producers

1. Elite- Connecticut Myspace.com/elitethatsme.

Song: “Gun Ho City”

13. Da Architeks New Orleans/Atlanta, Georgia – Myspace.com/daarchiteks Song: “In the spot”

2.Phathom-Tacom Washington Myspace.com/phathomthemc.

Song: “Critically Acclaimed”

14. Hybred – Los Angeles, California Myspace.com/hybredmusic Song: “Watchnsee/No other place”

3. Deux Process- Los Angeles, California Myspace.com/deuxprocess Song: “The Process”

15. Mr. Cord – Orange County, New York Myspace.com/Mrcord Song: “Slavery”

4. Heat(the producer)Long Beach, CaliMyspace.com/gotheatmusic Song: “Prod Heat”

16. One Track Minds – Houston, Texas Myspace.com/p6productions Song: “Synthetic” 17. Celestial Productions – Ridgewood, NY – Myspace.com/celestialproductions Song: “We All Die”

5. Idolhandz Productions – Baltimore, Maryland – Myspace.com/idolhandz15 Song: “Newfebanger” 6. DJ Forge – Raleigh, North Carolina Myspace.com/djforge Song: “Black Market Rhyme” 7. Decap Beats – Boston, Massachusetts – Myspace.com/decapbeats Song: “Against All Odds” 8. EsNine – Los Angeles, California Myspace. com/esnine Song: “Patience intro/hard times” 9. Glish Productions – Italy Myspace.com/glishproductions Song: “Back Against” 10. Aeonmusic Phil.Pennsylvania Myspace. com/vastmixed Song: “Sugar” 11. Grandmassive – Fairfax, United States – Myspace.com/8477926 Song: “Bastards” 12. Mista Encore – Tinton Falls, New Jersey – Myspace.com/mistaencore Song: “Theboogersong”

18. Corpz – Miami, Florida Myspace.com/corpz Song: “One” 19. Knonsense – Phil.Pennsylvania – Myspace. com/knonsense Song: “Warrior March Beat” 20. Essex, IW – Boston, Massachusetts Myspace.com/essexiw Song: “Glamorus” 21. Dae One – Hawthorne, California Myspace.com/120daeone Song: “We Gone Ride” 22. Sean Duren Beats – Bloomfield, New Jersey – Myspace.com/seanduren Song: “Tough Luck” 23. Paul Danjer – South Jerz/ Illadelph Myspace.com/pauldanjer Song: “Code of the Streets” 24. Beatzbydarkness – Oklahoma Myspace. com/beatzbydarkness Song: “Shooter Hoodz Denim”

37 Producer’s Edge Magazine Summer 2007

Griffin Avid’s Corner: Where’s The Track?

Press Play

I

t’s a Friday night. I’m laying out on my producers’ couch auditioning tracks.

The only lights in the room are the display from his stereo system. I’m watching the meters dance to his beats and begin to roll song titles around in my head. That one is hot. I’m already formulating what to do over the track and beginning to mumble freestyles.

“He ejects the tape to look at it and the yellowed-with-age label says ‘hot beatz’. He’s digging through floppies. Now he’s turning on his keyboard and loading up song after song. It’s gets bad when he starts loading up floppies that have no label. “ production techniques. There’s the volume named Campaign with all the political drops when I was recording CNN and sampling the spots.

Consistency is key. There is a session folder for each track. It contains all the session versions and audio data.

Even if I’m using the same samples

the OS. I always update this list with markers noting which tracks have been sold, turned into demos or released. I keep the hard copy version updated every few volumes just in case. One of the many benefits of cataloging your beat library is being able to audition a large body of your work and gauge your progress. Many tracks can be revamped later and

Four tracks in. I’ll pass on that one.

The sample is familiar, but I don’t feel that rush. Wow. This one is nuts. I pull up that verse ya know that one spitter that fits over everything- the script you know so well- you can make it fit over any tempo and really freak the delivery. My boy is noddin his head to cosign. 16 bars of beauty. Okay, that beat, I’ll take that beat for sure.

“I think it’s called Head Up.” ...Aight He ejects the tape to look at it and the yellowed-with-age label says ‘hot beatz’. He’s digging through floppies.

Now he’s turning on his keyboard and loading up song after song. It’s gets bad when he starts loading up floppies that have no label. He tells me to take one of his beat CDs home (which I hate because all the beats are already demos, sold or claimed by a homie) to listen to and he’ll find that track and get it to me later. Damn.

Rewind I remember making those first tracks and naming them A followed by B thinking I would be a signed artist and millionaire before I ever reached track Z. At some point even numbers began to fail so I decided on organizing beats by volumes. 16 tracks is the cut off point and roughly simulates the size of an album. It’s no secret we name beats after the inspiration or lead sample source. The volumes reflect moods or eras and sometimes

with different tracks, the session has a unique copy stored in its root. This insures transporting the session to another studio won’t cause that headscratching moment of “I knew this track had an ill string sample…” Most sequencers have the ability to save session notes and I make sure to list sample sources (if not included in the samples name), memorable settings on a sound module, mixing notes and even patch names or kit set up.

The entire folder with multiple sessions is named after the volume and that is backed up on CD/DVDROM for storage. Backing up the entire drive is also an option.

Record: The Master List (something as simple as a Microsoft Word document) holds information on which tracks make up what volume and is never saved on the hard drive with

38 Producer’s Edge Magazine Summer 2007

some problems can be addressed with a fresh perspective achieved only through the passage of time.

Reset: “That beat is fiyah, son. Hit me with that one.” Cool, you’re listening to Volume 12: The Blackout. Track six is Light Switch. I got it right here; I’m loading it up now. How many verses you got? The stone slides across the blade.

MIDI-Quest by Sound Quest

Expanding the soundset of your hardware without the micro-programming blues.

Words by Griffin Avid

M

aybe you have the shell of a promising track laid down. A skeleton drum pattern is running in the background and you’re feeling out where this track could go next. A melody floats in from your subconscious and now the hunt begins for the right sound(s) to lay it down.

Nothing drains the creativity and inspiration faster from a session then trawling through hundreds of presets looking for that perfect tone. Sure you can rely on your Favorites library but how long can you go arranging and rearranging the same signature set of sounds?

Incorporating yet another Tone Module with new, exciting and fresh sounds places you back at square one auditioning all the new material and taking mental notes on the best presets. It could be time to dig in and learn how to program new patches and create your own signature library of sounds. But, you’re a producer at heart and not a sound designer. You also don’t want to spend you time scanning through a poorly written user manual, internet tips and tricks from one programmer to another or a magazine article dedicated to making a cheesy Techno laser zap.

To make the programming task easier, many hardware units have Software Editors available. This is a small software app with a graphical interface representing the controllable parameters of the tone module. Using this system allows you to bypass the tedium of multiple-page menus or trying to decipher what the few characters in your synths LED are trying to tell you.

Here are a few highlights.

Displays a high quality graphic of each of your MIDI devices. If you have multiple units, your virtual studio allows you to see a virtual rack of all your gear and makes switching between hardware units as easy as clicking on its image.

Smart Controller option allows a single controller to be specified.

That controller will edit the currently selected control allowing you to edit from a keyboard or other MIDI source.

Controls representing MIDI note values can be edited using MIDI input from a keyboard or drum machine (eg use the keyboard to set the upper and lower range of a layer by pressing the appropriate MIDI notes) Import files stored in other Editor/Librarian formats and you can create your own instrument support from scratch, meaning just about anything that uses MIDI to adjust its parameters is fair game.

Includes an MFX plug-in. This plug-in allows you to run Midi Quest XL in Cakewalk sequencers such as Sonar, Cakewalk Home Studio and Guitar Studio. VST parameter automation. All parameters edits can be recorded in your sequencer and played back later.

But more important than what the program can do- is what I can do with the program.

Revitalize an old rack unit and bring it back into you kit list. Many producers have that Old Faithful rack unit you’ve plundered for all its sonic goodness. You can’t sell it because of its nostalgic value and you can’t give it away because it was such a huge part of your early sound.

Using MIDI Quest breathes new life into any sound bank and, with a randomizer function that spontaneously creates new banks, the possibilities are near endless. With vintage hardware prices dropping, MIDI Quest gives you yet another incentive to give in to Gear Lust and snatch up a few units you’ve always wanted. MIDI Quest also does wonders for modern boards and workstations. I’ve been using it with the Triton series to get deeper than the surface programming afforded by the limited control surface. Support for the Motif ES series, including the rack, is around the corner.

What will I actually need to do to get going?

MicroKorg Software Editor While wholly adequate to get the job done most editors are lacking in advanced features and an inspiring interface and overall appearance. This is where MIDI Quest from Sound Quest steps in. For the XL version the feature list is quite impressive…

A MIDI connection to and from the hardware unit(s). MIDI data is actively passed from the unit to the software app and returned as the settings are updated in real time. This is also an excellent way to capture a perfect patch tweaked in hardware for a computer stored library far beyond the User Bank most synths offer. The Included User Manual

39 Producer’s Edge Magazine Summer 2007

(A book and not a PDF!) is well written and the software has a quick hints tab which tells you how to set up your hardware with MIDI Quest -eliminating the need for the original user manual.

MicroKorg connection.

We have included an entire bank of MIDI Quest powered patches for use with the MicroKorg. These files sit on the DVDROM under patches and are saved in multiple formats.

Midi-ox (http://www.midiox.com/) is a free utility to send MIDI data to and from your unit..

The graphical environment is so impoprtant since it is where I may be crafting that all important ear-catching element of my next monster track. VSTs have given us the elegance and sheen of a hardware emulating GUI and now we can utilize the gorgeous interface with the robust sound of classic hardware.

Note: MIDI Quest also supports a wide range of samplers and effect boxes. To see the continually updated list of supported gear visit http://www.squest.com/Windows/Instruments.html.

A demo of MIDI QUEST XL 9 is also on the DVD.

40 Producer’s Edge Magazine Summer 2007

The future and Version 10 Although they were keeping close guard on all the details, we were able to squeeze a few enhancements due in version 10 from their head developer Michael Lambie. Expect a more robust VST Plug-in implementation, 64 bit Windows engine support, Intel Mac compatible, streamlined MIDI I/O. improved handling of parent/child relationships and a new composition system for Combi and Multi-patches and the ability to copy and paste across multiple banks.

We’ve been given advanced access to version 10 and are delighted to say Sound Quest has chosen to listen to the requests from its user base and added a plethora of features and made the program even easier to get up and running. And lastly it’s been updated for total Windows Vista compliance. Enjoy the sneak peek.

There are several options for purchase.

Midi Quest XL List Price: $299US Midi Quest 9 List Price: $199US and the solo version UniQuest List Price: $99US http://www.squest.com/index.html A screenshot of the leaner and meaner Version 10.

One of the most famous titles is Smokers Delight.

It’s considered a sampling classic that has really stood above many of the other sample packages.

When you were putting Smokers together was there any thought to changing the overall sound and tone of Sample CDs?

Big Fish Audio In the Loop.

Words by Drew Spence

W

hile clearing sample content for this issues’ DVD-ROM, I fell into a conversation with Big Fish Audio VP of Sales and Marketing, Byron Devers about the bad name sample CDs have and my own horrible experiences using pre-packaged drum-loops.

While explaining my feelings on producers-not-fromthe-culture assembling sound libraries primarily for profit, Tom Meadows, the president of Big Fish Audio came in and we had a casual discussion about the current state of music, the evolution of sampling and modern production techniques.

Company Origin and the initial inspiration behind the company.

Tom Meadows: The company started twenty years ago by my predecessor Mark Birmingham and he was a classical pianist who owned a Synclavier (New England Digital). Stevie Wonder went on The Cosby Show once and demonstrated how it worked. It was kind of an entertainment piece. Marks’ vision was to make a world class library for this sampler that was considered cutting edge at the time. When I came on I was the loop guy. I understood the newly emerging use of the sampler.

The marriage of the two is what kicked off Big Fish into what it is today. We wanted both instruments and loops- capturing both sides of the market.

Are you trying to get around the maintenance and expense of vintage synths or is it about giving the entry level market tools they would not have thought to use otherwise?

Tom Meadows: Big Fish is dedicated to getting whatever sounds are wanted by the masses. If Producers are using MPCs we want files that go with MPCs. It’s about accessible REX files and Apple loops. For the PC users, we go with Waves (format).

It’s Democratic. What the people want the people get. If it’s an obscure sound without any demand then it isn’t economically viable.

Tom Meadows: Prior to Smokers Delight we had quite a long history with Urban Music. It goes back to our first drum loop product (Drum Loops volume 1). We were into Hip Hop, which then, centered on Break Beats. We had the Gangsta Vibe with Loopzilla and Smokers Dropped and it was very big for us. It wasn’t really a turning point, it was more of an evolution and culmination of all that we’d been working for.

Why not use a front end virtual Instrument like Ueberschalls’ Elastik or the Spectrasonics’ Stylus RMX with its own bundle of loops or even Kontakt Player from N.I. as a GUI? Tom Meadows: We are the exclusive US distributors of Ueberschall Products so we respect the front end idea.

Here’s the thinking: our aim is to supply sounds in the easiest format a producer can use to manipulate the samples. Let’s talk about (Ableton) Live some more. If you’re tied to an engine, you can’t just drop the loops into Live. We see that as a limitation. We want the format we deliver to be as flexible as possible. We know these companies are building these front ends, in part, to fight off piracy.

We’re concerned about that too, but we do not want to restrict our customers. It’s an extra process to drop the loops into the MPC- we want you making music right from the start.

Who decides on the artwork since you are trying to pitch for a very corporate savvy urban landscape?

Tom Meadows: We have a marketing team here at Big

41 Producer’s Edge Magazine Summer 2007

Fish. The art department hires out covers and they are made to match the material on the release.

Byron Devers: There are specific vibes to all the sub-genres of Hip Hop and we want to keep that feel and the sound consistent with the packaging. We want you to know what you are buying just from the presentation alone.

How did you research the genre to create a package intended to be the backbone of such a cultural movement?

Is it reflected by strong record sales, radio airplay, famous producers, the artists themselves?

Tom Meadows: All of them. We rely on working with very talented producers- much like a record company. We have twenty employees, but the music is made by producers who are contracted by Big Fish. They are outside producers who have their finger on the pulse of what’s going on. They come to us and we function more like an A&R department.

From a marketing standpoint, why haven’t you chosen to go with a big-name producer to be the pitchman for your products? AKAI has used legendary producers; Korg uses world famous musicians…

Tom Meadows: This answer is not from arrogance, but we feel Big Fish has earned a reputation that goes beyond a single artist. Apple computers wouldn’t use a single personality to tell you this is the computer to buy because a computer is bigger than any one user. It could alienate others by showing such a central sound source or angle.

I guess you wouldn’t want that Dell guy getting caught with weed after showing off your computer on a Saturday night…

Byron Devers: Um…. something like that. [laughter].

Let’s discuss the future.

You’ve released the Reggaeton package.

How did you know that could be a viable direction?

Tom Meadows: Reggaeton surfaced about a year ago during one of our meetings. Like usual, some were really gung-ho and others thought it could be a fad. We worked it out. We’re not like a record company trying to make a big hit. We want to hear what the customers want and if they respond we follow up.

Do you listen to the software packages offered from other companies?

Tom Meadows: Oh yeah, not all of them, there’s a lot of stuff out there, but we try.

42 Producer’s Edge Magazine Summer 2007

Do you laugh at the clearly Rock and Roll inspired Hip Hop ones?

Tom Meadows: No, we don’t laugh. It’s very expensive to make these products and people make what they can.

What’s around the corner and big for 2007?

Byron Devers: Off the head…There are a few titles we’re looking forward to. Off The Hook 3 (debuting on our DVD-ROM). From producers to television and film guys, we expect it to be one of our most popular titles along with NOTORIOUS Hip Hop and R&B [samples also found on our DVD]. The producers that create our products keep us on that cutting edge because their own tracks are on the radio. Keith Clark from our Platinum Essentials series has done several projects with Snoop Dogg and the Eastsiders. Jeff Carruthers, producer of Suite Grooves has done work with Peter White, Paul Brown, Boney James, Jeffrey Osborne and more. Anthony Myers (Off The Hook) has tracks with Donell Jones, Brand Nubian, Natalie Wilson & SOP and more. We have greats like producer/writer Marcus Siskin, (Backstreet Boys, Lauryn Hill, Queen Latifah), producer/mixer Chad Elliot (Destiny Child, DMX) and three-time Grammy Award winner Warren Riker (The Fugees, Santana, Kid Rock) who are all producers on NOTORIOUS. These guys are right out there and that’s one of the ways we stay current and grounded.

Tom Meadows: One of the most important thing is we put accessibility and quality on top. We’re trying to make a product you can put under a microscope and you can say this is worthy of being a foundation for whatever you’re working on. We want happy customers we can build a community around.

Byron Devers: Our number one thing is to make it hot.

We don’t want to risk our reputation. We want you to have quality sounds for your next project.

Thank you to Tom Meadows and Byron Devers for taking the time to talk with Producer’s Edge. Be sure to check out the samples included with this issues’ DVDROM and be the first to get an earful of Off The Hook Volume 3 courtesy of Big Fish Audio. http://www.bigfishaudio.com/

Feed The Forum STAY and SHARE Join the Producer’s Edge Magazine Forum and build on Music Production and other topics of interest. Be part of an open community - structured for several levels of experience. Sharpen your Edge.

• Stay on top of industry events and even promote your hustle.

• Share your interests and stay plugged in.

• Stay current with product releases and updates.

• Share resources and information with other like-minded musicians.

• Interactive quizzes, giveaways, contests, articles. http://forum.producersedgemagazine.com/

The Kjaerhus Classic Series is up for grabs. In their own words: The goals were simple - make a series of VST plugins that works, feels, looks and most importantly sounds as good as a classic hardware unit.

Also, keep it simple and easy to operate. In fact, anyone who knows their way around the classic hardware units should be able to understand and operate these plugins, without a manual.http://www.kjaerhusaudio. com/classic-series.php

Behringer Free VSTs Audio Editors and Hosts.

Although it’s listed on our links page, I couldn’t help but point to the free resources (license applies) available from Behringer. Mostly the fuss is about the Acquit Music XX-Drummodules. I’ve been making snares, kicks and hats and playing with the Pad generating Tweakbench Padawan. C’mon, with a name like that you have to try it.

43 Producer’s Edge Magazine Summer 2007

Sonny Carson The Brooklyn Mint Project: DVD and MixTape Deluxe Package Words by Drew Spence

W

e caught up with Sonny Carson, one-half of the production team responsible for the Brooklyn Mixtape.

Starting 5/ATM Productions has dropped a combination Mixtape and DVD with In-Studio footage of how it all went down. The DVD features artists including Maino, Fabolous, Red Café and The Notorious B.I.G. It’s been a very busy year since Sonny Carson was featured in the ISP Showcase. That appearance opened doors and eventually led to being in a position to co-launch this ambitious project. We chopped it with the Brooklyn Producer and dug into his workflow.

PE Mag: What’s new with your gear set up since the ISP Showcase appearance?

Sonny Carson: I’m still using the same stuff. I’ve added the Fantom. A year ago I was using the Motif and the MPC. PE Mag: Any difference in your production sound since the additions?

Sonny Carson: Well, each module has some of my favorite sounds. I like the Brass in the Motif and the string and guitars selections in the Fantom…I use those a lot.

No sequencing?

No sequencing yet. The MPC is the sequencer.

What was your inspiration for the Brooklyn Mint?

We felt that a lot of people weren’t paying attention to New York music or the East Coast. The South thing is hitting pretty heavy. We originally started as just a CD of everything we produced…

Something for ourselves of just music we liked. As we started creating it, we began to zone in on Brooklyn Artists.

Haastyle Films were putting together a project and documentary. They filmed the work in the studio, following

us around. Halfway through, me and Reefer (Relentless Management) thought it would be cool to put together the combination. We got the storyline together and went back through the footage and made the DVD. What’s special about each artist?

And what attracts you to each artist?

We have a bad stereotype of artists.

They say everyone wants to just follow the trends…like everyone with the Jay-Z flow… We wanted to pick artists that were different and have them bring their style to the table. We still wanted the Brooklyn rap feel out there.

A standout track is the Different joint Reef did with Maino. Maino is a raw artist and Reef brought out his personality. Another one is the Poppa Syms, “Always On My Grind” is one of my favorites. It brings you back to the story telling style that’s missing in the game today. He did a crazy job with that.

And the 100 bars joint?

It’s GDK formerly from Roc-A-Fella, that whole get low movement. We were trying to make a song and we were having a hard time coming up with a hook. So he just started writing and writing. He came to me like ‘Sonny, I don’t have a hook, but I have 112 bars’. I was like ‘If it sound hot, lets

44 Producer’s Edge Magazine Summer 2007

go in and record it.’ He’d been around for awhile, but never had his true turn to shine. Most people may remember him from the Murda, Murda Marcyville remix joint.

PE Mag: Are you creating the tracks ahead of time and letting them hear beats first or remixing the joint to already laid down vocals?

Most of the time it’s brand new stuff.

I can remix, but I’m a big fan of doing stuff live in the studio. The aura can’t be replaced…creating new ideas right there in time. I like everything to be fresh and new. He can come in and give me a hook and I can build off that.

It’s not just something old over some beats.

Sample first or compose first and find samples later?

I’m a sampler first. Music added next.

Chopper or layering?

I can do both, but I think my best stuff is layered.

What developed music?

your

ear

for

I’ve been listening to Hip Hop forever. Growing up was all Rap. My first record that made me fall in love was

Gang Starr’s “Just To Get A Rep” by Premo. That was the joint. I thought I must be affiliated with this in some way. I love street records, that real Hip Hop sound.

his family put that out. So we did it as a tribute to Brooklyn in the name of one of, or to me, the greatest rapper to ever spit. We like it as a symbol of his work.

With the climate of commercial rap being what it is, what gives you the confidence to release this kind of a project?

Brooklyn Mint II?

It’s different. You need this kind of music. Real Hip Hop can’t be denied no matter how you think about it. Commercial music may sound different, but it inspires everyone to go down the

It’s in the beginning stages. We’re going to extend the boundaries and reach out doing different music. Now the East coast is going to reach out to the hottest artists from all over the country.

A whole new line up?

Most likely.

There might be some repeat offenders on there. We made a lot of songs.

We needed a flow and a unified feel for the entire project.

So some songs may end up on the next [Brooklyn Mint] track listing.

same road because it’s what’s poppin.

We will do commercial records, but we love the music so you have to sometimes make [music] for the love of it.

That’s what brought this project about.

We didn’t make this for a major label to approve. We picked the stuff we like and what we wanted to hear.

We made a lot of songs and picked out the songs we felt had the feel to keep the project together.

Whose’ the business engine behind your team?

My brother I.V. who also produces handles the business.

The Name Brooklyn Mint and the symbolism?

The Notorious B.I.G.’s clothing line…

Worst production moment?

Sitting in the studio for four or five hours trying to work out a song and it’s going no where- putting in all that work and just not coming up with something hot.

Will you expand the production roster?

It’s something to think about. I don’t want to flood the projects with too many different sounds. Myself and Reefer have two totally opposite sounds that we blend in to make a whole project.

Adding other producers could change that balance, but it’s something we’re looking in to see if a new producer could fit.

As a Golden-ager, how do you feel about the switch from a single producer crafting the tracks for an

album and album being a collection of beats from various artists?

One producer. That works for me. I like having a close relationship with the artist and I can go places you don’t get to when you just walk in playing tracks and trying to get a placement.

You spend your energy trying to land a single and not that meaningful song.

Crate Digger? Definitely, all the time. Sample diggers? Yes, I have had people come to me and give me records. They say “This could be something. Go ahead and do what you do.” That’s fine.

You walk into a club and a few dudes are pointing at you and whispering.

What are they saying about you” “Yo, that was his joint they just played, he’s nice.”

I’m a new producer trying to get in the game and I need to get my sounds together. Maybe my drums are a little loose, any advice for improving my production?

Every day. Every single day to be consistent. It takes that to get better.

You have to study the masters that came before. You have to study what they sound like and continue to work towards that. You can’t just work on your own music in isolation. You have to compare your sound with a top sound and hear the difference. That’s the guaranteed approach.

Please give a listen to Sonny Carson and The Brooklyn Mint and hear a new sound and innovative direction to giving a project more exposure and immersion by combining the DVD media with a Mixtape formatted album.

45 Producer’s Edge Magazine Summer 2007

Drawzilla Words by Drew Spence

W

e snatched a few hours out of the life of Drawzilla, the producer and director of Music Production for INASIRKL Music Group. He has a solid resume built with Hip Hop talent including C.L. Smooth, Sadat-X, O.C. and A.G. of DITC. You can also catch his 1.FM Jamz radio show on iTunes radio.

Main tools in the Lab? MPC 200XL No upgrades with the 1000 or 2500?

Eventually, I’m just very happy with my flow so I’m going to say where I’m at. I’m using the Triton as my second tool. I will always incorporate samples.

The difference with me is that I like to chop samples and use the sounds like a keyboard. I’ll place them on the pads and rearrange the melodies. Four years ago I started with a common style. I was influenced by Premier, Dre and Pete Rock. I really needed to step away from their sound and develop my own print. I wanted beats that an R&B singer could work over. I’m more about melodies, heavy drums and thick bass lines.

What about your ideas on Gospel production?

Music is music. Gospel is just preaching the word so I use the traditional elements and if you listen to modern Gospel- it’s R&B. It has an undertone of Hip Hop. What about the source sample for Gospel music? Are there rules?

To be honest it’s a very tricky. Gospel comes from your spirituality. I’m no angel, but you have to be very careful how you direct your music. I wouldn’t

take a loop from NWA and try to turn it into a new Gospel track.

I always say I’ll make a banger and it never goes that way. I’ll say here

“My job as a remixer is to prolong the life of the track. I must make the remix better than the original. I have to take the song out of its character and take it someplace else.”

What about the arrangements?

difference

in

It’s all bridges in R&B. You must be able to transition from the verse into a chorus. You have to know what you’re doing. Today’s music is relying on the artist to create the bridge vocally while the track breaks down.

Remixing?

My job as a remixer is to prolong the life of the track. I must make the remix better than the original. I have to take the song out of its character and take it someplace else.

Where does the inspiration come from for the remix while creating?

It must be in the artist. I have to hear the artist. The vocals place me in the proper mindset. It’s all creative juices: drum track or maybe the sample. I’ll take something like a Pot and Pan sound and that could spark a track.

46 Producer’s Edge Magazine Summer 2007

comes a ballad and before you know it I’ve got something great for MOP. I just can’t control the creative direction.

Drum source?

I’m a strong believer in sampled drums.

I don’t like drums from any keyboard… the most I’ll use are high hats. I like hard drums. Pete Rock and Premier snares and kicks. People that listen to hip Hop and R&B dance to the drums; I have to give them something solid and so head-banging that it’s undeniable. I love the heavy claps and snares.

How about your production morality? Samples drums from another Hip Hop record? Yes. Replay a melody from a record?

Yes. Chop vocals? Yes, but nothing new.

It has to be older.

Work with an artists you don’t think is too skilled?

world can’t help you.

How do you approach a known talent? It’s challenging. You have to get over that intimidation. You have to know you can go from start to finish.

I can go into a studio and finish the record so the pressure isn’t there. A beatmaker can find himself quickly in over his head by just being able to make a track and not knowing what to do to turn it into a complete song. I remember it’s about the producer AND the artist so that’s the relationship I attempt to establish. It’s about working with them and seeing the concept they are reaching for. Sometimes you have to provide the foundation when they don’t know where they want to go with a track.

For enough money, yes.

Remix a classic for serious money?

Oh, the paper would have to soooo heavy.

Who Shot Ya? No, Never.

Ghost Produce? Yes. Have someone Ghost Produce for you? Hell no.

Have someone dig for Absolutely, I’ve done it before.

CD Turntables? Love them.

you?

Mixtape DJs verse Traditional DJing? It’s an art. If all you do is just string together joints then it’s not a real DJ. It’s something else to play music live and not just claim a bunch of exclusive songs early.

What would you do different to get your career going faster?

One of my biggest regrets? One of my weaknesses was the mixing early on. I didn’t have the ear or know how to make my music sound the way I wanted. If your engineer isn’t on point or you might as well hang it up.

What’s the best first thing?

Educate myself. I attended seminars… a little Two-hundred dollars to get an understanding of the business. You must know what you’re doing. I was burned early on. I’ve been the talent behind a few songs that were released, even with videos and never saw a dime. There are good losses and bad losses. You have to surround yourself with people that are better than you.

How did you know you were ready to expose your talent?

People have to tell you. The people crowned B.I. [Notorious B.I.G.] king.

You don’t walk around claiming that. If it’s not the overall feeling people have about you- all the confidence in the

What do you want from the music production industry?

To be a good producer and more important a great person. I want artists to enjoy working with me and I want to build a real reputation for working hard.

Who would you like to work with?

Joel Ortiz, just signed to Aftermath.

Juelz…Shots Stimuli on Virgin. These are artist that inspire me. Their talent level pushes me. I make music for myself and I hope someday to inspire someone else.

If you could get an unreleased acapella for you to remix who would you like? Aretha Franklin.

What’s a gem for the readers to use? Be selective of who you play your tracks for. Having a yes man or an everything is hot crew is a waste. I have my right hand man- Slim McMills.

We’re really good friends, but he’s honest,. He’ll tell me if a track wack.

You don’t always know how something will go over for the crowd. I play my records for females because they are quick to tell you if it’s hot or not. Would you buy this? Would you dance to it?

We’ll take that advice. You can catch this tight producer and hear a few of his latest projects at myspace.com/ drawzilla. Thanks for the time.

47 Producer’s Edge Magazine Summer 2007

Frequency Words by Drew Spence

“Dre ... said Snoop hasn’t rhymed like that since high School.”

W

hen we first spoke to the producer Frequency he had just landed a placement on Snoop Doggs album The Blue Carpet Treatment with Think About It. With artists like Rass Kass, Masta Ace, Wordsworth, J.R. Writer and Cam’ron he has a wide production style capable of energizing the artists he blesses with tracks. Let’s get to it.

Weapon of choice?

MPC 2000XL for 41/2 years. It’s just easy to use and suits my work flow.

I don’t record the samples into the MPC. I record the samples directly into my PC then I save the files on disk and edit them in Cool Edit Pro (which now exists as Adobe Audition) then reload them back into the MPC via compact flash. Next I put together the skeleton in the MPC and dump it all into ProTools where I can complete the track using Soft Samplers.

Snoop Dogg Record history.

I caught Snoops’ A&R as a chance meeting a year and a half ago. I gave him my beat CD and six to seven months later he called me and said Snoop had tracked over the record and we’ll see where it goes from there. A few months later they flew me out to LA to mix the record with their engineer. Snoop would have been there but he was sick so we spoke on the phone. The song came out crazy and he said it was really different from anything he’s done before. It’s fast like 105 bpms...it’s an old school rhyme scheme like Big Daddy Kane.

He told me on the phone that he hasn’t rhymed like this in awhile. His management played it for Dre and he said Snoop hasn’t rhymed like that since high School. He’s recorded like 300 joints and it made the album. I’m mentioned in a Billboard article and a listening party and they played the track so it looks really good [it was].

Your start in Music Production.

I started DJing in High School. That’s open snare, kick….I use breaks. I’m not how I got into records and old record into using loops. I have to chop them collecting. My parents are very supup. I need to change it up to keep from portive. My dads’ record collection having a sound like everyone else. is where I found a lot of the source Drums first?Everyone has the same records- like Wu-Tang used this and answerer….depends.

I have two that’s how I got started in to sampling. ways.

In college I really dived into making beats.

The Cam’ron “For every hot beat I make. I make 5 wack and JR Writer ones. Greatness doesn’t come right away. situation.

I’ve talked to a lot people and they’ve been in the studio with greats like Scott Storch and other known producers and they will have wack beats too.”

I’ve been working with smaller independent artists. I work closely with Scram Jones and he helped me shop some of my beats and we collabo too…He sent a few over to the Dipset and that was it.

Branching out into Rhythm and Blues?

Yes. Honestly, I like that little more than the Hip Hop. R&B has a wider range and appeal. Today’s R&B doesn’t really have the old soul- so I’m open to combine the soul with my Hip Hop sound. I’m working with a few song writers and trying to get something going.

Drums. I take from everywhere. I’ll use a soft synth combined with effects.

Programming MIDI in ProTools –it’s just not conducive to making good beats or at least it’s not the best workflow for me. I’ll use Absynth and get my synth lines. I sample from records and even from other Hip Hop records. I’ll use the

48 Producer’s Edge Magazine Summer 2007

One; I find some cool drum sound and I’ll make a good drum beat. Usually I get inspired by a new pattern from another song. I’ll say a few beats that are really hot and let them sit on stash. Two; I listen to records and dig for samples. I’ll find a really good piece and then even go back to my beat collection and see who fits behind it.

How big is the record collection and how did you amass it?

Five to Seven-thousand records. I do everything. I do EBay and flea markets every weekend. I research artists and producers and dig for an exact record with a particular sound.

I’ll even seek out the stuff that’s dope to me. I’ll sell records too if it isn’t what I want. I sell parts of my collection at record shows. I get there and trade with the other dealers. If they have heat- we can swap.

From a sampling background what VSTs are able to sit along your samples?

One VST that I love is IK Multi-media is Sonic Synth. I love that sound. I think it’s great. It has lots of instruments. They sound realistic. It’s easy to use the parameters and get the sound you want. The presets are cool, but there are also elements you can combine and create your own sound.

Now, I’m into some synth beats. I feel like I’m able to blend the two together and get what I want.

Why not Korg, Yamaha and Roland?

Yeah. In the future I may go with the workstations. I’m a sampler so I just need something to fill in the gaps. I have a Yamaha Electric Piano. It has a full sound and it fits sometimes.

What about Tone Def and Wordsworth?

I appreciate them and owe them a lot. They recognized my talent first.

Wordsworth just liked my beats and said Your shit’s dope; lets make some joints. It’s different with underground artists. With Wordsworth we collaborated in the studio. He asked for the hooks to lay out a certain way and we built the structure. Bigger artist like Cam’ron…we never met, I bet he doesn’t know who the hell I am. I just did three joints for Masta Ace, Punchline, Wordsworth and Strickland. We are doing a group album and it was

a great situation. I got to be in the studio and work them and we still say in touch.

What was your first real serious move? I was originally part of a group called the Understudies. It was when I first started making beats. It was two emcees and me. We did a couple of songs and was signed to an independent, Fresh Chest Records out of Westchester. They did material with Cunning linguists and Tone Def. We did a full album that as a cool experience. The album as shelved, but we were able to perform with the Roots and John Legend. That’s how I met Wordsworth and most of the artists I’ve been working with. So in the end it wasn’t the big break, but it was the start of my career.

Any words you’d like to pass on?

For every hot beat I make. I make 5 wack ones. Greatness doesn’t come right away. I’ve talked to a lot people and they’ve been in the studio with greats like Scott Storch and other known producers and they will have wack beats too. So it’s really hit or miss- you have to keep making beats.

I don’t take 30 beats to an A&R. I take the five great ones.

Lastly?

If you’re really hot we can work together. I do what I can to make good records with whoever can create hot music. Hear more at Myspace.com/frequencybeats

49 Producer’s Edge Magazine Summer 2007

Crate Diggin with

Da Cryptic One

S

amplesmith Cryptic One from CP Records stopped by the office and agreed to an impromptu interview about his digging practices and his thoughts on the culture behind lifting.

Most producers start sampling in the family record pool first.

What’s the advantage of moving into the smaller and more obscure stores?

The larger selection and more genres of music. Generally when you sample from your parents- they lock into one genre and it’s usually the more popular shit.

I’m looking for a sample to be the main element... something I could build the whole song around. How do you go about searching for this type of sample?

Actually listening to your records from front to back. You can skim through the record, but you could miss that 3 minutes of magic.

It’s sometimes only those 2 seconds buried in an 8 minute song.

Looking for the empty space for the break isn’t the best way?

I used to do that when I first started, but that’s okay for single instrument sounds. I have to put it on in the background while I’m doing something else and wait for something to jump out.

Do you shop by band and follow up from a sample you’ve used before?

Yeah, absolutely. When I find a record that I used to make a song out of, I’ll find their entire catalogue and see what else the band members appeared on. That’s basically how I built up my record collection.

Where could I find some of the best stores?

Locally, hit up the yellow pages for record stores. We [New York] have so many stores and also so many diggers all doing the same thing. There’s a million diggers and that drives the prices up for sought after records. The prices are just ridiculous so when I’m out of New York I make sure to hit up the record shops.

How do you go about bargaining with the store owner to get the price down on a gem you really want?

I don’t really bargain. The only time I search for a deal is when I’m buying in bulk. I generally know how much a record is going for… if the store won’t budge on a bad price, I’d just buy the record some place else.

50 Producer’s Edge Magazine Summer 2007

What about records you want to sell?

Would you sample from another rap record?

That’s a tougher issue. Nowadays…EBay. Check what records are going for- it’s the best way, but also pretty deceiving. That will give you a general idea. If you saw someone sell a record you’re trying to sell for $100- it doesn’t mean you will sell yours for $150, but it’s a good indicator for the going rate.

I have in the past. . Nowadays I won’t. Four, five years ago …the whole Idea suddenly felt kinda weak. Hip Hop was always a kind of combination of other music genres and cultures and when it starts feeding on itself…it just doesn’t seem right.

Do you bring anything while at the store?

How do you organize your collection?

to

listen

to

the

records

Sometimes I do. I have a Columbia portable turntable. For the most part I prefer not to audition them. I like to buy [the record] and get home to listen in my comfort zone.

I keep it generally separated sorted alphabetically along walls by genre.

By sound? On special records….the spine has a sticker that indicates drum breaks.

Do you just spend sessions sampling and searching out material or do you only dig while making tracks?

“I just want to hear dope product. I Both. When I first listen, I use postits and use that to mark records.

A good percentage of my records have little notes like drums here, a break, flute. Sometimes... when I’m not in the mood to make a track, but still want to work on music.

don’t care if you’ve made a million chops or layered a crazy arrangement.

A cat might loop a piece and just put drums behind it. If his beat sounds better than yours; he wins.”

What about the practice of building a drum library from vinyl? Are you into making kits?

I don’t do that. It’s great if it works for you. I just don’t operate that way. You won’t find a drum library on my hard drive. I don’t know why. Maybe, to me It’s more organic. Building a track, searching for a snare is part of the process that I love. I don’t get that same feeling digging through a folder called snares. I just work as I go.

Are you ever taken out of the producer zone by just listening to the records and seduced by the music?

I buy a lot of records for sampling, but also to collect just for the music. That’s what made me want to make music –listening to it. There are records I would never sample, but I’m glad they’re in my collection.

Do you listening to records outside the usual genres like Soul, R&B and Jazz?

I grew up in a family that listened to different genres so I was exposed to Rock and Soul…Three Dog Night…

Are you ever concerned about the legal issues involved with sampling?

Should I be? Yes. Am I? No. Before all the legal BS that comes with sampling- I’m a producer.

Whatever I need to make the end product better. If it takes a four bar loop to make my record -I’ll lift it.

What about being influenced by what’s playing on the radio? The cat that hears a high sped female vocal and then runs home to his collection and starts digging for that type of material.…

It’s a double edged sword. In one way it bothers me because I feel you should be your own person. On the other- when I first started I had cats that I emulated and that’s how I learned. Even if I was trying to follow, my own sound would come through. . I’ve heard a lot of kids that have mastered the art of mimicry and that’s wack, bordering biting.

What about the techniques behind a piece of musicchops, layers, blends?

I just want to hear dope product. I don’t care if you’ve made a million chops or layered a crazy arrangement. A cat might loop a piece of music and just put drums behind it. If his beat sounds better than yours; he wins.

What about ghost digging?

Signal chain?

Not a problem. I don’t send people out,, but people always come up to me and suggest vinyl or give me records.

Sometimes it’s DJs or just people that collect music.

Technique 1200 into Vestax mixer into ProTools. You must upgrade the mixer -it has to be transparent. I try to get raw and clean samples.

What about digging for MP3s.

Against. It take the learning process out of it, it’s a random crap shoot to just find something you like and downloading

51 Producer’s Edge Magazine Summer 2007

it. You don’t learn about the artist or research into the music. In the end if the results are good I guess it doesn’t matter. It’s a personal thing for me. I will never do it, But I won’t knock the practice. For me it’s about digging for the unfound gems- those sounds that you could be the first to expose.

His next album The Whole Truth, half truths and Lies is due later this year. You can hear his previous work on The Anti- Mobius Strip Theory, which was built upon very obscure musical sources including movie sound tracks. His remix of MF Dooms’ ‘Vomit’ is out on CP Records and Crosstalk Distribution. www. cprecords.net myspace.com/cryptic_one Spokane, Washington

Unified Groove Merchants These guys have heat, and these guys know what they are selling. Prices aren’t outrageous, but they aint cheap either. This is a collectors store, they have the rare gems that you look for. They also are obviously in tune with digging culture; they have a “drum break” section www.myspace.com/unifiedgroovemerchants Kansas City, Missouri The Music Exchange This store is overwhelming. The size of this store is insane. Imagine an empty airplane hangar filled with shelves and shelves of records. You will not leave this store without finding something, and if you don’t find something... it’s because you got tired and couldn’t look at anymore records. http://musicexchangekc.com [check for special discounts] Long Island Record Shows I’ve been frequenting the record shows in LI for years now. They have them every few months, and more frequently during the summer. You can find incredible bargains there. There are always a few dealers with 52 Producer’s Edge Magazine Summer 2007

tons of dollar bins, and I’ve pulled plenty of “rare” joints from said bins over the years. They have other dealers with average prices, and others that are incredibly overpriced. The key here is bargaining. Prices are very flexible depending on how much you buy... these guys want to get rid of records. If you go early you get first pick of the gems (for an extra fee)... If you go towards closing the dealers start unloading things at ridiculous deals.

Infinity Records Massapequa Park, NY Great shop for us local Long Island diggers, but beware of the reissues put in the same bins as the used records. This shop isn’t far from my house and they get a lot of new stock coming in every week... If you are lucky you catch the gems when they come in. www.infinityrecords.net/ Los Angeles & San Francisco Amoeba Records. Another overwhelmingly huge record store.

You could spend a full day from opening to closing for 7 days straight and not flip through every record there. I know a lot of west coast diggers that talk badly about Amoeba, but being from NY you don’t get to see things like Amoeba... ever www.amoebamusic.com

60 Seconds with:

Producer Asmatik How did you present the track?

We were in the car. So I hit him with some beats and told him what I did and that I respected him greatly and what he did was really official and it appealed to me. With that being said I felt my stuff would be up his alley. He was an early influence it was special how it all came back.

What other producers influence you?

Two techniques and MPC. Everything goes in the MPC, then bust down to ProTools.

A lot of New York Producer’s: D.J. Premier, Lord Finesse, Show Biz, Large Professor, Early Def-Jam Stuff, Rick Rubin and Pete Rock. A lot of N.Y . based productions. I started to get into the West Coast. Dr. Dre. I started realizing and hearing what they were doing and went with that formula as a base for what I know Hip Hop to be, which is sample base production the Boom Bap type stuff.

Ever gonna make the switch over to software? No ,I don’t think so.

What do you think of Today’s music?

Production wise do you start with track or sample. Definitely, sample!

Music before the beat.

Certain things now are almost ... starting to come back a little bit, but at the same time it is what it is. It’s very Industry, a lot if Rap music is watered down. All that music just sounds... fake! The sounds that I’m hearing don’t offer much feeling; it doesn’t convey the same feeling when I listen to an older Hip Hop record. It doesn’t sound… authentic in a way.

How long have you been making beats?

It’s been seven or eight years now.

And equipment of choice?

Are you a vinyl junky or do sample form a CD? Vinyl junky, Straight up.

No CDJ? At first I hated them. I appreciate them much more now.

What was the first record you made? Tragedy Kadafi, It just came out October 4, 2005. It was on the Thug Matrix Album. Lyrical Callisthenics.

It felt like I had made something, Tangible, you know.

Had you followed his career before?

Of Course! I heard his record when I was like 14, you know those old joints.

Tragedy; Intelligent Hoodlum. Definitely

If you could ever remix an album ...like you felt like it could have been bigger with different music behind it. Who would it be?

A couple of Nas’ middle albums, cause I think that his productions was not the same quality as the first two. I thought he got a lot of flack. I think with albums after that he experimented too much

on what he thought that people wanted to hear and he didn’t keep it true to his self, as far as him picking out his productions. Yes, definitely Nas! In the middle of beat making, do you already hear an MC on your tracks?

All the time. I take the sample and just know which a capella I’m going to lay over it.

You’re at a club and two dudes are pointing and whispering about you, would should they be saying about you?

“That’s that dude! His beat made you want to throw your face through the dash board.” Hope they aint looking at my link! I would go over and introduce myself and find out what they are talking about me for…

Same Question and this time it’s two chicks?

[Laughing] Did you see the size of the big bulge in his paints? Nah! I would want them to think the same as the dudes. I want my music to be universal. I want women to recognize me through my music. That’s that shit you were dancing in your draws to- in the front of the mirror, that’s what you were feeling when you were dancing.

And finally, anyone you want to recognize?

E-nice from the Cop Shop cause none of this would be possible. My brother he was the one that put me on to this Hip Hop shit, Rich Caroga. Peace.

You can connect with Asmatik by reaching him at www.myspace.com/asmatik

53 Producer’s Edge Magazine Summer 2007

54 Producerâ&#x20AC;&#x2122;s Edge Magazine Summer 2007

Mastering: An Introduction to the History and Technology words by L-Rox, Redsecta Mastering

Part I MASTERING Part I: Introduction

I

Words

by L-ROX, Redsecta Mastering, Losdives Angeles t happens to just about everyone who into

producing their own music- you spend weeks recording and mixing your first song, and stop when it sounds great, then you make a tape (or more likely, a CD these days) and when you play it somewhere else, you hear something completely different than any of the other stuff you listen to. Questions will flood your mind. How come my levels aren’t as loud as that other CD? How come it sounds great in my studio, but when I play it in the car, it sounds weak, and the bass sounds nothing like it does at my studio? What happened?!

This feeling surprises a lot of people new to making music today because the mastering process is one of the least talked about and misunderstood aspects of the music production process. Another reason might also be the huge leaps in recording technology over the last 20 years. What was once a process only reserved for artists with a record deal is now available to anyone for just a few hundred dollars. Many folks don’t fully understand the process of producing a record. Having that “polished” sound is key. It’s the difference in sound quality that sets apart amateur productions from professional ones. How how do you get it?

Welcome to this series on Mastering. The point of this collection of articles is to demystify what Mastering is, what it does, what it doesn’t do and what you can do to get your recordings to sound just as good (and sometimes better) than material being distributed commercially out there right now.

• Part I is an introduction to Mastering and gives us a semi-chronological history from the early beginnings of Mastering for vinyl to the present popular format, the CD. • Part II discusses mixing and gives you tips on how to create an excellent mixdown ready for Mastering.

• Part III will describe some of the tools used in Mastering, including techniques used to enhance the audio fidelity of the raw material.

• Part IV goes into specific details on CD Mastering, and how getting the levels right for a CD release is only the beginning. It also talks about what you should expect from a Mastering Engineer.

• Part V examines the current trend of “hot” mastering and how “louder” isn’t always the best thing for your songs in the digital domain.

• Part VI wraps it up by talking about what might be in store for Audio Mastering, and talks about new alternate media that might be used by the recording industry to distribute albums in the future.

This is not a guide on how to Master yourself, and I hate to tell you this, but I’d rather tell you now before you think you’re about to read yet another DIY guide on Mastering: Mastering is best done by a fresh pair of ears, someone who hasn’t listened to the same song over and over again during the developing stages and isn’t “hearing” more in the music than what is actually there. A professional Master has experience in mastering music for commercial release, and knows how to manage the frequencies of a good mix with precision analog and digital tools to make it sound rich and full everywhere, from your car to the club and in your headphones; someone who has an acoustically-treated room and the right set of loudspeakers for mastering. More than likely, a typical recording setup is not going to allow a monitoring environment without other equipment or other things getting in the way, affecting the overall sound in that room, since typically a recording signal path is noisier than one set up for mastering.

In these days of all-in-one boxes, MDR’s that have builtin mastering tools, software packages with promises, it’s easy to feel like you can do everything at home, without the need to involve anyone else, but the truth is that music is and should always be, a collaborative effort. As a general rule music sounds better when more than one set of ears are involved.

Mastering, or for the sake of what we’re about to get into, means getting your music to sound as good as everything that’s out there, hopefully better, and it involves quite a bit more than just having the tools to be able to master. People identify Mastering Engineers with having “Golden Ears”, and a big chunk of that gold is the ability of being impartial with the music. This doesn’t mean ‘you can’t attempt to master your own music’ (after all, it’s your music and there are no rules to what you do with it!). Hopefully, this series will give those of you who want to try and master their music a better understanding of the process for optimal results. Will you get the same results mastering your own music as opposed to letting someone else who isn’t as attached to your project master it? More than likely, no. But hey, you can achieve good enough results if you’re careful and give yourself plenty of room and time to make it happen. We’ll be going into mixing for mastering and

what you should and should not do at the mixdown stage to prep your material for mastering. The mixdown stage is the most critical stage, and contrary to what you might have heard, it’s the quality of the mixdown that dictates the quality of the overall master. Mastering can’t fix errors that could have been fixed at the mixdown stage or prevented at the tracking stage.

55 Producer’s Edge Magazine Summer 2007

These days, the CD format dictates the quality of audio material being distributed. In order for CDs to playback audio files, they have to be compressed down to the 16-bit, 44.1kHz format. If you are downloading music files from the Internet today, which is something that people do more and more everyday, you probably know that MP3s are audio files that are compressed down even further from the CD format. This series will also explain the role of the Mastering Engineer in today’s industry, since the role of the “Master” has changed quite a bit since Mastering began, back in the late 40s, before there was such a thing as a mastering or editing stage.

In the beginning…

The first recordings were done straight to the media that was used to store and play them, aluminum cylinders, then shellac, then later, vinyl. The fact the master recording was on a piece of material that wasn’t very durable and easily deteriorated posed a major concern. When the magnetic tape was developed in the 1930s to record sound, it created a need for someone to handle and transfer sound from the tapes and cut the records. In those days, the Mastering Engineers were called simply Sound Technicians, and their job was to transfer the recordings from the master tapes and make the records.

While the process of cutting hasn’t changed much, what happens just before changed drastically. In those early days, Technicians didn’t do a whole lot to the master tapes before cutting records and it was basically an entry-level position at a record label. The Mastering process we know today was born in the late 60s -after recording studios opened up outside of the big record labels. These technicians became Mix Engineers, who had a lot more control while recording performances and could alter the way things sounded during and after a recording.

of gear, introduced noise or helped bounce it around the room. Recording studios offering mastering began setting up specialized rooms. Having a room treated for acoustics became synonymous with the tools used to dynamically change the material before cutting. Mastering now also involved altering the dynamic character of the material and an accurate representation of the applied changes.

Proper monitoring speakers became essential, and these needed to truthfully reproduce the changes being made to the material, and while there is no such thing as a perfectly “flat” loudspeaker, those that came close to being as flat as possible without introducing other elements into the sound became the standard. The practice of custom mastering transformed from an entry-level position in the recording industry to a separate step before pressing.

Since only a few albums were being mastered, there were songs on the radio that appeared to sound “bigger” and “louder” than others and pretty soon, record labels started to hear from listeners who said they preferred these “louder” songs as opposed to the softer ones on the radio because they simply sounded better. This was the beginning of what is known as the “Loudness Wars”. Many people suggest that it was the record executives who wanted to compete with other albums from other record companies, but in many cases, it was the artists themselves looking for the extra loudness. Musicians were willing to make compromises with the dynamic sound of their music just to have a louder record, so the blame doesn’t fall entirely on greedy record executives. Another common misconception is that the “Loudness Wars” started with the Compact Disc. It really began when custom mastering became available, but there was only so much you could do with vinyl as far as making it loud, so it was more of a problem for Mastering Engineers

than anyone else…

From Analog to Digital

Some of these engineers branched out on their own and opened up their own recording studios. Many of these engineers also maintained, repaired and many times customized their own processors, so they started offering exclusive effects and gear not found in other studios to

For some types of music, boosting the levels worked beautifully, but not for others. Take Disco for example; aggressive compression in Disco gave a more energetic feel, giving drums and bass lines a punch that was preferred by all listeners, from the dancers to the DJs, who loved the

Custom Mastering didn’t start to flourish until the late 70s. Around this time only 150 Mastering Engineers were available. The numbers grew as records being made with custom mastering had a wider dynamic range than those made earlier. This new process was something many artists wanted applied to their music.

Very early on, Mastering Engineers found traditional recording studios weren’t practical for mastering. The large consoles, buzzing amplifiers and various pieces

a Classical record sound as loud as a Disco record, that dynamic ladder would be lost. Hardly anyone complained that nuances in the music were over-exaggerated by mastering on a Disco record. Take a look at the following examples

their clientele. In order to compete with the others, some of these studios started offering additional custom treatment to the master tapes before cutting the records, and this practice became known as Custom Mastering.

56 Producer’s Edge Magazine Summer 2007

sound of a louder record. In Classical music, however, the opposite is true; those who listen to Classical records usually play close attention to the nuances and climaxes of a performance, something that up to a certain point can be enhanced in mastering, but if one were to make

of two spectral waveforms for a visual comparison of a Disco record and a Classical record:

A Fifth of Beethoven – Walter Murphy 1977 RSO Records, Inc.

Beethoven Symphony No. 2 in D Major – Wurttembergische Philharmonic 1977 Gary Stanley/Festival Distribution

The screenshots above are of vinyl recordings recorded at unity gain. As you can see from comparing the two images, the Disco record has a higher average loudness than the classical record.

Mastering became a double-edged sword when artists started asking for “louder” as opposed to “optimal dynamic range” out of custom mastering. The biggest problem mastering engineers had before the days of CD were the limitations they confronted with the vinyl medium.

Recordings with a higher dynamic range eat up more of the vinyl real estate, since the louder a recording is, the wider the groove, which in the end means fewer songs on the record. Vinyl also has a lower dynamic range in comparison to CD (around 50db vs. 85db and more) and even the thickness of the vinyl was an issue.

When cutting vinyl, there are two important things to keep in mind: One is that the pitch of the material is recorded sideways, and two: The loudness is recorded vertically. As if things weren’t complicated enough, the process of cutting vinyl got a little more complicated when wax started being cut in Stereo in the late 50s. Phase cancellation wasn’t an issue with one (mono) channel. Adding that second channel opened the door to a lot of experimental uses of panning, but when material started to phase out, especially with bass instruments, it caused the cutting needle to not respond to those frequencies that were canceling each other out. This is one of the reasons bass guitars were tracked in mono and you had to be careful where you panned your bass lines in the stereo field.

Mastering for vinyl required Mastering engineers to adhere to these limitations, so there was only so much that could be done at the mastering stage and Mastering Engineers learned to walk the fine line between what sounded great and what cut well. Experienced Mastering Engineers learned to tell what had to be done at the mastering stage for the record to be a successful cut; it no longer was an optional process, especially with the introduction (and phase issues) of Stereo vinyl. Record Labels quickly focused on those who were the pioneers of custom mastering, and because of the demand for quality custom mastering of the few engineers who truly had mastered the practice, the price of mastering a record was in the thousands. This is also where Mastering Engineers are believed to have developed a mysterious reputation of having that “magic touch” and it set them in a world of their own.

The position, once an entry-level spot at a recording studio, became one of the highest paid in the world of audio engineering and the final part of the record-making process. By this time, Mastering Engineers had equipment and rooms exclusively designed for mastering, so there was a clear distinction between a recording/mixing studio and a Mastering studio. To be able to Master meant knowing where to make adjustments to the material to make it sound more pleasing or spot problems while listening to a mix, problems that could ruin a pressing. This placed the Mastering Engineer at the important position of being the final say, the last stop before a record was pressed.

This didn’t diminish the role of the mix engineer, however.

The great engineers started to get a feel of what worked great for cutting as well, since typically Mastering Engineers asked for a few mixes for them to critique and choose for cutting vinyl. An excellent mix engineer could foresee how something in a mix would be affected at the mastering stage, and make adjustments to the mix based on experience, so it didn’t take very long for mixers and Masters to work together and produce some of the best-sounding albums.

57 Producer’s Edge Magazine Summer 2007

the art of cutting vinyl was at its peak. At the same time in Europe and in Japan, Phillips and Sony were demonstrating a prototype of a new form of media that would change all

aspects of recording music forever.

The Compact Disc

Cutting Lathes, such as the Neumann lathe pictured above, have not changed very much in terms of technology.

In the late 70s, things were excellent in the world of cutting records, it appeared as if things could not get better.

Albums like Steely Dan’s Aja, considered by many engineers to be one of the best mixed and mastered albums of the times had demonstrated it was possible to make a record loud and have it sound good at the same time, and as we learned earlier, part of that compromise was because of the limitations of the record making process. If it were up to artists and engineers to run things in the recording industry, things probably would not have changed much in the last 30 or so years, but the fact is- ever since recording technology began, back in the late 1800’s, there has been a moving force of individuals looking for better alternatives to store sound and data, and like many things, the aim is to develop storage that is smaller, cheaper and has a longer shelf life.

In addition to that, the recording industry has always studied alternate forms of media to develop and distribute music as well.

In 1978, many musicians were pushing the musical envelope. Excellent recordings were being made, and

In retrospect, the Compact Disc has many advantages over vinyl that made it possible to take over. Higher dynamic range with a lower noise floor level, more storage, less space and less maintenance on the media and playback systems made it highly attractive to the recording industry and consumers. We’re not going to get into the argument of whether digital actually sounds better than analog, so we’ll stick to reality – it took over the industry.

In 1988, CDs officially outsold LPs worldwide and in the world of mastering audio, things had changed drastically.

As far as quality, the first CDs produced were not the best sounding, and many condemned them. For the most part, this was a result of using first-generation Analog-to-Digital converters, but as developers of high-end converters such as Apogee and Prism started producing highly accurate AD conversion, subsequent CDs were better, and started to meet their intended dynamic quality. Some of the early CDs even had special blurbs that tried to condition consumers into the new media, such as this example taken from the

first production of Led Zepellin II’s CD liner notes: Most of the CDs produced in the late 80s and early 90s also featured a 3-letter SPARS (Society of Professional Audio Recording Studios) code that told consumers how the material was originally recorded, mixed then transferred to CD (therefore the last letter is always a “D”): AAD – Analog recording, mixdown also in Analog then converted to Digital. ADD – Analog recording, mixdown recorded to Digital format (DAT for

example), and then Digitally transferred for CD. DDD – Digitally recorded, mixed down and mastered in digital. This coding system was scrapped in the mid 90s because it confused consumers into thinking the codes gave a representation of the quality of the CD.

When mastering for LPs, as explained earlier, mastering 58 Producer’s Edge Magazine Summer 2007

engineers had to consider the limitations they were working with while cutting vinyl, but with digital, that changed; 0dbfs was now the limit, and that meant more room to play around with, no more phase issues to worry about, and naturally, the loudness wars would resume – only this time, with a larger dynamic field.

Because the limitations of working with vinyl didn’t exist with CDs, you didn’t have to alter the dynamics of the material before making the glass master; you could very well just transfer the master recordings straight to a Sony 1630 and produce the glass master and replicate CDs, but because custom mastering had already proven it could make the source material sound better, the need for it was very much still there, except this time for aesthetic purposes only. Instead of limitations, specific factors had to be in place for a CD to be successfully pressed, but systems like the 1630 which had a built-in error detection mechanism took care of this, but that had nothing to do with the dynamic character of the material, so long as the signal did not peak at 0db and go over, causing data errors, a CD could be pressed.

The DAW (Digital Audio Workstation) Aside from classic analog equalization, compression and limiting that could affect the dynamic quality of the material before pressing CDs, the digital age also brought along refined digital tools to be used in mastering towards the late 80s. Noise reduction systems, including designs developed

by Dolby labs in the 50s were improved to operate in the digital domain and towards the end of the 80s, the Digital Audio Workstation was born. Workstations like the Sonic Studio pioneered DSP processing as well as the NoNoise reduction process and delivered CDs from a desktop unit.

At this time, personal computers weren’t powerful enough to do what these dedicated units did. Other DAWs followed, such as the SADiE workstation in 1991 and pretty soon, many respected names in custom mastering were using one of these workstations to custom master albums in the digital realm. It was such an advancement in technology that most of the CDs being released at the time specified when an album was “Digitally Mastered” or “Digitally Re mastered”.

At this point, these workstations were very much out of anyone’s price range except for those mastering houses with the budget to afford them. The interesting point here is this opened the doors to digital systems designed exclusively for custom mastering.

In the recording world, digital was also taking over with recorders like the Alesis ADAT, which was introduced also in 1991 and could be daisy-chained with additional units to add more recording tracks. Mixdowns also started to be recorded in digital, typically to stereo DAT recorders and the mixdowns could then be transferred over to mastering systems via S/PDIF (another development of the Sony/Phillips

partnership) which allowed lossless transfer of data. These new digital recorders allowed those who could not afford

something like a 24-track Studer and tape media which could alone run in the thousands the ability to track a full-length album, since the media used in these newer digital recorders cost a fraction of the

cost, and the quality was better than the home recording technology at the time, which was typically cassette tapebased multitrack recorders. The cost of the newer digital media also began phasing out ¼” analog reel-to-reels, which sounded better than cassette-based multitrack recorders.

As a result, the doors opened up for even more studios to set up shop. Since the mixdowns were recorded on DATs, Mastering Engineers who used to only take the Umatic tape format for mastering CDs had to meet the demand of the new studios mixing down to DAT, and started to also accept DATs as pre masters. This didn’t immediately phase out the U-matic tape format, since DAT was limited to only providing the music and track IDs, and not the more detailed and required information for replicating CDs from systems like the Sony 1630.

Personal computers were also on the map in the recording studio in the 80s. IBM released the first PC in the early 80s, but soon after that, Apple released their personal computer, the Macintosh and established itself as the leader in personal computing. MOTU’s Performer which started back around ’85 and Opcode’s Vision allowed musicians the ability of synchronizing MIDI instruments and edit sequences with precision, but audio recording didn’t come into the picture until ’91 when Digital Performer was released and added digital audio capabilities in conjunction with a platform developed by Digidesign called Audiomedia, which was later renamed Pro Tools. When these came out, computers weren’t powerful enough, so dedicated platforms like the Audiomedia were necessary in order to handle the audio data processing. At this time, the idea of having a personal computer handle all of the necessary processing tasks for digital mastering was unheard of, but some began to see where things were headed, and many interesting articles began to appear in trade magazines about the future of computers in the studio.

As computer manufacturers began to produce better quality processors and other peripherals more efficiently, costs dropped enough for the home recordist to buy in.

This new onslaught of cheap and reliable technology for recording music was quickly embraced. Musicians could now publish their own CDs. The need to have a mastering engineer do the final transfer of the material to publish a CD was no longer a required step. Mastering engineers didn’t embrace the new, cheaper personal computing technology. For starters, many saw it as their own demise, since towards the end of the 90s, for about $2,000 you could own a computer that was capable of producing a CD-R of your music, that you could play on most CD players, without the need to 59 Producer’s Edge Magazine Summer 2007

have a mastering engineer produce a pre master for you.

This opened the doors to many independent artists, who would self-produce their own albums and distribute them themselves, without the need of a record deal. Many were skeptical (and with good reason) of the new hardware.

Most of the affordable hardware made for computers in the mid 90s was not suitable for professional audio.

Noisy components also introduced too much floor noise, and with CD-Rs, it was believed that it simply was not possible to create a pre master CD on a computer with less errors than you would with a proper CD mastering rig, which allows the smallest amount of data errors.

Things began to change towards the end of the 90s with the addition of higher-quality components and better software for burning red book-compatible CDs on desktop systems. Things got so much better that practically all of the replicators who used to only accept the U-matic and DAT formats for replicating CDs also began accepting CDRs to meet the demand of the new independent record labels, which were burning red-book CD-Rs with highquality burners such as the Plextor 8/20, right from their own computers. Digital Signal Processing also made a leap in the 90s, introducing software processors and DSP cards that rivaled the analog counterparts in sound quality. As a result, many mid-level studios did away with most of the analog gear, save for the high-quality microphones and mic pres needed to capture the source as best possible, but as far as effects, many switched to the practically noiseless and highly-accurate software versions. Thanks to today’s powerful processors and components that are suitable for working with audio, it’s possible to produce professionalquality recordings all in the digital domain.

Today, Mastering Engineers can take advantage of the best of both worlds, incorporating classic analog processors in the digital environment. While it is not necessary to send your music to a mastering house to be able to hear your music on a CD, mastering exists for aesthetic purposes and as we discussed earlier, the tools used in the process are only a part of it.

Mastering, like mixing is an art form, separate than the creative process of putting together a composition, or writing a good song and no matter how advanced technology becomes, the magic of bringing out the best in a good mix isn’t something that comes in a box with a preset button.

Above all else, it’s about knowing what you’re listening to and knowing what to alter in the frequency spectrum to bring out the essence. That, for the most part, is a matter of taste and perception, which can take many years to develop.

In part II, we’ll discuss mixing for mastering and how to come up with an excellent mix for mastering. Redsecta is a premium mastering house geared for Hip Hop and R&B Productions. www.redsecta.com 60 Producer’s Edge Magazine Summer 2007

many times have you walked to the How mailbox, shoved a package in and hoped

for a miracle? Have you ever spent a day sitting in a waiting room only to be told ‘He’s still in a meeting. How about you hand me your package and I’ll be sure that he gets it.’

How many times have you been sent straight to voicemail because you interrupted an important conversation about which store has the nicest bags? We’re going to take a look at a company geared towards getting your material heard.

In their own words:

DemoShoppers is a team of legal experts and Industry Insiders with connections to prominent figures in the entertainment industry. We will work to make sure your demo gets noticed and heard by the top labels.

In addition to marketing your demo, we provide the essential legal services to complete your signing deal, as well as various other technical matters which may arise, including copyright, sample clearance, trademark, and many others.

Save time and money by having us present your valuable demos to and schedule private meetings with A&Rs and Industry Executives whom we know will be most interested in your work. We will shop your material, boost your name recognition, and get the word out about the latest unsigned SENSATION! Jump-start your career in the entertainment field by choosing us today as your official Demo Shoppers. So GET HEARD and GET SIGNED! IF YOU ARE A MANAGER, PRODUCER, PUBLISHER OR ASPIRING SMALL LABEL VISIT OUR LABELSHOPPERS.COM SITE TO SEE THE OTHER WAYS WE CAN HELP YOU AND YOUR ARTIST(S).

All of this sounds good, so let’s get below the surface. Knock, knock.

Demo Shoppers

Michael Chan & Suave Words by Drew Spence

What advantages, resource wise, do the Attorneys provide?

Beyond our connections in the industry we can extend our knowledge of the legal system and guide you through some of the early channels.

We can negotiate your deal and help you set up Trade Marking, Copyright Registration, Brand names. It’s a lot of intellectual Property rights.

Is there some sort of connection for the Producer? I have solid music and need exposure and some sort ow likely is it you’ll knock on a labels’ door and they’ll sit down with of starting boost for my career. you and well, give you a fair listen? We took a meeting with the staff The situation can grow from an internof Demo Shoppers to find a new way to get in the door. ship at a major studio to actually being placed on a current project being What’s the main guiding principal behind Demo Shoppers? created in many of the studios we’re involved with.

We try to artists with good music the kind of exposure they may not get any other I’m considering a first approach at way. The idea is to secure a viable record deal for the talent.

Demo Shoppers and I’m trying to put together my first package. What What Genres are represented? do I need?

We don’t limit ourselves to an exact list of genres, but our client base is mostly Hip We call it a One Sheet. We prefer a Hop, Soul and R&B. We have landed deals under the banner Rock and Roll in the basic package including a picture of past also. Our engine is heavily geared toward modern and pop music. We have yourself and what you consider your both Major and Indie avenues. We don’t always go in as artist and label. We have key market, tour history and a bio other routes to break music in through Publishing and Television. describing yourself with press and any experience. The package Where should I be before I us rounded off with the three approach Demo Shoppers?

I think the new crop of A&Rs are or four songs you submit as You should be confident in your your singles. You can include work and the music needs to be just interested in getting in and artistic information like your at a level where a DJ can drop influences and a website for your material behind a 50 cent don’t have a true respect for Hip a deeper connection for your or Mariah Carey and it should fans. Some have come to us not skip a beat. Your songs Hop. They need to respect the Art with Just a demo with magic need to be on that level. There’s marker for the title, but it’s a small doorway for new artists for the music” really the One Sheet…all your and you must be ready to go information neatly presented through that door. on One Sheet of paper. We Mixing and quality. can help you develop this kind We’re a team of attorneys so of presentation during the consultation we do the best we can to educate the artists about the importance of sonic quality. process.

There’s a first consult and you meet with our business end and along with our The First Consult ($100) is about you own A&Rs who are composed of engineers and producers. They break down your as an artist, we analyze the musicality material and give you feedback. of your package. The A&Rs and EnSo it is possible I could be turned away and told I’m just not ready for the industry? You can always follow up. It might have been something minor that can gineers give you the critical feedback. be fixed in the studio and on the second consult the material is stronger. A big part The second consultation is the follow of our service is prepping for a label meeting. It doesn’t have to always be a 100%, and starts the final preps before the but we do try to get you as close as possible. I never heard of lawyers so heavily label meetings. involved in the creative process.

H

“

61 Producer’s Edge Magazine Summer 2007

music 101…when the fans are no longer feeling because they can feel you’re a follower, they will abandon you. When you no longer hot in the streets, you’re no longer hot in the offices.

Is commercial radio hurting the industry?

We lost a lot of our freshness when the college radio went away. There were so many shows where you could hear the new Kool G Rap and Tragedy Quadafi. It wasn’t really underground it was just the music you wouldn’t normally hear.

How do I develop my ear then?

At this point Suave the head of A&R jumped in and we talked about the pitch culture.

Ear tuning?

I’ve engineered and done production and I’m really looking for quality.

Our team is on it and it bares the reputation of our company so we want a high level of quality in both sound and musicality. I begin thinking visually- where the music could go, video wise street promotions and the clubs. I begin to promote the music first inside my own head.

I think long term relationships. It’s a very hard job. I exist to take music from its beginning to it’s end. Music becomes a child and it’s a joy to watch it grow.

What makes you want to make that initial connect? Lots of A&Rs lurk unannounced at events.

Fashion designers study the fashions of the past. You don’t study the work of the last few years. In music it’s the same thing. Why only listen to recent music? If you want to be involved with music you cover years and years of material. People in music do not study their craft. They don’t have an understanding of where their favorite music came from. It’s a problem where cats that do Reggaeton don’t respect Reggae.

Fans are like babies. What they are fed is what they eat. It’s been the

It’s an extension of not trusting the labels. There is an old order of A&Rs that were solely interested in caking and only putting their boys on.

That’s the backlash pre9-11. They were all sitting back and making a system of who knew who to get on and real talents were having a hard time getting in the door.

Physical appearance of the artist.

changeover in the musical culture

Eventually. You have to consider that, but the music must lead the way. The entire package is important.

The material must live up to industry standards.

over the last decade.

Overall as being part of the A&R community what responsibility do you take for an artists career?

Wordplay…the sound- it’s a wordsmith thing. It’s R&B, the writing that gets me to make a move.

What’s missing from today’s artists and their presentation?

The average A&R tends to only work with the artists at the working label. I go beyond that and work with them inside and outside the studio.

I continue to push and connect no matter what situation they land in.

Individuality. Be yourself. That’s the most important thing. You can’t write from the radio. New artists are listening to the radio and modeling themselves after another entity. It’s

62 Producer’s Edge Magazine Summer 2007

What about the bad light focused on the A&R?

How do you break that?

It takes a pool of serious talent. It’s work to go out and dig for that special person. There are tons of people who don’t/can’t write hooks. So there is an opportunity for others to handle that.

Finally I think the tables are turning.

I think the new crop of A&Rs are just interested in getting in and don’t have a true respect for Hip Hop. They need to respect the Art for the music. The tide is slowly turning so there is hope.

What’s the best pool to pull A&Rs from?

Musicians themselves and DJs are very good. I started at the new Music Seminar and learned from there.

It was attached to JMJ. Jeru the Damaja, Nas (Illmatic), Fat Joe…. that era was crazy for music because Hip Hop was standing out. It was about coming o these shows and networking directly with these artists. We don’t have anything like this in New York anymore.

You can’t tell that far. I’m hoping music returns to being music.

Would you be willing to trade the popularity of rap music for a new sincerity?

No, this business survives by keeping a balance between the Majors and the Independents. You need the Majors to heavily push the marketable aspects and the Indies around to nurture the newest talent. It has to go back to developing talent and taking a risk on something new. The music can survive if both sides can learn to take advantages of their inherent strengths.

You learn every aspect about music. You can always get in from another angle. Rapping, DJing and producing isn’t everything.

Fans are like babies. What they are fed is what they eat. It’s been the changeover in the musical culture over the last decade.

What do you see in the next five years?

You can find out more about Demo Shoppers by visiting their website. www.demoshoppers.com/

63 Producer’s Edge Magazine Summer 2007

You got Beats? Part I: ISProducer Showcase

Y

ou’ve spent months holed up in your studio pounding the pads and keys working towards a collection of serious tracks. The furious head-noddin from your boys says you are ready to take the next step and launch a music career as a producer. What’s next? How do you let the world know you exist and make those all important contacts to place your product in the right hands? You find your material lost on the internet among the millions of other beatmakers stuck in the same situation. Your CDs are ending up in the hands of unsigned artists who are right on the edge of getting a deal -if only you work with them and get that demo package done. Right.

Perhaps you’ve heard of a producer’s showcase. Picture something like an open mic for Emcees, but with industry contacts present actually LOOKING FOR NEW MUSIC. All so-called producer showcases are not created equal so Producer’s Edge chose to focus on the new and extremely successful Industry Standard Producer Showcase. We sat down with Don Di Napoli and J Hatch, the founders and hosts of the ISP Showcase.

PE Mag: What happened a little over a year ago that make you decide to start putting on The Industry Standard Producer’s Showcase?

There was a need for producers to get some kind of shine in the game. They’re always considered the dark horse. If I have Kanye West, the Neptunes and Dr. Dre on my album- it’s going to make some noise.

I’ve seen artists’ showcases all day, unsigned artist showcases still using the same format. They bring their people out to support, they perform and everybody leaves. That’s it. No industry cats there, no reason to have been there.

“What if I started my own Producer’s Showcase?” “What if we had industry cats come out and do it like American Idol?” We’d have an A&R, an established producer and an X-Factor person, An Engineer, a songwriter, another artist to go up and listen to those beats and set it up for producers to showcase while the judges vibe. We give producers five, one-minute beat clips to play.

Where is everyone from?

Don: I’m originally from North New Jersey, Newark, Essex county area and I’m now in Clifton about a half hour from the Midtown tunnel.

J Hatch: I’m from the Bronx, Pelham Bay area West-

64 Producer’s Edge Magazine Summer 2007

“Hip Hop was founded on the DJ. If it wasn’t for the DJ there wouldn’t be a rapper and the DJ led to the Producer.”

-J Hatch

chester Ave. New York is crazy. This is where we started. We both have production companies in New York…

We have people coming out from all corners of the Earth. LA, Houston, Canada, Chicago, Morocco, Italy.

Don: We even get submissions from Sweden, Denmark, Norway and Chile J Hatch: So we started on this basic idea: There are not a lot of opportunities for producers. Until recently Producers never were really mentioned in regard to Hip Hop. People forget that the producer creates the melody and the idea and the realization of most music we hear. ..

PE Mag: What’s the line between the type of production heard on commercial radio and the type of tracks featured in your showcase?

It depends on the producer. Some producers come on stage and their beats sound like Kanye West Jr or Just Blaze the 2nd. So Producer’s are judged on 5 categories.

1. Originality: Does it sound like it’s been on the radio already? Does it have a twist? What’s fresh about it?

An established producer may give you the feedback “I like what you’ve got going on, but D.Dot already flipped that sample seven years ago”.

2. Marketability: Who can you see spitting over this track?

3.Fidelity: Overlooked by most producers. If the record is mixed like garbage, it takes away from the experience of listening to the track and scope of the record.

4. Usage of Elements: Is the Miles Davis sample is flipped right? Is the electric guitar used on the intro tasteful?

5: Star potential: A rare thought.

How do they carry themselves? Do they have it what it takes to make it in the game? There are a lot of producers trying to make radio hits and the A&Rs are favoring those types of tracks. They think to themselves: ‘Yeah, I could hear

that on the radio” J Hatch: My man Punch did the So Seductive record for Tony Yayo that record sat on the shelf for 4 years before it was picked up and became one of the biggest hits of last year, picking up Vibes Song of the Year (nominated Club Banger). You never know what hot music is. These days you have to give people what they want to

Don: The most popular by far is the MPC, a close second is Reason. Roc Wilder was praising Reason when he judged in of the winter showcases like he owned stock in the company.

Any sonic or tonality difference in the gear used?

J Hatch: The drums in Reason sound

“If you can’t bring your 5 best tracks to the table to move the crowd and affect the judges’ panel, you’re doing something wrong.”

-Don Di Napoli

hear. Main stream music…Hip Hop is today’s pop music.

PE Mag: Are you noticing any trends J Hatch: A lot of stuff has come and gone. We just got past the whole chipmunk thing. Live instrumentation is coming back into the game. A lot of producers are working with well known session players. Pop artists are purchasing tracks from heavy hitting Hip Hop Producers. Christine Aguilera is doing 5 records with DJ Premier.

Back in the day, that never would have happened. There is such an influence of old school Hip Hop; you’ll see a lot of cross-over.

Any Gear that’s noticeably popular?

a little stiffer. The MPC users have a more natural vibe or bounce in their drum lines. A little more rigid timingsnapped…

Quantized?

Don: Also Stop and go- like the kind of stuff the Heatmakerz are doing. The Whistle Song sounds like a Reason track verse a Charlemagne beat where you hear the timing of the MPC. J Hatch: Old school producers resist going electronic 100%. It doesn’t give them that sound. The filter on the MPC is different. Reason will give you (soundcard based) sound quality and open up your sonic options. Today’s Hip Hop verse yesterdays… Most producers wouldn’t give up their MPCs because it gives the feeling of really creating a track.

65 Producer’s Edge Magazine Summer 2007

Where should I be before I enter your showcase, before I make that contact?

J Hatch: We choose our producers based on where they are. Don usually screens and picks -based on a producer with some kind of idea of here they want to go. We won’t put someone on stage to be massacred by the judges.

We want someone that can learn, get more education and go to the next level. He has to be confident, show the passion in his music. Once you get on stage you’re exposing yourself to the world. This is a meeting in front of 300 people, in front of established industry heads that can be your test market for your music. At the very least you’re walking away with the kind of advice to advance you.

Don: If I hear a producer and I feel his tracks. Maybe the drums are really bangin, but he’s only playing a threechord scale on a Casio. I know he won’t win, but when he’s in front of someone like Easy Mo Bee, Lenny S or Amadeus or whoever, they are going to give him that feedback. “The drums are fine, but you need to work on the sound library.” For that to come from a respected source it’s invaluable advice you can’t get anywhere. We put you in a hub to learn where your music is at. If Roc Wilder tells a beatmaker to get more sounds- the next day the he’s in Guitar Center doing just that. That’s the best part. We have cats returning a year later and you can hear the improvement. That’s the satisfaction for us.

PE Mag: What’s next?

J hatch: We’re expanding the show by moving into other states, other markets. Many producers haven’t been able make it to New York so we’re going to spread out to reach them.

Don: Stay tuned. We hope to become the one stop place where producers can go to get their music where it needs to be. We’re offering something that wasn’t around a few years ago.

PE Mag: And finally?

J Hatch: To all the producers out there.

Please make sure you surround yourself with the right people and do your homework behind them.. Research publishing and royalties and invest in a legal attorney to go over your contracts. Network- because relationships are the life blood of this industry. Don’t discount artists and their managers because A&Rs are not the only avenue.

W

e follow up the Industry Standard Producer’s Showcase with a few words with the March 2006 showcase winner SpenZilla. This dedicated beatmaker traveled all the way down from Toronto Canada just to be in the event and has insights to share.

Fruity Loops? I started using Fruity Loops by accident. I downloaded it and began making techno beats at first, just messing around. Later, I took it seriously.

Hardware? I’ve gone through an MPC 2000Xl, 1000, 60 and 3000.

And you prefer software…

With a computer you have all the FX and it’s easier to mix. It’s faster so you can get all your ideas down quicker.

Still crate digging? I have about 800 records. I dig whenever I can. I also dig on the internet and can getting shipping from anywhere.

What made you think you were

66 Producer’s Edge Magazine Summer 2007

ready to enter a showcase?

Truthfully, I didn’t think I was ready.

People tell me my beats are hot, but when I listen to my own music all I hear is my potential. When I got an invitation, I thought ‘Why not ‘ and just went for it. DJ Premier got me started in this.

Listening to his music pushed me to get better. Alchemist and Nox with the bass lines. I tried to use a little of their styles mixed with my own.

Synth work? Sampletank and the Maudio key rig which is like a piano and organ combined.

Last line.

If you see yourself involved in this [music] you have to develop. If you think about being some day on a high level it starts here. You have to keep working to become a go to guy and do whatever to get there. If you can’t deal with the struggle this early then maybe this won’t be in your future.

Since his appearance in the showcase, SpenZilla has been invited by Bruce Wayne (50 cent 21 questions) from the Midi Mafia to sit in on studio sessions and has also been contacted for several projects. We’ll be following this budding career. Congratulations and good luck.

You got beats? Part II: Lingo Beat Manager Focus

D

uring your years involved with making music, you’ll hear a great deal of advice about breaking into the business. Most of it centers around being out there, making contacts and networking. Seems like very simple common sense advice, but there are a few factors that may prevent the cliché from working for you. Suppose you live in a region where your sound is unappreciated? What if your personality is not suited for closing deals and your persona does not match the heat you lay down on tape? [note: That was the polite way of saying it.] Maybe in the end it’s just not your focus since you don’t want to be a producer and a salesman. One of the best options for a producer to choose is working with a beat manager. This angle becomes all the more attractive when you consider the possibilities of utilizing several beat managers at once as opposed to having just a single manager for your career or working with a production company where you will be tied to paperwork. To get an insiders view we sat down with Lingo, one of the hardest working beat managers, to find out another way to achieve placements.

First, how did you get relationship with labels?

this

Being visible and staying at the labels with quality product. It’s about trading favors and mingling. We network and exchange information and contacts and we’ll share resources. I don’t hound my contacts or pretend to have something I don’t. I make that move on a connect when I have something worthy of their time. That causes my partners to respect me and trust that I’m coming with quality music for them. I find producers and plug them into labels.

When I get hold of an opportunity, I snatch the correct producer that fits.

He’s sent up there [to the label] with his product.

How does your manager wise?

money

work

If they place I’ll take 15% of that track.

I’m not trying to manage anyone. I don’t carry around paperwork on a producer.

I only paper chase my 15%. I play the tracks out and what I sell- I eat from.

Have you even been burned?

I’ve been given short money before. I knew the artist was hurting and really needed his paper so I let it go. Sometimes you have to wait to see how a situation pans out and it’s not about the pay up front. I’ve hooked up several producers with production deals and A&R situations first and then I have to see what jumps.

Are you listening to just the tracks and think ahead where you can get placements?

I’ll listen to the tracks and think who can I hear over the beats. Sometimes I take it to my backing production company and see what they think first. If they want the producer I’ll take a finders fee and let the producer go. It’s been working good for the last three years.

at the artist themselves, but the trust factor isn’t there. The music game on the producer side is flooded too. So many producers…some are only good for those one or two tracks.

Gear?

Doesn’t matter. You can’t call a distinction between hot and hot. All hands down.

No one cares where it came from or

“You can’t call a distinction between hot and hot.

All hands down. No one cares where it came from or how he made it. If he did it on Fruity Loops and not a Triton- if it’s hot, bang to ProTools. Long as it’s clean it’s a go.”

LIE productions and Phat Boy Music.

Any searching for new talent on the internet?

I used to do the MySpace.com thing, but I find a lot of up and coming producers don’t check their email often enough. There’s a lot of fugazi people out there- claiming to be in the industry and making moves. At some point producers get so much junk sent to them by cats that aint doing nothing that they lose trust.

How wide an area do you search?

All over. New York, Atlanta. I’ll fly around to find that hot producer. It’s worth it to place a cat in a situation. I used to holla

68 Producer’s Edge Magazine Summer 2007

how he made it. If he did it on Fruity Loops and not a Triton- if it’s hot bang to Pro Tools. Long as it’s clean it’s a go.

What about sound quality?

Hot! I have to be able to hear it. The CD has to be it. The right sounds, distinct sounds with good melodies. Boom Bap is coming back so It’s about picking the right sounds. Some producers keep using the same sounds over and over and the tracks begin to all sound the same. They’re using every single preset. You have to master your machine.

That way your beats sound like what you want them to.

So where should he be before getting a manager?

He needs to know for himself that he’s ready.

How many tracks on the CDs, 30 tracks, 6 Tracks?

Your hottest stuff. Producers that are established will test you and give you the throwaways to see what you can do with it. If you’re new and want to impress someone, you go with the hottest stuff.

If you feel like you have to cover bases and load the CD up cause you don’t know, your tracks aint ready. Artists are looking for singles. The money maker, that club joint, that street joint that just

don’t just go away with a no. I’ll tell’ em why they didn’t get the placement.

Who do you choose not to work with?

I’ll keep checking a cat cause producers get better. This time he didn’t have anything for me, but the next time you don’t know. I’ll keep the relationship open. If I can’t do something with a beat CD or producer I always link them to someone in the industry. At least they know their tracks were heard by someone serious. I just don’t push it on nobody cats trying to get something going.

“You can’t separate the money from the music, but they think of music as more than a paycheck.

A lot of people are doing music because it’s a fad or because they used to DJ and have some records. You have to study the craft. You have to eat and shit music. Breathe this shit.” crosses over. You have to be versatile and be able to use sounds from different regions; R&B joints too. The producers that are making money are artists.

Swizz beats can do a boom bap, but he adds that hot melody because he’s musically inclined. You can’t separate the money from the music, but they think of music as more than a paycheck. A lot of people are doing music because it’s a fad or because they used to DJ and have some records. You have to study the craft. You have to eat and shit music. Breathe this shit.

How much feedback producer receive?

does

the

If I see tracks being passed over for the same reasons over and over. I’ll let him know what they said. Sometimes it’s as simple as the hook sounds too much like a verse and I’ll have him switch it around on future beats. I always let them know who heard their tracks. I

Lastly, could we get a single tip or angle a producer might not have considered that could help him stand out from the crowd?

A lot of times an artist won’t know what to do with a beat. The beat is hot but they’re scared of it. The producer hears concepts in his head as he’s making the track so they place the hook on the track. They shop beats as two separate packages. One with the hook included for the artist to purchase and as a song and the second version is just the beat plain to start fresh from.

You can find out more by contacting Lingo at myspace.com/lingo247.

69 Producer’s Edge Magazine Summer 2007

You got beats? Part III Production Company Focus

Tony Perez Relentless Management

F

or the third and final section of our What Now? feature PE Mag consulted Tony Perez from Relentless Management to get an inside view to working with a production Company. They’ve used their 20 plus years of experience in the game to amass an impressive roster including producers like Heatmakerz, Reefer, Allstar, Charlemagne, Tye Fyffe and artists OutKast, Nick Cannon and Trina.

PE Mag: What is the advantage of going with a production company as opposed to staying solo as a producer searching for placements?

It all depends on the production company. If it’s a Swizz Beats or Neptune powered company that’s more established then you’re jumping in on a situation. Irv Gotti and Murder [The INC] you sign with them and you have automatic access to Ashanti and Ja Rule. The production company angle only makes sense if it’s already at a point where they have relationships and records under their belt. If it’s brand new and there is no story behind the business- it’s better to go alone. If it’s Nelly or 50 cent it makes sense. A lot of cats are caught up giving 50 percent on fees and 50 percent on publishing just to land a few records with companies that drop records here and there.

How do you know when a producer is ready to go this way?

He has to just come with that heat, something we know we can sell. He might not be fully ready, maybe he’s still in development, but really determined.

He may have the right direction, but only bringing records in every so often or the beats are not 100% [finished].

It’s really case by case and you have to be careful. I know a producer who sold a big record, I mean a huge record, first single doing over 5 million [in sales]. I managed him after that situation. When we sat down to work- all his tracks sounded like that first record. That was

three years ago and he hasn’t sold a record since. That was a luck-up and he had a good record, but wasn’t ready.

That’s why I said it’s case by case.

You have to have enough heat. That first record you place could be a fluke.

project and artist? Are the producers ever given an assignment?

The second record is the truth.

Anyone can have that first record.

The third song even is significant because that will determine if this cat is serious. What’s the follow up?

Hearing enough producers, you’ll feel it if they are ready. Some cats will never be there. They may land that one lucky record, but never grow into their potential. They won’t become a Pete Rock or Large Professor, dudes that show growth over the years.

Yes, with all my clients. Managers have to be precise and detail orientated. No shooting in the dark. I always want to know what’s needed. I just don’t say to producers ‘Just make me some beats.’

They continually make beats, but I feed the producer lists of who’s looking for beats. Game, Nas or Fantasia… all production companies have lists, but we make up our own list; details what they are looking for. For some veterans like Nas- we’ll already have an idea of what he needs, but he has levels. We have to know which Nas… first album…third album? Specific instructions help us land more often.

Do you help in shaping the sound of a producer?

Publishing or Publishing Deal for a new producer?

I give every producer their creative freedom. I leave it up to them and only give them advice. A-level producers take it as a comment and do what they do. I give suggestions to help the newer dudes. There’s been a situation where I only liked part of a record like maybe the intro was hotter and so I basically looped the intro and sold that record. It went on to become a project for Missy. I respect a veterans’ opinion.

They could say Yes Tone, but still do what they want. For a newer producer I might have to be adamant about it and make them change something because it’s not what the client wants.

I look at a publishing deal as a bank.

That’s your money. If you sell a record today, you’ll get the check in a year or your royalties in six months depending on when the album comes out. At the cost of your publishing deal, you may be giving up half of your publishing.

I’ve done more than 8 or 9 publishing deals in the last year. A new producer may do it off one record. He may have done a big record and want to upgrade his studio. I need 100 or $200,000.

What’s important is you get your publishing. You don’t give that away.

That’s the treasure at the end of the day. If the sample doesn’t take your publishing away- you get the long term money and that’s the way you want it.

Do you solicit music for a particular

70 Producer’s Edge Magazine Summer 2007

Again, publishing deals will come and go. Make sure you have publishing.

Some producers have gone out and bought new cars and houses or changed their lives off a deal. With that deal, you’ll be cutting someone in on your publishing where you didn’t need to. A new producer needs to keep his publishing at any rate.

Where do have you ear out for producers?

What’s more important, the relationship with the label or the relationship with the artist?

Yeah, sadly. Trimming down the roster and letting guys go that we weren’t selling enough records. Maybe I wasn’t able to be the kind of manager they needed. Sometimes the egos get involved, but I try to take responsibility when a situation doesn’t work out right. I’m not afraid to take some of the blame. Producers are grown men. You can only do so much to push in the right direction. In the end they have the final say. I can only keep them well informed.

I don’t want to choose one over the other. You never know where a record is going to come from. Some executive A&Rs think they have an idea of what an artist wants. Sylvia Rhones [Executive Vice President Universal Records] or Craig Calment.... who run the label. If they’re passionate about a record they will buy it. On a creative level I feel the producer should be in the studio with the artist.

There is no middle man or politics.

Word of mouth. Producers put on other producers. Publishers, attorneys and even A&Rs will highlight someone they’ve come across.

Let producers go?

Smooth. I was fortunate to be around in those eras. It loses some of the feel when it’s business. It’s still a lot of fun, but there is still politics and BS. You have to address the music differently.

I’m still a fan of the music and get those old chills, but I was more of a fan back then. Knowing the politics behind the game- seeing the industry change the music and knowing the compromises and how much Hip Hop had to give up to play with the big boys. For Hip Hop to grow- there had to be sacrifices and some negative elements attached.

Do you take responsibility for the change in the sound of Hip Hop music today compared to yesterday?

This is also case by case. Some

“All his tracks sounded like that first record. That was three years ago and he hasn’t sold a record since. That was a luck-up - he had a good record, but wasn’t ready.”

If what they decide to do (against my advice) is hurting us then they may need a manager who is going that direction.

What about samples in today’s climate?

At the end of the day it’s better to use synths and original compositions because you’re getting your publishing, but if you come across a sample- like 21 Questions with Midi Mafia- they didn’t get the publishing from the record, but there was a lot of work that came after. I think at some point a producer should go into original compositions- you’ll bypass all the BS and politics that go behind a sample.

You could have the greatest sample going and the record never comes out because it’s Michael Jackson. That plus you could lose all the publishing, but if it’s the big record you’ll get bigger projects.

Sound Quality?

No limits. I need to hear it and feel it. It can’t sound like it was done in a basement with a two-track or four track.

I can dress it up, I can sell the producer, but the music has to bring it home. If it’s not clear and…they have to know how to work their equipment. Bare minimum.

If you know your tools you don’t need top of the line. There’s cats still rocking the old MPC60 and 8-track Mackie board and do wonders with it. Premier might still be using the old SP1200.

You take what you have and perfect it.

That’s what a real producer should do.

Child of the Silver Age? Yes, yes, Afrika Islam, The Furious Four and the Treacherous Three.

Mastadon. Just-Ice on to EPMD, Large Professor, Brand Nubian, Nice and

producers I represent are already established and pretty set in their ways.

They say ‘eh, you’re just talking that old school Hip Hop shit.’ and are not flexible. The younger cats are more open. I can give them an SWV and WuTang record. Joe with Stutter and they added Mystikal- that was taken from Pharcyde. I can ask if they are up on this and hit them with it for inspiration.

Also, I like the enthusiasm of the younger cats. They get vocals from the label and it’s a big deal. That energy rubs off on me and I’ll share my culture with them.

Any gems in closing for a producer to use to get ahead.

A&Rs get 100s of records a week.

Unless the submission is from a reputable source, they’re not really gonna check your music. You have to ask “What’s going to make someone listen to my music?” Three years ago.

I’m in my office listening to beats late night. I had them separated into piles.

The records from people I know that I

71 Producer’s Edge Magazine Summer 2007

will definitely listen to and the piles of everything else. One package was huge and it was a bottle of Hennessey in with his package. I called that producer and told him I was listening to his music and drinking his Henny. He was happy and I let him know he was creative. I hear 2 or 3 [usable] records. I called him back and said I would shop his best 3. I made my compilation and sat down with Don Pool from RCA and played him a bunch of the tracks. He wanted a copy of Face’s track. Later they called me into the office and I was told Mary two-tracked the record and wanted it. I got him $12,500. Usually it’s only around $8,000 for a new cat but I pushed for this cat. I was told it was going to go through Puff for the closing. Puff Daddy was into co-producing everything on this album so I secured for Face $20,000 to get co-production with Puff. The song is called Friends off the Mary J Blige Album Love & Life. The point is to be creative. His record could have been lost in the sea of millions of producers.

With no one backing you- you have to do more. Don’t go sending bottles now- think of something else [laughter erupts].

Thank you to Tony Perez and the Relentless Management staff for taking the time to talk with Producer’s Edge Magazine.

72 Producer’s Edge Magazine Summer 2007

The Writer’s Block Party LaRonda Sutton and Dolly Turner Words by Crystal J

So I asked Dolly to be a consultant for Hit Co and help launch the film and television division. I came back to New York after four years and was the head of Urban Creative for Universal roducer’s Edge recently attended the BMI sponsored Writer’s Block Publishing on the East coast and looked after the Copyrights of Ashanti, Party in New York. We had an opportunity to sit down with LaRonda Ja-Rule, Mary J Blige I helped sign Sutton and Dolly Turner who shared industry insights and discussed this Prince and help many others. important networking movement.

On the urban side for very large houses, you’ll have one or two people looking after 70 to 80 writers. There Dolly Turner: Writers Block Party with opportunities, the foundation is was just no way to service that many started about four years ago when helping to develop careers writers. I thought to bring the A&R LaRonda was vice-president of creative person to the writers and get everyone for Universal Music Publishing East LaRonda Sutton: When I met together and work it out. We created Coast. She started up Writers Block Dolly, She was working with Michael a business atmosphere where you can Party as a networking opportunity Muldon Entertainment Resources as display you talents and we can all be for the writers on their roster to meet a manager and the group she looked a part of the next and the future. This other producers and to collaborate and after was Escape. I was at Crystalis keeps us inspired beyond hearing the develop great music. The Magic of a Music Publishing. I was head of the same songs over and over again on song coming together the radio. I’m amazed by the level is the right writer, the “New York is hot, LA is hot and Atlanta is hot. That’s where of talent that comes through our right producer and the A&R people live and exist. But outside of that you have door and I can never say “music is the right artist. They wack” because I can see what the were very successful, to make your way to one of these major cities to put product future is. It’s an ideal situation for her writers enjoyed it in the hands of someone important enough to give you your all involved. When you talk about since it gave them a shot. We are going to the people and that’s the difference.” broadcast producers and the chance to meet new creatives at advertising agencies, -Dolly Turner people in the creative ringtone companies, A&Rs who are community and the all looking for new hot music it’s a chance to meet A&R executives at the Soul Music Division and we were in perfect situation. For BMI, whose sole various labels that they would have Atlanta and had a good vibe. I moved purpose it to represent the song writing had difficulty meeting with. to Atlanta and the opportunity to work community and protect the copyright with Antonio Reed to start a company and collect for the performances - they It started as a small event with 20called Hit Co Music and in the midst want to meet the future song writers 30 people, but was a big hit and very of launching we were expanding and and have their support early. productive for everyone and as a growing and acquiring the copyrights result, many writers developed new for Beyonce and Anthony Dent, Crystal J: What level should they be relationships and gained placements.

Raphael Brown ,Tony Rich and at before they attend a writers Block After she left Universal Music Organized Noise- a lot of talent from Party?

Publishing she came to me and said: the south-eastern region. We were the I think this was great event and we only publishing company in town at that Dolly: Someone might be new and should formalize this so I’d like to re time. I needed help in the exploitation fantastic and maybe somebody else launch the Writer’s Block Party as a of our catalog in the film and television has been around and they come to an formal business. This became a music arena. I couldn’t think of anyone better event and they will be a Grammy award licensing company, a music publishing than Dolly Turner because she had winning writer, but they want to know company, music supervision and rights established those contacts with the who’s going to be the new hot producer. and clearances. By continuing to host music supervisors and she was very They can come to our event and find events that provide creative people well known in the creative community. the new Pharrell. The Neptunes may

P

73 Producer’s Edge Magazine Summer 2007

So they know when they come to the event they will have the best from that region. If you are new to the industry or even an intern and you want to see what the creative community is about. From a beginners point of view you’ll see how the system works and what level you need to aspire to. Even if you’re already established as a writer or talent it’s a great networking environment for collaborations. No one level is focused on because it is important to have a range of talent and experience.

Crystal J: How does the canvassing system work? be too busy to write with constantly so it’s a hunt for the newest talent on the block. We go all around the country and not just the major markets. If you want to be in the business you have to be in a market where it’s happening.

New York is hot, LA is hot and Atlanta is hot. That’s where the A&R people live and exist. But outside of that you have to make your way to one of these major cities to put product in the hands of someone important enough to give you your shot. We are going to the people and that’s the difference. It’s getting your music heard by the right people that you may not otherwise have had an opportunity to meet. The goal is share information to take your career to the next level.

It’s even more difficult to get your song placed at a major label. In many cases you really need a solid catalog of music behind you before you can fall into a situation.

Laronda: In New York we sent out the invites and press releases. The information follows: this is the new Genuine Project; this is the Omarion

LaRonda: The financial model is to go with the sure bet. They’ll grossly overpay a sure bet than take a risk. It’s business and we understand that. That leaves a lot of gray areas for the new writers and that’s where we come in.

If you’re a brand new writer it’s an opportunity to see the music community from a beginner’s standpoint and what you need to have to be in the game and what you should aspire to. If you’re already established and have a lot of records out- you may see a song writing talent or an artist you can collaborate with.

Producers are in the same situation.

You network with the Lyric and melody. We never focus on just one level.

Dolly: Major labels are not really finding and grooming talent anymore. Putting them in the studio and only selling 500 thousand. Saying okay “we’re glad we have that introduction” and putting out that second record. You could be a superstar artist and if that first single doesn’t hit they’re pulling you. A&Rs have changed how they find talent. Most Talent that’s signed to labels arrives through smaller production companies. They are not signed directly to the large label. The Writers Block Party becomes a new pipeline to introduce new talent to the major labels.

Because the music business has changed a lot with all the downloading and record sales have dropped. It has affected publishers and song writers.

LaRonda: They know when they come to an event in that region they know we’ve already canvassed and know what the labels are looking for.

74 Producer’s Edge Magazine Summer 2007

sound we’re after. You’ll hear samples of the production and requests for material for a future project for an artist like Beyonce. In Washington DC with Rich Harrison WPGC we did our seminar as part of their conference knowing he was launching his own label and He let everybody know what he was looking for from an artist and song writing perspective. It’s also a gauge to see what the talent level was like. The panel, including KP from Sony Urban and Shaka from Disturbing the Peace from Atlanta, gave advice and critiques.

Crystal J: What are you looking for in the talent level?

artists that have been successes globally. It wasn’t degrading tones and it was more than running from the police (room erupts in laughter]. Artists have to challenge themselves to be great and not follow what everyone else is doing. It’s important to be comfortable and confident enough in your creativity to carve out a new path others can follow.

LaRonda: The fire and a good understanding of lyrics, melody and a general knowledge of music.

Personally I’m a big fan of solid lyrics. Music sets the mood for the implantation of the message. I have to be drawn in to the record and pushed to listen to the point of the song. It’s more than hot and not hot. It’s about deconstructing the song- breaking down the effect of the lyrics and the music. If I can discover a writer who is self contained -who can master boththen that is the greatness of what I do.

Dolly: I think lyrical content is important. Some music is timeless and some music is just for the moment. I can appreciate the one-hitwonders, but we want to encourage people to make music that is timeless.

We want music with a message that can stand the test of time. The content and quality that can relate to many.

LaRonda: Yes, music that translates internationally. It’s a global market now. Anyone can get anything at anytime. So yes you write from what you know. You write from experience. You represent your region, but it’s more than a Southern sound or an East Coast sound. Europe, Asia…it’s just a great opportunity to be heard.

Dolly: A good story that people can relate to. Shooting and killing doesn’t translate well globally. It typically isn’t the kind of material that’s globally accepted. Think about the Hip Hop

Be a leader not a follower. It’s the same stuff over and over again. You can hear that fluff on the radio every day. The people who break out and resonate are the ones who are willing to step out and be different.

Crystal J: What genre is best to focus on?

LaRonda: Pop, Hip Hop and all forms of R&B. Dolly: Reggaeton is fine.

Crystal J: What about the current musical landscape- especially commercial music?

Laronda: I don’t think the state of music is all bad. I think there are some very bright lights outs there.

Dolly: Lupe Fiasco is a bright light.

LaRonda: All we want to do if to give the good music a chance to be heard and let artists become bright lights. I’ll put it to you like this. When you go to iTunes, you can go in and find what you want. Really. There is music out there for everybody. It all depends on what you’re looking for. The radio plays some music that is cool and some that is not.

Crystal J: As an artist what should I be looking for business wise?

LaRonda: When we have the initial event some of the attendees are people we are familiar with so we’ve already discussed the future and what they want to do. Some are signed up to the Writer’s Block for a publishing situation or a licensing situation and even as an artist. Maybe it just comes down to be invited to an event.

If you’re music is hot we want to work

with you. We will focus on your career and where you wan to go.

Dolly: We partner with BMI to make sure you are developing a career. One of the fundamental building blocks in your career is belonging to one of the performance societies. Your record may have started out on the streets, but it moves on to the radio and other commercial venues. An entity like BMI is there to make sure you get paid every time your record gets played.

The core team needs to include your performing rights, music publisher, attorney and manager.

Crystal J: Can we have a success story or two to close with?

Dolly: At the Writer’s Block Party in New York with Sony BMG one of Tony Perez’s people sold a track to Sony BMG the next day.

LaRonda: I am supervising a film called Life Support and I’m using many of the Writer’s from the Writer’s Block for the sound track. An artist named Razor attended the Writer’s Block Party- ended up hooking with writers and producers and created records that led to a deal with Virgin Records.

Dolly: We are also doing a compilation with the best artists we’ve met across the country. We’ll be sharing the details with you in the future.

Crystal J: The focus of Writer’s Block Party Placements is records, film, TV, commercials and New Media. Email contact: Wbpmusic@ gmail.com We thank The Writer’s Block Party for sitting down with Producer’s Edge.

75 Producer’s Edge Magazine Summer 2007

Roots • Beastie Boys • Fat Joe Da Brat • George Clinton • Maino Busy B • Dana Dane Kevin Hunter Wendy Williams Cool Herc • Sugar Hill Gang • Big Boiugar Hill Gang

Ice-T Coco • Spinderella Forest Whitaker WC (Westside Connection) Ralph McDaniels • Ice Cube Yo Yo • U-God Bone Thugs –N- harmony Remy Ma

Ciara •Oomp Camp•Da Brat LEFT : Da Brat • Ciara Bone Crusher • Doug E Fresh Fabo (franchise Boys) • Fresh Trey Songs • Bobby Valentino • DTP•DJ UNK • Yo Gotti • Rick Ross RIGHT : Dock Erbin Radio 1 • Shorty Scared! • Platinum Dynasty The Dirty Awards Girls My Red Little Business Card • Ludacris Young Buck • Lil Scrappy

LEFT : Darius Red Alert Big P Rakim in concert Grouchy Greg AllHipHop.com Freeway Ms Lez (DonDiva) Big Bank Hank (Sugar Hill Gang) Harve Pierre Bad Boy! RIGHT : Nutcracker Boyz Crystal Sean Prez Lamonte Spann (NUTCRACKER) Patricia Spann (The Cleft tones) Serious Jones Rsonist Drew Spence Derrick Johnson Nate Tinsley â&#x20AC;˘ Saga Legin Jon in Studio Zooman (L Big P) (R Big P) Eddie Gold

82 Producerâ&#x20AC;&#x2122;s Edge Magazine Summer 2007

T

he camp under the spotlight for this issue is New York’s Dipset. The Harlem based movement has given fans of Rap and Hip Hop undeniable club bangers, anthems for your life and heat for the walkman. Much of that recorded fury is inspired by beats from the two-man production team known as The Heatmakerz.

Producer’s Edge was invited into Quad Studios in Manhattan, New York to talk music with Rsonist and Thrilla.

Was the MPC the first tool you picked up on?

Actually, the first beat machine I worked on was the regular MPC 2000 and then I bought the MPC2000XL and I moved on from there and bought the MPC4000.

Sound Modules of preference… the Korg range, Roland, maybe something exotic?

I use both. I have the Roland XV 3080 and the Proteus 2000. I use the MPC to sample and sequence and I just use the modules as MIDI so I can add extra sounds, bass lines and a couple of drum sounds, crashes and toms here and there. Everything else pretty much comes from sounds sampled into the MPC. Business wise, how important are your managers?

What goes on in a production day?

Is it broken down to tasks, like some days you just sample search and others maybe you just create drum patterns?

I pretty much wing it. Nothing is set in stone. I might wake up and just want to go record hunting and I go to my spots and find some samples. Certain days when I have nothing else to do I just stay in the studio and make beats from when I wake up till the time I just fall asleep.

I have my partner Thrilla, that’s my right hand in the production game. He makes tracks, I make tracks and we shop them together- collectively as the Heatmakerz. I have my management team, but I trust him the most out of everybody. Me and him started from day one. We look out for each other and make sure everything runs right internally first.

The Hell Rell sound is big right now.

How do you feel he compliments your tracks with his lyrical style and the topics he covers?

To me it’s evident, it’s like our sound is Hip Hop/Street songs. His sound is street orientated; us together is a given. Put us together and we are going to make good music regardless.

I don’t have to try to make good music for Dipset. Everybody involved…we understand each other on a musical level. Hell Rell compliments us, because he’s got that Dipset sound, but then his voice and the topics he rhymes about is a little like MOP. Aggressive music that’s what we make and look how aggressive he is on tracks. That’s what we make…it makes sense.

When you’re building a track do you hear voices over the track and send tracks out specifically. Like maybe this one is for Cam or this one Juelz maybe I should hold this one for…

I never do that. To me, that would be boxing yourself in a corner then you’re trapped producing for only the person in your mind. Good music is good music.

Once you make a good beat you might assume this person would sound good over it, but someone might come out the woodwork and do something you didn’t expect them to do to the track.

Good music first, and I just have faith in the artist to bring the song over the top and make it into what it could be.

Do you ever dabble in sound design and work a drum kit to make it fit the track or just use your ear to pick the correct drums and only tweak them to fit?

I have my favorite drums I always use.

Certain tracks the drums might not fit, but I’ll tweak them- pitch up and down

83 Producer’s Edge Magazine Summer 2007

Out of sight, out of mind. You can have the hottest tracks at your house.

If nobody knows your face and name then all your beats are useless.

You have to be seen, you have be out there. What are you doing?

Do you feel the pressure of expectations like how is that next track?

No. I don’t look at it like that. I’m just blessed to be in the position I’m in. A lot of people would love to have the problems I’m having. I don’t think my next hit single I don’t make music to please the industry. I try to please my ears and if my ears took me this far, I doubt they will fail me any time soon. or maybe a timing issue to bring out a sample. The drums that we use are heavy regardless that’s what people know us for. I don’t stray too far from the drums and bass lines that we use the majority of the time- it’s just a matter of tweaking the fit for the specific track.

Do you stick to a loose guide like a number of tracks per day or week?

“Out of sight, out of mind. You can have the hottest tracks at your house. If nobody knows your face and name then all your beats are useless. You have to be seen, you have be out there. What are you doing?”

No, no, never. When I’m really in work mode and I need to push out a lot tracks on average I’ll do about five tracks a day.

What’s the Crack Mix Tapes about?

It’s extra material and songs that were hot, but were never out there. We were making a Crack album and had left over material so we made a compilation. It has a lot of exclusive material. We put hard work behind those tracks. We wanted to keep our name fresh in the streets- that’s why we put it out.

I’ve seen you do in store appearances, at the Cop Shop with Hell Rell and JR Writer. What other ideas do you have about giving back to the community and other up and coming producers?

I’m putting together a production based DVD. A lot of people have equipment,

but don’t know how to hook it up or use it or what it takes to produce. It seems complicated at first and they don’t know where to start. I want to walk them through the basic steps of getting started. I’m not trying to give away secrets, but I want to let them know how to get started in the production game.

What about the business? That’s the higher hurdle to get over.

Getting artists…how do you get placements?

84 Producer’s Edge Magazine Summer 2007

What’s your musical inspiration?

What I personally like to listen to. A lot of my samples are inspired. Early 80s Rock to 70s soul to 90s R&B. I’ll sample anything that catches my ear. I’ll sample (Please) Mr. Postman to Ushers Why -to garage bands (GarageBand.com) Spooky Tooth, things you’ve never heard of.

While talking with Pete Rock, he mentions Heatmakerz as one of the few producers he respects from this new era. How does it feel to have a legend in the Hip Hop game respect your talent?

That’s beautiful. I met Pete Rock at a show I was hosting. I think Smif and Wesson were performing; that was crazy to me. When I was producing, I would go back and listen to producers like Pete Rock and Premier -hear how they chopped and brought certain samples to life. It was amazing to me.

Now I’m getting to meet all of them.

We’re no-where near their level, but to think someone may look at us [like that] in 5 to 10 years is a blessing.

What’s next and on deck in 07?

Putting out my own artists, having a comfortable label situation where I can put on my own people without having to get them deals through the halfway labels.

The Crack Mixtape volume 1 is available now.

Guest spots, exclusives and remixes featuring: Cam’ron, Juelz Santana, Hell Rell, AG, Lord Tariq, Eclipse, Lil Flip, Remi Ma, Razah, Junior Mafia, Fat Joe, LAW, Jae Millz, Saigon, I-20, Ludacris, Capone & Noreaga, M.O.P. & Big Scoob.

W

e sat down with the A&R aspect of the Dipset camp, Duke Da God and asked how the whole process of matching artist and beat works to create the Diplomat chemistry.

It’s the vibe, the material and the beats we have to work with. Rsonist sends me beats through email or a CD of tracks. I will always sit down with any producer first and pick out the tracks that are hot and then distribute them to the artists- only the ones I thought were hot.

Do you base that on a previous successful record or what the artist feels?

Sometimes I do that. JR may like the slower beat. Cam may prefer a certain tempo.

Juelz may want something faster…he might use something that’s not really regular sounding. The Whistle Song is different. Juelz makes a lot of records that the beats are just for him. A beat might work only for the artist.

What about hooks? Do you ever have to approve— No! Everything is a 100% creatively done by the artist. They wouldn’t be in the position they’re in if they couldn’t be trusted with a hook or chorus for their own songs. I leave that totally up to them.

What about Koch? Is this the new situation you are going to pursue with all labels and artists?

Eventually. We just want to keep the movement moving. Sometimes the business isn’t right… so we went to a place where they believe in us and want to take that next step forward. You have to switch labels when the business isn’t right.

How do you adapt the business toward each artist- seeing each artist might want to be in a different situation?

Right now, Juelz is on Def Jam, Cam is on Asylum and JR and Hell Rell are on Koch so we keep everything Dipset Records first and foremost. We just use the labels to put the records in the store so it doesn’t matter if each member has a different situation.

85 Producer’s Edge Magazine Summer 2007

How much has Dame Dash influenced your viewpoint on the industry?

Dame influenced [me] greatly. He’s from my block…the next building. I seen him when he we was regular and broke to now when he’s rich. I know what it is- I can taste it- he’s been an influence on all of us.

How important is ProTools to your workflow?

ProTools is very important for an A&R. It’s all different now. No more reels…You have to step it up in 2007 as an A&R. Cleaning songs and it’s a lot of editing. It’s a must.

Any thoughts of increasing the size of the Dipset camp?

We’re not concerned with increasing the size of the camp. It’s about increasing the movement. We have the youth. 40 Cal, JR, Hell Rell, Jha Jha. We don’t want fifty members. We want to get into R&B and other types of music and take it to the next level.

What do you do to balance the money an artist should get and the situation you place them in when you’re negotiating with a label?

I tend to look at what the artist is worth.

Cam is a good negotiator. He puts it all on the line for his songs. He drives Bentleys, rides G4s and he hasn’t done multi yet. That’s a good business man. Everybody in the crew is eating.

Jim is on Koch at $7.00 dollars a record and selling 600,000. Juelz is almost Platinum on Def Jam. It’s a little different situation over on the major, but he’s eating. My situation, $8.00 dollars a record over at Asylum, we’re good.

We take what we’re worth and bring that into the meetings with the labels.

It only works if you have the streets behind you -the buzz behind you. You have to put that work in. Not everyone can go in into a label like ‘I need this and that…’ it doesn’t work that way.

What separates another A&R?

your

ear

and

I don’t try and make music for the West or Down South. I just do what I know. We’re from Harlem- I only know that aspect so I listen for that our block sound. My ear is tuned for a very particular vibe. I want to bring Harlem to your hood. I want to give you our world, our slang. I want to step it up with a big record without needing a cross-over. I don’t think about what will pop in Arizona. If it’s good, it should be good everywhere.

What’s the most recent project?

Cam’ron Presents: Duke Da God. Another Dipset compilation- it’s the second one I put out. Killa Season the movie dropped in May 06 and it’s really worth supporting.

Are you influenced by anyone else’s music?

Not really. A lot of people get caught up in what other people are doing. We intend to keep doing what we’ve been doing. If a producer plays a beat and we like it- we just go with it. We don’t sit in the studio thinking “We’ve got to make a hit record.”

We don’t think everybody can make a hit record so we just make music from our heart; what we feel.

86 Producer’s Edge Magazine Summer 2007

In closing?

Dipsetmixtapes.com for official merchandise and continue to support our movement and music. Dipset.

Harlem is back at it.

W

e shift gears from Producer to engineer as Producer’s Edge chopped it up with Saga Legin from Next Millennium Entertainment/Legindary Studios out of NYC. We sat in on recording sessions for JR Writer and Hell Rell. After Rell dropped Line of Fire we got the story behind the multi-talented entity Saga Legin.

Is Next Millennium part of Dipset Records?

Next Millennium is my own company, I started it in 2003 and also engineer for artists like Dipset, 40 Cal and Gravy. I worked with JR Writer before he was a part of Dipset …as a young dude coming up. He came through the studio before ProTools and the HD boards… when we recorded vocals in the bathroom.

When we interviewed JR, he said his writing has changed. How much do you think the studio time has influenced his writing ability?

To get nice and master your craft you have to hear it. You have to keep in the studio, you have to keep rhyming, keep making songs even if they’re crap. You have to keep going at it until you become comfortable. You get with your flow and reach a level where no one can touch you and no one can say anything about you. It influenced him a whole lot.

Where did you develop your engineering skills… formal education?

I’ve always been doing engineering and production and I went to IAR (Institute for Audio Research)- a course to be a certified engineer, but I went just to hone my skills. A lot of cats don’t know you need to have the gear at home…you have to be working

at it away from the school. Classes are really for asking questions about what you need to know on the outside.

Don’t go there thinking you’re going to be the next superstar producer or engineer. You have to have your stuff down pretty good before you go there.

It’s the teachers’ job to answer your questions.

I understand you have a lot of vintage or classic pieces in your studio…unplugged. So where do you stand with today’s’ VSTs and the whole digital palette?

Why the ProTools set up?

It’s the industry standard for recording, mixing and mastering.

Have you used the other sequencers like Cubase and Sonar?

I’ve used all the major sequencers like Digital Performer and Logic. Those sequencers are good, but I like the ProTools hardware- the A/D converters and the processing power. I also move my sessions around and I like the compatibility between studios.

What are your thoughts on the SSL sound?

I use the SSL X-logic channel strip which is a strip off the SSL board.-off the console ranging from $500,000 to a million dollars. I have the strip in my rack mount; an EQ, compressor…I use that for my vocal processing. That’s the key to get the SSL sound without paying SSL prices.

I’m old-school. I grew up with the SP[1200] and the [Akai] S950- that’s what I grew up on. I use a lot of the Spectrasonics kits. Stylus, Atmosphere and Trilogy for bass. I like the, Kompakt 3 kit- it has some good sounds in it.

Mach 5 for sampling and the MOTU Symphonic, Philharmonic for strings and classical sounds.

What’s you relationship with the Untouchables?

Well…that’s a collaboration with Writer’s Block and DJ Plad. We put out volume 1 and 2…for volume 3 we changed the name to In the Line of Fire. The first one I dropped heavy was Legindary Mix Tape 2 with a lot of artists featured. It got good feedback and bootlegged everywhere.

87 Producer’s Edge Magazine Summer 2007

88 Producerâ&#x20AC;&#x2122;s Edge Magazine Summer 2007

Where does CutMaster C fit into this engine?

He records his mix tapes in my studio so we built a working relationship since I engineer for him too.

How do pick who you’ll work with?

Is it during a session or based on who’s hot in the streets?

It’s more of a personality and what they’re spitting. What kind of stuff…it has to mesh with what I’m doing. When I’m Emceeing it’s a different kind of thing. I try to break off from the regular genre. I’m trying to bring New York back to what it was lyrically- back from the regular shit that’s out now. Back to the city.

Are you concerned with being labeled as a Dipset cat and getting lost behind their movement?

No not at all. Dipset…those are my dudes and I fucks with all of them, but I’m releasing my music, my artists under my own company. We are linked because I’ve worked with them, but this is my own direction.

Will you sign new artists in the future?

We are definitely looking for female rappers, female singers and cats that have that crack…spitting ‘that shit’.

Aside from the Dipset, who else are you interested in working with?

Anyone with lyrics. Anything other than ‘Shake it in the club’, ‘Bitch shake it in the club’.

Lyricists like Saigon, Papoose…?

Yes, cats that have consistent output… cats that can make songs. You can’t put out mix tape songs forever- there has to be an album behind that.

business. The engineering pays the bills. And being an artist and produceryou have to be jack of all trades to survive. In order to get your stuff off the ground you have to be able to do everything. I do graphic design, web design. They said you could spread yourself too thin, but I say as a people we can do anything. I try to give everything 150%. Against that, I don’t try and do it all alone. I don’t want to limit myself by only working with established dudes. I also want up and coming cats dedicated to production with that heat. Everyone started as that cat hustling and grinding. Today’s cats charging $150,000 a beat verse the cat charging 500 to a $1,000 per beat aint got the name but he got that fire. You put that dude on and although he aint got the name- he’ll become that dude later. The game’s too saturated. You gotta give dudes a chance.

Are you going back to sampling or stay synth-based?

I did synth for the album to avoid the suits. I use a whole lot of samples, funk based, classical samples and dark minor instruments.

Drums first, melody first?

Synth based is drums first and then layer the instrumentation after. For samples based- it starts with the main samples and drums last.

What do you use to process your drums?

I run them through a Neve 1073, SSL for real clean percussion, millennia SST-1 all of that for just drums.

How do you balance the recording artist and producer and…

How do you know when a track is done then? Tracks can be sparse and empty or sometimes cluttered, over-produced with the extra cow bell.

It’s definitely a juggling act in this

I don’t like to over do it for the true

essence… I’m doing Hip Hop, not Symphony No 5. I like to get the main instrumentation and just fill in the gaps.

I work the drums mostly and put little sound effects behind it. I mostly make sure everything is bangin, everything is clear as crystal and sounds like it’s coming out on a major CD release.

Who’s doing the mastering?

I do it all internally. My album was [done] before my own mastering set up.

I sent that through Sony for mastering, but everything else I’m going to master myself.

Hardware or Software and what tools?

Hardware. I’m looking at the Manley, the Tube Tec and the Rosetta 800 for A/D and D/A conversion.

What got you into Mastering?

They’ll tell us mastering is voodoo and it’s some sort of magic only old wizards in big studios can do. There’s no limit.

You can do the research- look into the gear and learn the science yourself. I’ve never been the type of person to think I can’t do something. It’s based on your ear and your room needs to be EQ’ed right. A lot of mixes have gone wrong because of a bad room. You have to understand the role of your gear.

What about R&B tracks making Hip Hop beats?

verse

I can do it all. I’ve done that for my mix tapes and will do it on my album. Shout outs to Nicole Williams- she’s crazy, Lawanda Michelle, Jay Phillips they did their thing. R&B wise…all about the greats Mary J, Alicia Keys, it’s about soul, the real singers…Aretha Franklin.

Someone that can belt it out- not the processing on vocals- no Autotune or special effects like the Cher record.

89 Producer’s Edge Magazine Summer 2007

Compared to today’s music, how would you summarize the sound you’re going for?

My music is for the soundtrack of your life. Music you can listen to 15, 20 years from now. They’ll look at it as a classic- it brings emotion with it. Every track I make has an emotion with it and you have to tap into that place.

Nowadays a beat is made…the little 808 bass and the corny [does beeping noises] sounds and the bullshit and it’s not driving. It’s empty and just for the club ‘hey I’m shaking my ass’. Two years down the line these records won’t be remembered because they have no substance, they have no soul.

Thank you for spending time with Producer’s Edge Magazine and we hope to be in-studio with you again.

Anything else to add?

Next Millennium EntertainmentGravy’s album. Diplomats all day everyday. Hell Rell’s album. Look out for JR’s History in the Making. The collabo Double Trouble. Cut Master Cees mix tapes. Thanks. Peace.

The album Saga City will drop this year. Pick up the mix tape now on www.allmixtapes.com

Prolific 1.marked by abundant inventiveness or productivity <a prolific composer> 2. Producing offspring or fruit in great abundance; fertile.

3. Producing abundant works or results: a prolific artist.

4. highly productive: producing ideas or works frequently and in large quantities...

I

did a fair amount of searching into the definition of Prolific and was hoping to find one including a picture of Jim Jones. The Co-Ceo of Diplomat records has released serious amounts of music since dropping Certified Gangstas in 2004. He exists in an elite class of artists who have been able to use the mixtape circuit to build a loyal fan base and the kind of buzz that guaranteed a successful album launch.

The Harlem native has also taken part in numerous community organizations in an attempt to give back to the city that helped place him where he is. He is a member of The Andre Neal Foundation as well as the South East Queens Action Network for Public Schools and is active in the Russell Simmons’ Hip Hop Summit. A new documentary titled THE JIM JONES PROJECT represents the story of a gangster rapper trying to change his ways. Don’t get it twisted. The film sends a clear message to not confuse the glorified image of street life with the reality the harsh consequences of poor judgment.

“My advice for younger people is: Please don’t try this shit at home. There’s a difference between a gangsta and a gangbanger - a gangbanger is very ambitious, he has a fiery heart. When he knows how smart he is, he’ll turn into a gangsta. A gangsta becomes a businessman, because with power you gotta show restraint - you only show that power when your back is against the wall and people force you to come out swinging.”

When asked about the reaction of Dipset fans: I always knew we had the power to get people…we have this persona that attracts people around us no matter what. But at the same time, I’m from the hood, so to see people who want to rock they hat like me, and know all my lyrics,

90 Producer’s Edge Magazine Summer 2007

and want to see the next thing we do…that’s surprising. Sometimes it’s even scary.

In comparison to Cam’ron and Juelz Santana…

“Cam wrecks these incredible records. He’s a skilled person when it comes to that. He can write a record just for the radio, it’s an art. Whereas I can only tell you about what I feel, and my day, and what my niggas go through. Cam is nice with his…he’s more of an abstract painting, I’m the Sistine chapel. Juelz comes with that hustler mentality kind of flow, like how Jay used to kick it. Very in-depth.

But everybody [in Dipset] compliments everybody.”

With his the release of his debut album “On My Way To Church”. Doing so well on Koch [over 200,000 copies sold] we had to wonder about the angle of still going independent. “…it’s the same as the major, and that is what everybody [seems] to forget. They are a label, but they are just on a smaller scale, ya smell me? They do the same thing, they put your record in the store, they get you co-ops, they promote, street teams, everything, smell me? You just gotta be on top of your game. I came here with a team, I own my own label already, me and Cam are partners, Co-CEO’s of Diplomat Records. So I know what it takes for me to sell some units, besides having some good music. You have to have the know how. “ And finally the plan for world domination: “We are going to saturate the game, ya smell me? We are going hard! We got Cam’s album coming out, the new Diplomat album and Juelz’s album. We are just working hard man. We got a bunch of videos coming out. We got the sizzurp on the streets. We are just trying to make our mark because everybody gets their fifteen minutes, and we want ours.”

The attention has lasted for much longer than 15 minutes. Producer’s Edge wishes luck and success to the Dipset family. Late pass for The Diary of A Summer on Diplomat Records/KOCH Records.

91 Producer’s Edge Magazine Summer 2007

92 Producerâ&#x20AC;&#x2122;s Edge Magazine Summer 2007

I knew Saga before all this. Writers Block part I. I knew him when he had the mic hanging off the shower curtain.

I was putting it in.

How important is the atmosphere?

W

e caught up with the young lion of the Dipset camp- JR Writer. Although this Harlem native lands in at just over the legal, his slow flow changeup has garnered heavy attention since Stop-N-Go off the Diplomatic Immunity II compilation. With a pen heavy on paper, a ear on the mix tape scene and his first full-length album, We ask the questions...

When you’re working do you ever write without the track?

Hanging around with Cam and all I got used to just writing when I get to the studio. When I get here [Legindary Studios] I go through beats, check my email for producer’s beats…sent to me from Miami, Orlando, Canada wherever.

Do you look at the track and think ‘This could go somewhere, this could be a hit’ or just feeling it and hoping it becomes something?

Depends on the track. Sometimes I think this is something for the ladies and I zone out. Another might be some club shit and I zone to that. Some people go differently. I don’t have a topic in my head and look for a track to fit it. I go by the track.

Do you have respect for the battle Emcee who’s not really working on his career, but focused on…

That’s where I came from! I battled Jae Millz before and a lot of people.

Suppose that’s not part of my history and I’m focused on a record deal and doing a rap shows and collabos with other artists…

There’s other ways to get it poppin, but

to get it poppin in New York? You can’t pop up out the blue and not put in work.

Coming with just a demo? They won’t respect you. People only come off with a joint Down South. No disrespect cause they put in work too, but New York our expectations are too high. You have to put in so much work…

Recently, you dropped points at G-Unit. What line tapped at you to respond?

A lot of subliminal shit going on, speculation and side talking going on in the streets and I’m addressing it back and forth. Jim [Jones] is my boss and my dude as well. Cam is a boss and my dude as well. You’re just not going to pop shit about niggas and get away with it. I’m Dipset all day, homey. You say ‘fuck Dipset’ I say ‘Fuck you, nigga’.

Does someone come to you and say “listen to what so and so said” or do you just listen to other artists toThey not as nice as us. It’s not even a diss record. I just address what’s going on- it’s just me rhyming- that’s what I would say if I was just talking.

Who would you like to work with outside the camp?

TI, I like a lot of people. Fab, Jeezy.

What about the studio?

I can write anywhere. I can write on a plane- going to Canada, a train. I could write ..in a tomb. I just don’t like noise cause I have to get in a zone- feeding off the track. Niggas could be rolling dice.

What about ciphering?

Very important. Rhyming on the street.

A bunch of people you don’t know.

People listening that don’t even listen to rap. It’s the gutter, the hood- no rules and regulations. It helps you.

I also learn from watching Cam and them- watching how they put their [tour] shows together and go through playlists.

Ever battle each other?

We did a battle on a Diplomat tourCam was a judge - it was the sixminute showdown and me, Jim and Juelz battled.

Who won? It was a tie. [Whole room erupts] Wait, wait. It was. The first day Jim won and the second day Juelz won and the last day I took it. That was good for us because we all had so many rhymes from that. We went to Hot97 and had wild rhymes. 40 minutes. If you listen you can hear Cam saying ‘Six minute showdown’.

Has your style changed from the days on the street now that it’s about the masses and shows, accounting for breath control?

It has. When I was in the street it was all freestyle. That was whatever I wanted. A nigga moms, a car, any topic.

Studio is about songs and working on an album- sticking to the script. I don’t want to lose anyone. Not too much. A simple joint the crowd can participate and follow along with a hook. You don’t

93 Producer’s Edge Magazine Summer 2007

Y

ou’re just not going to pop shit about niggas and get away with it. I’m Dipset all day, homey. You say ‘fuck Dipset’ I say ‘Fuck you, nigga’.

go into a cipher and spit a song- that’s some other shit.

How do you get around writers block?

You’ve got a track running and you’ve got nothing to say over it?

I just think, walk around and think about what’s going on and what’s about to happen.

What’s the most personal verse you’ve ever written?

I’ve got three songs on my album. Real personal. I got one joint called Diplomat about me going through this rap game. The hard times, the ups and downs. Dealing with Cam and afterwards.

Now you know more about me. Another joint about my childhood. He’s Moving. No metaphors and punchlines. Very powerful.

What was your first

reaction when you heard Cam got shot?

I called Killa [Cam’ron] and was going to go to DC but by the time I got there it wouldn’t make sense. I spoke to him in the studio for the Get em Daddy remix.

Has it changed how you move?

Yeah, you get noticed as soon as you walk out the door.. In the park with no jewels and a hoodie and people still come up to you. If you getting money you’re a target. You’re famous you’re a target. A lot of niggas hate. They can’t come up so they hate.

They have no talent, they aint hustlers, so they do what bum-ass niggas do…and hate.

That’s what motivates a nigga.

What’s the movement in Dipset?

Our own swag. Different

94 Producer’s Edge Magazine Summer 2007

styles. When we’re in the studio together, that style makes you want to move with us. Cam rocks pink, everyone rocks pink. Juelz says ‘ay’ and everyone says ay.

Rocks the bandanna...

‘What’s good?’

What would you say your swagger is going to be?

[Looks down at his rhyme book] I see.

Me and Saga got History In The Making we got Lil Wayne, Paul Wall and Nicole Ray. It’s crazy.

In closing, any gems?

Don’t have niggas around to make money off you. Make everyone work and be about something. You have to keep recording. You have to be able to trust who’s around you.

H

ailing from the Bronx New York is Mohammed Durell. He returns home from a two year bid- forever transformed by the experience and re-dedicates himself to living every day to the fullest. He is a new vessel, christened Hell Rell, set to sail under the flag of Dipset. He was recruited by childhood friend Jim Jones.

We speak with Rell in light of his solo debut 4 Da Hell of It on KOCH Records.

I

t’s a difference between luxury and exotic. Benzes, Beamers, Jaguars those are luxury cars. We have exotic cars. We have Lamborghinis, we have Ferraris, we have Maseratis I mean, and you’re liable to see us in the streets with them. It’s not like we’re in Hollywood or some fucking where. You see a $500,000 car parked on Lennox Ave, leaning on the sidewalk like what’s good?

What’s with the album?

I didn’t stick to no guide lines on this one. I said fuck that, this is what I want to do- it’s for the hell of it. That’s why I named it For The Hell Of It cause I’m not doing this shit for the money. I could stop rapping today or tomorrow and wouldn’t have to worry about feeding family, know what I mean, and I aint doing it for the fame. In streets niggas know who I am. I’m just doing it for the hell of it. Like I just went into the studio and whatever came to my mind got recorded. I didn’t go in there Oh, I’m going to make a party record or I’m going to go in there and make a diss record or I’m going to go in there and ...

I just went in there and whatever came to mind -that’s how it came out.

Who’s working on your album?

I have star producers on there.

Kanye West, Heatmakerz and my own production team called Hells’ Kitchen. My man Ebonics in under that. He had produced that track Get em Daddy for me and Cam, look out for him he’s a young gun he’s only 16 years old. The album is crazy.

I have different topics, shit people aint even thinking about. What If I. I’m talking about what if I had AIDShow would people treat me? Would I

have the same swagger? I take you through it on the song. It’ll be out on Koch this Summer, I’m not signed to Koch, I’m still on Diplomat records.

Nicole Ray, Petey Crack, Kanye after that Straight Hell Rell and the Dipset.

What do you think the response is going to be like when it hits the streets?

I mean, the streets gonna fuck with it.

The streets gonna fuck with it cause it’s what they want., I’m spitting what they want. It’s like everything that’s going on in the streets is incorporated into my music. You feel me?. The club scene, getting money, the cars, the struggles the ups and downs. The back and forth to jail. All that shit is incorporated in my music. So, niggas is definitely going to embrace my shit.

Cam has such a different style, you have a different style- what makes y’all so close and what makes y’all collaborate so well? We compliment each other. Each and every individual in the Diplomats is a trend setter.

Can you feel what I’m saying?

JR Writer has a whole bunch of niggas running around trying to be like him, wearing their hat like him. Cam had the whole New York wearing pink at one

time. Understand what I’m saying?

Jim got everyone trying to be a Ryder.

He’s New York cities Ryder Man. And You know, I got the hardest [swagger] out. I got every young nigga trying to step their bars up, floss harder, rhyme harder, ya know that’s what it is- when we come together it’s a movement.

Everybody got their own individual swagger so when everyone come together and form that bird game- we fly over niggas and shit on them.

There’s a lot of dudes that hate on the Dipset. What do you got to say to them, about that? They say’ Dipset don’t talk about nothing, Dipset is this..what do you say? Ya’ll dudes are making money. Explain the situation because a lot of dudes don’t think ya’ll are getting money.

I mean we’re rich brother. I mean I don’t understand what they are talking about. I have a late Range Rover.

Album not even out?

Album not even out. I have no album out? $50,000 on my neck. No album out! It’s like niggas got money man.

Any day you can see Cam like? Who’s driving around in exotic cars in the city right. It’s a difference between luxury and exotic. Benzes, Beamers, Jaguars

95 Producer’s Edge Magazine Summer 2007

96 Producerâ&#x20AC;&#x2122;s Edge Magazine Summer 2007

those are luxury cars. We have exotic cars. We have Lamborghinis, we have Ferraris, we have Maseratis I mean, and you’re liable to see us in the streets with them. It’s not like we’re in Hollywood or some fucking where. You see a $500,000 car parked on Lennox Ave, leaning on the sidewalk like what’s good? Niggas is rich we got liquor, clothes like all types of shit. Niggas is rich like JR, 40 Cal everybody that’s under that Diplomat umbrella is good money- before the album is even came out. Before niggas even put any type of project out cause that’s the way Killa put it together. If you fucking with Killa he’s either gonna make you rich or he’s gonna make you famous or both.

know it’s just that the situation placed ya’ll together to get the ball rolling. So it’s a lot of fake people around youyou don’t know who to trust- you got everybody out for your money. This shit is crazy. I’m not happy. So, I don’t want y’all to think if I smile or if y’all see me laughing or joking? I’m crying on the inside. It’s pain. I got emotional scars. So don’t think I’m happy for one bit, B. Did you write in jail?

I don’t need a stylist to dress me- I get fly on my own. How can you get somebody to get you swagger? How can you hire someone to give you an image? This Hip Hop shit is crazy. It’s not all about punch lines. You got cats running around talking about the color of their Benz, aqua blue crazy shit. A lot of niggas are heard and some are felt. Jeezy is felt that’s why I fuck with the kid Jeezy. When you’re felt it means you’ve made a song. Nine times out of ten, what the rappers is rhyming about

Would you ever see yourself working outside of the Dipset camp?

No...it’s in my blood. Killa? That’s the big homie. I grind for Killa. I was in the ocean drowning my man threw me a lifesaver. “C’mon homie, let’s do it.”

Feel me? Aint too many niggas doing that. There’s strings attached when a lot of people do that. He did that out of genuine love

Let niggas know exactly what Hell Rell is about. Let them know what you bring from Harlem. Let them know what you want them to know about Hell Rell?

I went through a lot of bullshit to get here. This shit wasn’t peaches and creme. A lot of people might see me in videos, interviews or whatever looking icy... doing the things that I do. Shit was hard my nigga...feel me? It’s been times when I didn’t want to live due to the trails and tribulations in the streets.

I lost a lot of family members I lost a lot of niggas that aint here right now. I’m surrounded by a lot of people that... I don’t even know. Basically when you’re dealing with the rap game and the industry- you’re around a lot of niggas and a lot of people that you don’t really

Nah, I lost the momentum. I’m around gangstas, thugs, killers, murderers, rapists. I aint got no time to write no rhymes. Plus I write with the times. I was stuck in time. I was locked up in 2002. I don’t know what’s’ going on in 2004. It’s a culture.

Everything niggas is rappin about I did. I got a song called rap sheet that explains my criminal history- how I done shot niggas. Everything I talk about I lived. I’m the streets for real. I still be in the hood, I still come through.

I’m in the hood cause I love the hood.

Other niggas in the hood cause they stuck there.

What’s your idea of swagger.

doesn’t coincide with the hook.. The 50 Cent song In the Club. He aint talking about being in a club. It’s the hook though. The hook makes the song.

After the verse they want to hear something that sticks in their head. A repetitious mantra. That’s the difference between rappin and making a song.

97 Producer’s Edge Magazine Summer 2007

98 Producerâ&#x20AC;&#x2122;s Edge Magazine Summer 2007

crazy. We shot a video for that too. I paid for that out of my pocket I paid for 3 videos out of my pocket. I got a song with me, Sizzla and Cam. It’s called Shottas. Niggas scored gangsta music, the Dipset Anthem was crazy?

This was like that X10. It’s got Sizzla on it a real Jamaican...native...crazy.

Of course my single was The Whistle Song it’s called There It Go. Nobody besides me featured on that.

Beat wise- what are you working with this time around?

C

lockwork? A better description might be Around the Clock. The young lieutenant of the Dipset army is so focused on his craft, he built a luxurious studio to create his next masterpiece. It is from this magical place we brought back words from a young and gifted rapper. We start with another thought provoking quote.

A lot of niggas is trying to find themselves- just “ coming into Hip Hop and trying to do what’s hot. I think it’s a good thing. Eventually everybody should be their own person. I tried that, I tried this and now I’m comfortable being me. There was a point where I first started rappin that I sounded like whoever I admired, but now I know who I am and what I want to get across.”

What’s good? Aint nothing, just grindin, man.

You’ve got that new album coming out- how’s it lookin?

It’s crazy man. I’ve been working so hard. I put so much into this album.

You see I’ve got my own studio. I done over 160 songs in the process of just putting this album together. And I really feel like it’s everything I wanted it to be and more. I stepped the whole level of

my rap game up. The whole level of putting songs together and just the way I make music, know what I’m saying, and still being me. And making the kind of music I like to make. I really think I’m definitely going to get a great response from this album. I don’t feel like nothing was wrong with my last album. I just feel like it was kinda far-fetched for niggas- like over their heads. Shout out to Game- he came through and blessed the shit. Lil Wayne, Young Jeezy and me on the same song together- it’s

Of course I’ve got the Heatmakerz on there, but like I said it’s a different sound too- not a different sound but.

Just like I spread it out more I don’t have as much from the Heatmakerz. I would say like 75% of my last album was produced by the Heatmakerz.

This time around I would say about 30 to 35% percent of my album was produced by Heatmakerz . I got my man Develop, he produced about I say another 35 to 40% of my album. Then I just got a lot of strategic dudes? I got my man Hiroshima produced a track, my man J-Rich produced a track, my man Shottie produced like two tracks.

My man Neo did two tracks he did the Mic Check record. There’s a lot of up and coming producers that I felt that hunger from. Like niggas coming with beats - they just awesome. They give a nigga better shit then I’m hearing out there. Like Niggas is chasing sounds and shit. Like chasing this producer cause he did a hot beat and it’s not working for niggas, but I feel like you’re the artist- you know what’s hot. You going to get this nigga to get his name on your shit is not going to make it any hotter than it is.

How do you respond to pressure?

I don’t deal with pressure. It is what it is. I’m going to keep putting out my good music. I’m going to keep allowing people to feel me and understand me more and more. I definitely feel like this time around is going to a better outcome than last time around. As long as I keep moving forward by the time my career if over I will definitely have gotten

99 Producer’s Edge Magazine Summer 2007

I aint got no hit formula. I can’t say this is the formula do hits, you gotta go in and do a hook, do a bridge, do a sixteen that sounds like that. Nah man, you gotta do what comes from your heart and make that shit as real as possible so other people get it.

Bottom line no matter what you do or rap about it’s a million niggas or two million niggas or three million niggas that lived your life. Whether you...make Snapples or whatever. Niggas lived that life... there’s a billion people in the world... we haven’t cracked the [shell] ...the biggest Hip Hop artist doesn’t sell a fourth of that. So there’s room for everybody to do whatever the fuck they want to do and still get their point across. So you get in that booth and you do what’s real. That’s the formula for making a hit to me.

How does it feel to pioneer a flow?

across this message that I’m trying to get across. Niggas can understand the nigga I am and just what I bring to the game. That difference. That change.

That originality along with that real shit.

I’m not trying to be like everybody... like anybody else. That youth. I’m what’s

out there right now. I’m what’s in the street right now- doing what they doing today. Living the life they live. That’s what I’m rappin. That’s what I’m giving niggas. All that. Niggas see me and it’s like a mirror?

How’s the life? What’s the response?...I know the labels excited are they ready for you ...everything going good for you on that end?

Everything’s going good- so far so good. That’s the problem I felt I had last time. I wasn’t a priority at Def Jam. So this time around I’m a priority. Ya dig? And everybody’s on my side from LA (Reid) to everybody that’s up there.

Ya know I got Cam. Cam is an enforcer- he’s gonna make sure sh--t goes right.

Do what you feel and do what’s real. That’s the key to making a real song, a song that niggas gonna feel. I don’t know what a hit is. I know what’s real and what comes from my heart and I what I get in that booth and do. If it comes out to be a hit and everybody loves it then that’s what they call it.

100 Producer’s Edge Magazine Summer 2007

It’s all good. A lot of niggas is trying to find themselves- just coming into Hip Hop and trying to do what’s hot. I think it’s a good thing. Eventually everybody should be their own person. I tried that, I tried this and now I’m comfortable being me. There was a point where I first started rappin that I sounded like whoever I admired, but now I know who I am and what I want to get across.

The Dipset chemistry?

Cam can enforce and he knows everything, but It’s a table full of bright [stars], full of big ideas too. Not like “yeah, we follow.” Definitely there’s a code. Jim brings what he does to the table, Hell Rell…[all of us] making that table stronger. Unbreakable.

His comments on the album:

S

itting at the head of the movement is Cam’ron. Killa Cam has forged the Diplomat army into a close knit family where strategic moves and decisions have ensured each member is provided for and eating right. Unlike some camps with internal struggles and rivalries weakening the infrastructure as each member tries desperately to out shine the other, the Dipset have managed to create an atmosphere where each artist is able to develop and create their own presence. The first work to propel Cam’ron into the light was his 1998 album Confessions of Fire. His second album, Sports, Drugs and Entertainment, was released on Sony music and the remix of “What Means The World To You” featured Juelz Santana, Luda, Pimp C, Bun B and Trina.

His career turned the corner with his affiliation with Roc-A-fella records and music mogul Dame Dash. Tracks like Oh Boy and Hey Ma further solidified his position as the leader of the movement before Diplomatic Immunity.

We remember his take on the track Swagger Jacker by DJ DAT that ignited debates all over the Hip Hop world and we have a feature based on this entitled I’m A Writer, Not A Biter from ScarPen in the Writer’s Block.

His take on the mix tape angle of getting your name hot.

The mix-tapes help people get better exposure. The mix-tape thing is for the people whose stuff is hot but the people on TV are fronting on them. For instance, they didn’t want to give Juelz a deal, so we put him out on our first mix-tape. Two weeks later, everyone calls my phone: “Who’s this kid Juelz? I want to sign him!”

The streets is going to let you know if you got garbage. If your stuff is hot, they’re going to let you know, too. We know our stuff is hot. We sold 400,000 mix-tapes ourselves, out of the trunk!

“A lot of black people are so twisted into trying to sell records, they’re doing whatever. They singing, they dancing, jumping rope, they’re on skateboards. Me? I rap, so I know. We don’t really like nobody, because everybody’s whack to us.”

When asked about his most meaningful joint from Purple Haze…

“Lyrically….Um, I would say Harlem Streets and Adrenaline Rush. Harlem Streets I really broke down went in and did a lot of lyrics that was crazy about Harlem, and it came out all crazy and then with Adrenalin Rush you know I am on that song with two people from Chicago, one Twista and another guy name Buck. And I think you know besides New York, Chicago got the best lyricist cause there’s a lot of people, if you walk around on the street in Chicago there’s the best people that aren’t even signed. Them dudes are….nice, there great.”

“It’s me, I am always excited to do music but I always step up and of course I have to rap about what’s going on. Like you may hear and I got ten thousand stories so therefore I may tell you something that I didn’t tell you last album that I wanted to tell you this album. And it may have happened to me when I was eighteen, but I may have told you a story last album that happened to me when I was nineteen, but it’s just so much stuff that I have been through. That people can relate to today so at the end of the day what separates the albums it’s just my creativity, my persona, but of course my story telling is always a major key because people can visualize what I am saying. That’s the major key to me, if you could listen and picture what I am talking about; it’s like a lyrical book.”

His comments on today’s music and the future of Hip Hop: “I mean, it’s a beautiful thing. At the end of the day I just like the fact that right now everybody loves Hip Hop. And not only just the music, it’s the fact that it creates so many jobs for people, people have a place to work. There are hundreds and thousands of jobs just for Hip Hop. Not only that but it leads into several other different businesses you like, I got several others things that I got poppin’ just because of music that I may make more money off of.

I’m makin’ music and the music leads to that. Hip Hop is in full motion and it’s a beautiful look. At the end of the day, nothing is guaranteed but, that’s what they asked us ten years ago, ten years ago you was like yo it’s going to be crazier than it is now. And they was absolutely right. So at the end of the day, as long as people stay creative and keep it moving it will be much crazier…”

And on Emcees making albums: “Sometimes it doesn’t have to be lyrical for people to like songs. Sometimes it may be an alright lyrical song with a

101 Producer’s Edge Magazine Summer 2007

crazy hook. And the artist is going out there a million sold. You feel me off one joint so that’s all. Right now realistically if you are a lyricist make sure that lyric and that song is tight; so you make good songs and then get crazy on the album lyrically. You feel me, because at the end of the day you could get crazy on the single but all of America doesn’t’ understand what you are talking about.

So therefore, I think when your doing a song make sure you speak clearly, your hooks are catchy and therefore people can relate to you. Then get crazy lyrical on the album so they will be like. If they was second guessing you because of the single and then they pick that album up. It’s like “Oh, I’m buggin shortie’, Money was nice”.

Any gems for those interested in doing music seriously?

If you’re not from New York or LA, I advise you get there and be around the people that can get you where you need to be. Otherwise, no one will help you, so get out of the hood.

Be sure to check for Killa Season, a movie starring Cam’ron shot partially in Brooklyn and released

by Cams own Killa Entertainment Company.

102 Producer’s Edge Magazine Summer 2007

Moving Beyond the Paper Words by Scarpen

P

ad and a pen are the only tools in an MC’s toolbox, but times have changed since the 80’s. Producers have gone from the Beat boxing to the Casio keyboard to the MPC 2000XL, and other avenues of hip hop have evolved with the times. Technology is not only useful when it comes to making beats. So, how has rhyme writing evolved has is the question, and what technologies can we use to create songs more efficiently?

Here are a few tips on how you as an MC can create songs, without the traditional pen and pad.

1. Laptop- This is my personal favorite way to write rhymes especially if you have to write something on short notice. One advantage is you can switch the lines around without scribbling it out with a pen, or leaving a bunch of grey eraser marks on your paper. For example, if you have an 8 bar bust (8 lines that all rhyme), and you like the lines but the delivery is not as potent as you like, you may need to rearrange the lines as many times as you want until you get that perfect combination. With the lap top you can neatly cut and paste lines to see which arrangement is most effective.

2.Tape Recorder- This is great for those quick thoughts you have in you head when you’re driving, or if you’re watching a flick and you want to mention something ill Denzel Washington just did in you verse. Instead of having a book bag full of loose scraps with ideas, you can have them all tape-recorded. This is also a convenient way to create entire songs. This method allows you to create some very authentic flows since at different times you’re recording different thoughts. When you finally rewind and listen to the entire thing it usually drops crazier than you thought. Try to get a digital recorder so this way you can organize, and file your recordings.

3.PDA’s- This is a great way to write rhymes on the train or at work when you want to be discrete. This is even more potent when you have a pocket dictionary available or even a small rhyming dictionary. It hard to organize a rhyme with papers all over the place while riding the bus, and carrying an extra bag or folder when you don’t need to is bothersome.

4.Don’t write – People such as Jay-Z, Biggie, or Lil Wayne have been said to not write rhymes at all. This is not as easy as it sounds without practice and without probably loosing half a rhyme every now and then to memory loss (especially you trees smokers). For those of you who don’t have a great memory, this may seem intimidating. One way you can do this is to drop a verse line by line. If you write a decent beginning, or can think of good beginnings spur of the moment, you can bring that to the studio, and work from there. The only disadvantage to this approach is the delivery of the final verse. It may seem a touch choppy to you, or you don’t want to waste money paying studio time. You may want to invest in a Karaoke machine, or a cheap 4 track to practice at home. This way you can go to the studio more prepared. Peace out.

103 Producer’s Edge Magazine Summer 2007

Writers’ Block: I’m A Writer Not A Biter

I

need my I-Pod. It’s damn near like a cell phone for me.

Usually every other day I load it with 20 new joints, which is either coming from the Producer’s Edge staff or from my cousin who is a LimeWire fanatic. So the other day I’m listening on the radio and I hear this Biter not a Writer Joint from Cam’ron which I remembered first hearing on a Hood News mix tape (The one I heard was originally a track by the Chop Masters). The first time I heard it which was like 6 months to a year prior to Cam putting his voice behind it I didn’t pay it much mind (I’ll tell you why in minute.), but when I heard it with Cam on the radio, off top I was like “Yo, this nigga Jay is a certified biter”.

Then I got to thinking… ‘How come I didn’t react like this the first time I heard it?’ Ahhh, I know why- out of all the rhymes Jay allegedly bit, none of them really made that particular song any hotter than it would’ve been. You can argue maybe when he used some of the material for a hook or when he opened up a verse with a line from B.I.G or Kane. Still, after recycling a line or two from a rap legend, Jay kills the rest of the verse with original material.

Picture yourself as an avid rap fan of an accused biter and someone has just put you on to his biting routine.

You’ll probably feel slightly betrayed and want to defend him to your last breath. But first, you have to put the love and admiration you have for this artist aside and truly analyze this dudes M.O. Ask yourself how much of the material this accused biter uses holds weight for his career. People should understand a style or a flow goes so much further than a line or a phrase.

The problem: it’s harder to bite a style without the fans noticing but biting a line or two the fans tend to be more accepting. The majority of the time a smart biter won’t use the same exact phrase as the original owner. He flips a word or two around and he may even deliver it differently. What really then is a biter? What are the rules to biting for real? Is it okay to use a hook, a flow, or even pay tribute to an MC similar to Buckshot’s I Ain’t No Joke, or Tame Ones’ Druggie Fresh rendition on the Leak Bros. album? Does that show a lack of creativity or is that MC still regarded as a Non-Biter? Let me give You a few guidelines to reference to.

Words by ScarPen

he has been caught red handed swagger jacking songs before they were released. Ice Cube had a song called “Wicked” in which he completely flipped King Suns’ concept and style off a song that he let cube hear before it was released back around 1992. I don’t think Ice Cube even denied it. . The Second accusation came from a song that he used on the Friday sound track called “Roll it up, Light it up, Smoke it” that has a hook similar to a song B-real played for him that was supposed to go on the “Temple of Doom” album.

What is probably worse than that is the K-Solo and DMX situation where

Does biting helps an artists career? Eminem for example is probably the illest MC you have ever heard. Even he’s a biter if you qualify using or modifying someone’s line for your own song.

One of the most famous biters of all time (and possibly the first biter in hip hop) was Big Bank Hank of the Sugar Hill Gang. According to the story, Big Bank Hank had a demo of Grandmaster Caz and played it for a record executive by the name of Sylvia Robinson. She was highly interested and asked if he would like to record a single of that record. He then agreed and went to Grand Master Caz literally asking for his rhyme book. Grandmaster Caz not knowing the value of his words gave it to him like no big deal. Big Bank Hanks drop the verse on Rappers Delight, Caz hears it on the radio and the rest was a rap. The first recorded Swagger Jacker in rap history.

K-Solo was accused by DMX of biting his whole spelling style while they were locked up in jail together. The point is this: You are definitely a biter if you bite an individual’s song before it is released. There is no leeway or tolerance for that whatsoever. The reason being: that style has a lesser depreciation value than a hook or a few lines. You can use some body’s style for a longer time and therefore create more songs or even an album off that one flow alone. I truly believe biting something or someone before it’s exposed is the most ruthless form of biting because not only does the biter claim ownership to the style or song, it is now impossible to prove that he took it.

The next swagger jacker we’ve all come to love and hate is Ice Cube.

Now don’t get it twisted- the dude is ill with the rhymes but on two occasions

Does biting helps an artists career?

Eminem for example is probably the illest MC you have even heard. Even he’s a biter if you qualify using or

105 Producer’s Edge Magazine Summer 2007

modifying someone’s line for your own song. On the song “Say my Name” that he did with Xzibit, He re-kicked the beginning of the song “Ether” dissing Jermaine Dupri and he killed it. Unfortunately anyone out there feels that this one song really helped Eminem career really needs to stop instigating find someone else to hate on. If any thing I believe that most of these rappers who either redo a rappers song or bite off of an MC when it’s blatant probably got the originators blessing. It’s probably even more flattering if the MC did a really good job. To me that’s paying homage and it truly shows how humble a rapper is that he is such a fan he actually uses your line and lets the whole world know. The reason why this isn’t a big deal is because it doesn’t truly propel a rappers career by flipping one old classic song or using a line for a hook or two. Even though the English language is extremely huge, there is still room for cross pollinating words or slang in the wide world of Hip Hop.

Quantity and consistency is a prime measure to tell how nice an MC truly is.

Hip hop songs are not as durable as they were back in the 90s due to downloading, the high impact of mix tapes, and the quality of music in this recent decade. Back in 94 a song took at least a couple months to get old whereas now a song can get old in a week. In these days and times Rappers are dropping a mix tape every month in order to just stay in line with the competition. That means on average a successful rapper nowadays should be doing at minimum 2 songs a day. The issue with being that productive is how difficult it is trying to stay creative without getting writers’ block or burnt out, while pleasing your fans by giving them that heat they’re expecting on every song. An MC of this stature could succumb to biting in trying to keep up with such high demands which personally I can excuse on some occasions. It’s inexcusable when an MC bites on numerous occasions and it’s easily spotted like a tampon on a Dalmatian. For this particular reason and this reason alone, Jay-Z could be a prime nominee for biter of the year.

He didn’t just nibble hear and there, he borrowed huge chucks from numerous rappers. Question for the fans of Jay-Z and Hip Hop in general: Why do you think lines are borrowed and how much can a rapper borrow before enough is enough? Hit me up at the forums.

Recommended listening for further style and flow comparisons: Young Jeezy and Rick Ross Cage and Eminem Das EFX and early Outkast

What I can say in Cams defense is that I don’t think Jay-Z received a blessing from Biggie to use all those lines, not to exclude Slick Rick, or Snoop Dogg.

This brings me to my final point which is Quantity.

106 Producer’s Edge Magazine Summer 2007

Writers’ Block: Strange Proof 9-11 DVD

Words by Fine Print

T

his column was originally set up to dissect lyrics and reveal some of the obscure references and meanings behind the lyrics of popular rap joints. While doing the research about lyrical content, I began to wonder about the sources of information used behind the verses I was studying. For the next few columns I intend to supply you with inspirational material to help you research beyond a rappers’ conscious or controversial lyrics.

I always hit up Jamaica Ave on the weekends to scoop the latest DVD’s and Mixtapes. While checking out the latest S.M.A.C.K., Street Stars and, latest MC Battles one DVD caught my eye in particular. It had “Strange Proof” stamped on front with pictures of the twin towers blowing up. The cat selling them said he had a few different kinds of Strange Proof DVD’s and that “there was some exclusive and crazy shit on it.” I copped thinking at minimum I would get a good quote using the word “Strange” since I rhyme under the name Dr. Strange. The basic premise is the government had everything to do with 911 and not terrorists with box cutters.

Usually when I listen to either a conscious rapper or gangster rapper I take the claims with a grain of salt. Not since the days of PE’s Yo! Bum Rush the Show or It Takes a Nation of Millions to Hold Us Back have I felt the need to research a message lyric for lyric, concept for concept, etc…

When Jadakiss wrote “Why did bush knock down the towers?” …. I felt like he tapped into something bigger and had more gems to follow. We all saw Jada taken to task on the O’Reilly show. When asked about his views he distanced himself from the notion and basically said It was a reflection of the feeling in the hood.

Artists have referenced Behold a Pale Horse, The 48 Laws of Power, and The Art of War for the themes behind their music. What I found on the DVD was a solid foundation for a deep thinking rapper to build upon. I have always been fascinated by conspiracy theories and drawn toward songs that leave me with more questions than answers. I only wish Jadakiss had seen this DVD before he went on The O’Reilly Factor.

Recommended listening for further gems and Jewels:

Ras Kass : Nature of the threat (single) Public Enemy: Burn Hollywood Burn (single) Nas: Project Window (featuring Ronald Isley) KRS ONE: Edutainment (album) Immortal Technique: Bin Laden (single)

107 Producer’s Edge Magazine Summer 2007

Fine Prints’ Lyric Selection Jadakiss “Why”

(feat. Anthony Hamilton) [Jadakiss] Aha It’s dat real Yo, why is Jadakiss as hard as it gets Why is the industry designed to keep the artist in debt And why them dudes ain’t ridin’ if there part of your set And why they never get it poppin’ but they party to death Yea, and why they gon give you life for a murder Turn around only give you eight months for a burner, it’s goin down Why they sellin’ niggaz CD’s for under a dime If it’s all love daddy why you come wit your nine Why my niggaz ain’t get that cake Why is a brother up North better than Jordan That ain’t get that break Why you ain’t stackin’ instead of tryin’ to be fly Why is rattin’ at an all time high Why are you even alive Why they kill Tupac n’ Chris Why at the bar you ain’t take straight shots instead of poppin Crist’ Why them bullets have to hit that door Why did Kobe have to hit that raw Why he kiss that whore Why [Chorus: Anthony Hamilton] All that I been givin’ Is this thing that I’ve been living They got me in the system Why they gotta do me like that Try’d to make it my way But got sent up on the highway Why, oh why Why they gotta do me like that [Jadakiss] Why would niggaz push pounds and powder

Why did bush knock down the towers

Why you around them cowards Why Aaliyah have to take that flight Why my nigga D ain’t pull out his Ferrari Why he take that bike Why they gotta open your package and read your mail Why they stop lettin’ niggaz get degreez in jail 108 Producer’s Edge Magazine Summer 2007

Why you gotta do eighty-five percent of your time And why do niggaz lie in eighty-five percent of they rhymes Why a nigga always want what he can’t have Why I can’t come through in the pecan Jag Why did crack have to hit so hard Even though it’s almost over Why niggaz can’t get no jobs Why they come up wit the witness protection Why they let the terminator win the election Come on, pay attention Why sell in the stores what you can sell in the streets Why I say the hottest sh--t but we sellin’ the least [Chorus] [Jadakiss] Uh, yea, yo Why Halle have to let a white man pop her to get a Oscar Why Denzel have to be crooked before he took it Why they didn’t make the CL6 wit a clutch And if you don’t smoke why the hell you reachin’ for my dutch Why rap, cause I need air time Why be on the curb wit a “why lie I need a beer” sign Why all the young niggaz is dyin’ Cause they moms at work, they pops is gone, they livin’ wit iron Why they ain’t give us a cure for aids Why my diesel have fiends in the spot on the floor for days Why you screamin’ like it’s slug, it’s only the hawk Why my buzz in L.A. ain’t like it is in New York Why you forcin’ you to be hard Why ain’t you a thug by choice Why the whole world love my voice Why try to tell ‘em that it’s the flow son And you know why they made the new twenties Cause I got all my old ones That’s why

Writer’s Block Special : The Test Are You A Biter Or A Writer?

How the scoring works: Everytime you answer with Never you get zero points. when you answer Always you add 3 points to your score. Keep track in the totals column and add up your points at the end to see where you fall. See, you did need math in life after all.

16 Questions

1. Have you ever heard a song and thought ‘I want to make something like that’ and flipped the concept -similar to writing your own version of 10 Crack Commandments?

Never (0)

Rarely (1)

Sometimes (2)

Always (3)

2. Do you choose the chorus for your records based on the types of hooks spinning heavy on commercial radio?

Never (0) Rarely (1) Sometimes (2) Always (3)

__________

__________

3. Do you use lines from other rappers thinking ‘they didn’t flip it right’?

Never (0)

Rarely (1)

Sometimes (2)

Always (3)

__________

4. Have you ever heard a word or phrase used by another rapper and added it to your rhyming or everyday vocabulary?

Never (0) Rarely (1) Sometimes (2) Always (3)

__________

5. Do you look at the success path of another artist and change your own hustle or game plan to follow a similar route?

Never (0) Rarely (1) Sometimes (2) Always (3)

__________

6. Do you mention other rappers in your verse for similes or metaphors as a positive reference?

Never (0)

Rarely (1)

Sometimes (2)

Always (3)

__________

Always (3)

__________

Always (3)

__________

Always (3)

__________

7. Do you listen to rappers out of your region and incorporate their slang?

Never (0)

Rarely (1)

Sometimes (2)

8. Is your rap name/alias based on another artist or hood legend?

Never (0)

Rarely (1)

Sometimes (2)

9. Do you watch stage shows and incorporate elements into your routine?

Never (0)

Rarely (1)

Sometimes (2)

10. Do you sometimes hear that your flow or delivery sounds similar to another established artist?

Never (0)

Rarely (1)

Sometimes (2)

Always (3)

__________

11. Have you ever used someone else’s punch line as your own -even if you change some of the wording?

Never (0)

Rarely (1)

Sometimes (2)

Always (3)

__________

Always (3)

__________

12. Has another artist ever written material for you (outside of your crew)?

Never (0)

Rarely (1)

Sometimes (2)

109 Producer’s Edge Magazine Summer 2007

13. Do you second guess your rap style or stage name?

Never (0)

Rarely (1)

Sometimes (2)

Always (3)

__________

14. When an established rapper has a general dis line that could be applied to you, do you take it personally and make adjustments to your swagger?

Never (0)

Rarely (1)

Sometimes (2)

Always (3)

__________

Always (3)

__________

15. Do you rep a nearby hood because a rapper from that area is blowin up?

Never (0)

Rarely (1)

Sometimes (2)

16. Did you read this test out of curiosity, but didn’t write in any answers? * We know you won’t fill this in either…BITER!

TOTAL SCORE _____________ RESULTS RANGE 0-9 Yes, the ultimate lyricist. Every verse is poetry to you and you’ve written your own set of rules for crafting rhymes. You are the cat who scans other rappers’ albums and checks to see if they’ve used the same phrase twice. Expect to be from parts unknown for a long time until the world is ready for you. You might be still trying to get in the rap game at age 40 though.

RESULTS RANGE 10-21 “Our best hope for the future.” You are a working combination of originality and adaptability.

You started out as a fan of Rap and made the transition to artist. Chances are, you were in a Cypher last night and battled a Sucka MC last week. Unfortunately, you’re destined to make one big record and then fall off. Don’t worry though, for years after, heads will ask “What ever happened to [insert your name here]- he was nice.”

RESULTS RANGE 22-35 You are one lucky break from getting in tha game. Call that cousin who drives for Nelly or that Aunt who works at Justins. The only thing missing from your stats is street credibility. You might want to put your rap career in high gear by getting shot while wearing a shiny suit.

RESULTS RANGE 35-45 Ultra-Biter! getting shot while wearing the shiny suit won’t be enough.

Anyone shooting at you won’t be aiming at your legs anyway. You’re the fan of rap who listens a little too closely and imitates everything you watch on television. You still throw the “Run DMC fingers” and worse yet, you speak and write Ebonics even though you have a solid education.

We hate you.

110 Producer’s Edge Magazine Summer 2007

Ghost Writer Tah-Born

Words by Drew Spence

How well do you have to know the artist?

I try and get into their personality. What they might eat or drink and small habits they might have. It’s their demeanor and even how they might go at another rapper in a battle or approach a female.

Right now I could write for Rakim… that’s how much confidence I have.

A

s one of the youngest member of Dead Poets Society at 14 years of age, Tah-born began to apply his ear for wordplay to become a lyrical influence for all the artists he came across. We sat down with this up and coming ghost writer to get a sense of this very popular but rarely discussed career direction.

Drew Spence: How did you feel you were ready to write for other people?

Tai: I started writing for other people first before I started writing for myself. As early as Junior High Scholl I started writing for the popular kids in my school. They all wanted to the popular rappers like Big Daddy Kane and Rakim and LL Cool J. I watched Video Music Box and copied the techniques of the popular music.

Drew Spence: Do you write down their lyrics and or study their flows?

How much material does it take to pick up on a style?

Sometime it’s just two verses and you’ve got the whole picture. The great ones in only one or two rhymes.

Illmatic took one song to see where he took his style and I could follow. Other rappers only have a hot single and it takes quite a few songs to get the feel of their personality.

“If I write for Puff Daddy, how could I feel like I was better than him? He’s richer than me and famous. Everyone has to play their position. Deep inside everyone’s heart they wish they were some type of artist. Even George Bush wishes he could put words together. “

I never write down their lyrics. I listen for the personality. There are only so many words and ideas to put in the lyrics. Most rappers are all saying the same thing. Good times, bad times, girls, money…It’s the way they say it that separates them. For a new rapper I have to analyze what it is about them that keeping them from going over the top. I will study a JayZ and a 50 Cent and analyze what makes them so successful. I’ll take apart a Nas or a Common sense and see what makes them lyrically better, but what is it that holds them in their place [in regard to album sales].

How do you approach an artist and ask if you can write for them?

I don’t do that. There are artists that I have worked with before and they appreciate my style and they approach me. It’ not the kind of trade you can go around and advertise. They find you and it’s word of mouth. There’s a particular project I have coming where the collaboration is with a rapper whose English is not his main language. He needed help writing songs and asked for help.

How important than is your education to be a ghost writer?

I’m doing this with a GED. I only graduated to make my mother get off my back cause I thought I was going to be in the rap game early. Reading and writing were always my strong points. I was never a dumb kid, but the school system just couldn’t hold my attention.

111 Producer’s Edge Magazine Summer 2007

Submission format. Do you give them paper or even make a demo of the song using their voice?

No, no. I learned from Biggie and Little Kim. I heard Sauce Money used to ghost write for Jay on the low. Jay is already nice so you don’t need to do more than give a little direction. If the cat is nice enough it might just be the topic. Other rappers may not be as skilled so you have lay it down on beat so they can catch the timing of how it drops.

How do you feel about the rappers you write for? Is there any sort of ego involved?

How could I feel that? If I write for Puff Daddy, how could I feel like I was better than him. He’s richer than me and famous. Everyone has to play their position. Deep inside everyone’s heart they wish they were some type of artist. Even George Bush wishes he could put words together.

How does the money work? Publishing, cash up front?

It depends on the situation. I’ve been starving and just needed cash on the spot.

Food on the table and rent paid. Cell phone stays on. Other times it’s been a label situation where I need points. It’s about building my resume and keeping my industry ties.

How do you find an original voice after working in the mold of these other artists?

It’s like wrestling. Everyone has their own personality. I’m aware of the angle. KRS1 said “Don’t sell lyrics, sell an image”. I’m always soul searching for …myself.

What would make the industry respect my work and even make a 50 cent watch my video, raise an eyebrow and say “Who the fuck is that?” I methodically plan for success. I plan several albums forward. Watch Jordan. When he couldn’t bully them with the dunk he had to develop a cross over- when that stops working it’s the fade-away jumper. I always keep adding to my repertoire to keep the competition off balance.

What about the artists living the lyrics they claim is autobiographical? Is there a moral standard to this art?

I try not to judge people. We’re playing a dirty game right now. You can call out every rapper right now. What rapper really lives like this? But you could start a war over something so simple. You get into a position where you have to live a role.

You will do what’s not in your heart to maintain your image. It gets to a point where you’re like why is this nigga so angry? They got money- could fuck anybody’s bitch…got cars and jewelry. I come from Brooklyn East New York, I could die any second. I just a missed a shootout a half hour ago. They could retreat in the hills with a pretty girl and stop seeing this. How could they be angrier than me? If I could be classy and smooth, I would choose to be that. A lot of these young cats don’t understand the difference between videos and reality. I have friends that are doing 30 to life for murder and if you tell them about hood beef, they will tell you how much of an asshole you are for risking your freedom and future over something so unimportant. [starts to freestyle] How easy to clamp your wig/ smash your kidsRun up in your crib and slash your wiz 112 Producer’s Edge Magazine Summer 2007

It’s not that easy. We’re all grown men here/ New York is a police state. You can’t be that gangsta. I couldn’t drop lyrics for them like: ‘Let’s read the Bible and Quoran Put down your guns and hold hands’ They are already programmed and used to hearing things a certain way.

It’s aggressive enough to get their attention. You have to walk with that extra edge and be prepared to defend yourself, but not get in to trouble for stupid reasons. There’s no way around it. You see these dudes in Ferraris and the hottest women you’re going to look up to them. If they say this is how I got to the top, then that’s what you’re going to follow.

Do you see the difficulty? I’m about peace, but I carry and I get pussy. I will beat a niggas ass for coming out his face, but that’s not the message. I want my family to be proud of me. I do have a responsibility to be honest about where I’m from, but also let listeners know where I want to go.. I’m from the Chuck D, KRS-One and Rakim cloth.

I wish there was a way to fix it, but I think time has to pass and the kids have to get tired of hearing the same old bullshit everyday.

Thank you to Tah-born for sitting down with Producer’s edge and check his joint with Kanye West Drop Dead. myspace.com/tahborn

Last Words:

Inspirational Module

Answers far from the display case.

M

aybe you’re at the point where a change of direction is needed. Let’s see, you’ve got crates of records against the wall, a drawer full of floppy discs and a few folders full of sample sounds. What now? A new module? A digging spree? Perhaps you want to start over at the beginning and define a new signature sound for yourself. It could be you need a whole new work flow or method. Maybe I need to try a new drum machine or sequencer to get me back in the game.

Many producers pick up on the trends in commercial radio- the types of snares and claps to even the sound of another producer who mines the same genre of music for his main sample work. That could be the answer. Maybe it’s time to inject a little ‘producer whose popular’ into my own chemistry. I might be inspired to create if my tracks sounded more radio friendly.

Going against this entire chain of thought is the ear. It’s not the golden ear engineers claim to have- it’s the ear that decides for you – that almost intangible, inaudible Producer’s Edge. You may buy many sound modules during your career, but certainly a guiding force will tell you what sounds to use and what presets can be twisted into the textures in your head. You will fall into a workflow that is comfortable whether it’s staring at a screen and visually shaping your tunes or by smashing pads and twisting knobs.

The best source of inspiration is not the current catalogue or clearance sale sticker, but instead the lost art of actually listening to the works that brought you into the music game to begin with. Music and musicians you actually enjoy listening to- not just the commercially successful fodder on the radio. Inspiration may not even arrive from the genre you produce in since excellence stands as excellence no matter the source. There is an inner voice that is combining your favorite music and sounds with a sense of self.

This Magazine is dedicated to the memory of Ishalm Robinson

You ask the question ‘What will I add to this culture and what is my unique gift to the listener?’ The gear and equipment we use are simply the tools that enable us to bring about an artistic vision. Sound modules and sequencers should inspire us to release our artistic visions- not define them.

W

e’ve reached the end of; maybe our most important issue ever- the first issue. I can’t thank the staff of Producer’s Edge Magazine enough for their patience and perseverance. It’s been a very long journey filled with many sleepless nights. I hope, after turning that last page, you agree with us- it’s been worth it! Thank you for your continued support and hit the lab!

Drew Spence, Editor In Chief Producer’s Edge Magazine 2007

113 Producer’s Edge Magazine Summer 2007