Last week we had a visit from Ryan Harlin – hes the guy behind Propellerheads Music Making Month and also puts together the ongoing video content for Propellerheads. He showed us around the new features in the just released Reason 7, including (finally) the introduction of MIDI, some neat mixer functions – Spectrum EQ, bussing and parallel processing, plus the new audio processing module – Audiomatic.
It’s a budget monophonic synthesizer smackdown: How does the new Korg MS-20 Mini compare against the Arturia Minibrute? A veiny arm takes you through the oscillators of these beasts to see just how similar / different they are.
Shady Records’ four horsemen have been spending the past month working on their third album. And today, the group announced that Just Blaze will serve as the project’s executive producer.
“I’m really excited about doing things a different way this time around”, says Joe Budden. This isn’t a send-tracks-around, and everyone-records-in-their-own-studio type of album. Joell Ortiz said that he is happily looking forward to the process as well: “The creative being creative! Fun, fun fun!”
Royce Da 5’9” added that “everyone is in the perfect space, mentally. It feels great to be back in the studio with the guys and I think that I can speak for everyone when I say that we just wanna make an album that will stand the test of time and mean sum’n to Hip-Hop.”
If Crooked I’s attitude towards this project is any indication of where it’s headed, prepare for an onslaught. “God of the Westcoast, I birthed these n!3@@& now I’m about to burry ‘em. Bloody Axe PigFace Slaughterhouse Mafia!”
Checking out the brand new thunder tube and spring drum inspired library from Sample Logic. This is a new cinematic/sound design instrument that has tons of ambience, arps, percussion, transitions, and more. Requires the full version of Kontakt to use it.
This week we can’t avoid talking of the new Mac Pro preview from WWDC and iTunes Radio, then a quick look at Buzz Aldrin and Thomas Dolby, Zynaptiq UNFILTER and a new software for identifying tunes in three notes.
Simple yet effective keyboard shortcuts are the secret time saver for all great engineers! Learn how to add these shortcuts to your repertoire and save time while working!
Just Blaze and Young Guru sit down for an exclusive conversation on Hard Knock TV. In Part 2 Just Blaze and Young Guru start off talking about early Rocafella days and how they think there won’t be a conglomerate like that again for several reasons. As the interview continues they share stories of how Keep It Real Wednesdays came about and how producers would get laughed out of the studio if they didn’t bring their a game. Just Blaze goes on to say how he decided who got what beats including stories of how Cam’ron got the beat for Welcome to New York City so Jay-Z could jump on the track and how Just Blaze made the beat for Roc Da Mic for Freeway and then Beanie Sigel heard it and jumped on it.
Rich Hilton from Chic and Nile Rodger’s studio and I discuss Audio Damage Mangleverb, Harmann Neuron VST, Beatles Hey Jude and the change in studio usage, Bob Paquette’s mic museum on The Tube Test podcast leads to a genera, discussion about mics and recording. Whack and Woo is Richs tips on recording toms – but thats in the audio version.
Lisa Worden discusses how she got her start working in the music industry, from her humble beginnings as an intern to a big player over at KROQ.
MONSTER ENERGY, XXL MAGAZINE AND THE I-STANDARD PRODUCERS BRING YOU AN EXCLUSIVE INTERVIEW WITH SUPER PRODUCERS “COOL AND DRE” FOR “BEHIND THE RHYMES”.
WATCH AS COOL AND DRE VISIT SAE INSTITUTE MIAMI TO DISCUSS HOW THEY GOT THEIR START IN THE MUSIC INDUSTRY AS WELL AS WHAT IT’S LIKE TO WORK WITH GRAMMY AWARD WINNING ARTISTS SUCH AS MARY J. BLIGE, LIL WAYNE, THE GAME, RICK ROSS AND MORE.
Just Blaze and Young Guru sit down for an exclusive conversation on Hard Knock TV. The interview starts of with Young Guru asking Just Blaze about his new song Higher and about making transition from Hip Hop into EDM. Just Blaze says that he has always made electronic beats but that he didn’t always have a place to release those beats which were often ahead of their times. Now that the genre lines are so blurred it is seen as more acceptable to listen to everything. As the conversation continues Just Blaze says that now he is “comfortable doing whatever it is I want…I’m comfortable playing what I want, I’m comfortable wearing what I want and just being me as an individual…not that I wasn’t comfortable with who I am but I was definitely doing a keeping up with the Jones kind of thing…I had to have a fresher jersey than Dame but meanwhile Dame was getting them for free from Mitchell & Ness cause he is Dame Dash and I had to pay $500 for it and I had to this every day for years straight…”
Young Guru tells Just Blaze that one of the biggest things that he had learned from him was to construct the record in his head before he sampled the parts. Guru talks about the making of Jay-Z’s Song Cry and that when he first heard the sample Just Blaze was going to use he thought it sounded off but that after Jay-Z laid his verse to the raw beat at night, they came back in the morning and it sounded like a masterpiece after Just Blaze was done building the track. That day Jay called 2-3 producers and told them that they were not on Just Blaze’s level.
Just Blaze continues by telling Guru how Jay’s Girls, Girls, Girls was originally intended for Ghostface and how Busta Rhymes originally heard You don’t Know and he wanted it for himself.
|Movie Studio||Sound Studio||Director||Original Music|
|Paramount Studios||Skywalker Sound||J.J. Abrams||Michael Giacchino|
In this exclusive SoundWorks Collection profile we talk with the Music Conductor and Orchestrator Tim Simonec on the 20th Century Fox Newman Scoring stage for Director J.J. Abram’s new film Star Trek Into Darkness.
For years, Tim Simonec has been one of the busiest orchestrators in Hollywood. He has orchestrated and conducted over 70 feature films and 25 television series. He has also composed the music for the feature film A Rumor of Angels and Anne Frank: The Whole Story, which won an Emmy for best mini-series.
He has worked with Graeme Revell since 1991 as his orchestrator and conductor.Some of their films together are Pineapple Express, Daredevil, The Negotiator, The Hand That Rocks the Cradle. In 1996, he began working with composer Chris Tyng. Their projects together included kazaam, The Associate, and the TV series Futurama. Since 1997, Tim has been working with Michael Giacchino as his conductor and orchestrator/arranger. Over the years their projects have included video games such as Medal of Honor, Call of Duty; TV series, Alias, LOST, Fringe; and films, The Incredibles, Ratatouille, The Family Stone, Mission Impossible 3, Star Trek, UP, and most recently, Super 8, Cars 2, MI4: Ghost Protocol, and John Carter. For his arrangement of the end-titles of UP, Tim was nominated for a Grammy.
Tim was born and raised in Chicago…making him, to this day, a die-hard Cubs, Bears, and Blackhawks fan. He began playing the organ and piano at age 8, and became the church organist at the ripe old age of 12! Despite his teen years at the keyboards, he chose to study theology in college. And while his intent was to become a minister, his love of music was a constant in his life. He arranged music for orchestra during college, and after graduation, Tim was hired to write a theme for a local television program. The moment he heard studio musicians play his composition, he realized his passion and career would be music.
Although Tim decided to pursue a career in film composition, ironically, he did so by writing the scores for 40 religious films. While recording music for a religious documentary in London in 1979, recording engineer Eric Tomlinson (Star Wars, Superman) was impressed with Tim’s composition and encouraged him to make the move to Los Angeles. Soon after arriving in LA, Tim was hired to compose music for Happy Days, Laverne & Shirley, and Family Ties.
All was moving along well until March of 1984. After experiencing debilitating numbness in his hands and a painful, stiff neck, Tim was diagnosed with a tumor on his cervical spinal cord. The operation to remove the tumor resulted in Tim becoming a quadriplegic. He was told he would never walk again. After thousands of prayers, the support and love of the woman who became his wife, and great determination, Tim learned to walk again. In medical terms, he is that rare phenomenon, a walking quadriplegic. He also regained partial use of his hands and is able to conduct orchestras.
Tim’s days at the keyboard were over but he knew he could compose, hopefully with the newest technology…the Apple computer! In 1986, he returned to pursue his passion and career in film music, which he continues to this day. [SoundWorks]
|Ben Burtt||Sound Designer|
|Ronni Brown||Foley Artist|
|Danny Caccavo||Digital Editorial Support|
|Tom Caton||Boom Operator: Splinter Unit|
|Dustin Cawood||Sound Effects Editor|
|Mark DeSimone||Adr Mixer|
|Peter J. Devlin||Production Sound Mixer|
|Sean England||Foley Artist|
|Will Files||Sound Designer|
|Will Files||Sound Re Recording Mixer|
|Ryan J. Frias||Digital Editorial Support|
|Pascal Garneau||Sound Effects Editor|
|Greg Junovich||Adr Mixer|
|Vedat Kiyici||Adr Mixer|
|Kyle D. Krajewski||Adr Recordist|
|Stuart McCowan||Adr Editor|
|Michael Miller||Adr Mixer|
|Andy Nelson||Sound Re Recording Mixer|
|Dan Randall||Foley Recordist|
|Brody Ratsoy||Adr Engineer|
|David Raymond||Boom Operator|
|Ric Schnupp||Adr Recordist|
|Clint Smith||Foley Recordist|
|Scott Solan||Utility Sound|
|Mike Tehrani||Adr Recordist|
|Paul Tirone||Adr Recordist|
|Bonnie Wild||Digital Editorial Support|
|David Wyman||Additional Sound Mixer|
In all honesty, Elliott Wilson won with his newest series “CRWN”. I love the idea of sitting down and picking the brain’s of today’s shining stars. It has always been interesting to me as to why/when certain songs were made, certain lyrics were written and so forth. This provides a platform to get those answers we want.
Episode 1: This series belongs to the born sinner himself, J.Cole. Episode one is 15-min overview of Cole’s creative process. What drives him? What stresses him out in this game? In essence, what does it mean to be in his position. Check it out.
Check out the rest after the jump!
Episode 2: Cole talks about what its like to work with Jay-Z. How important is approval from other artists? Does Cole feel he needs features to sale albums?
We’re halfway there folks. In the third part of YN’s CRWN interview with Cole, Jermaine explains the generosity of giving beats for free and desire of signing Kendrick Lamar.
Last but not least, J.Cole closes out YN’s CRWN interview by discussing his production game and future plans on creating beats.
Dave Pensado shows you how you can get the best sounding low end from stereo bass tracks!
Mix Engineer Dave Pensado shows you how to get giant synth bass sounds when mixing your tracks.
Apollo Brown lists his 20 favorite Hip Hop samples and runs down the significance and proper etiquette of sample-based production.
As a producer, I get asked a lot of questions about my tastes in music, from my favorite producers and emcees, to childhood influences on my own style of production. Aside from those inquiries though, I’m always asked about my favorite samples used in the Hip Hop game. I’ve always seemed to dodge around this question, mainly because it’s almost impossible to answer. There are so many classically sampled songs in this Hip Hop genre of music, that I could sit here for days and come up with shit. So, just for HipHopDX, I’m going to provide you with a short list of 20 of my favorites sampled songs. All of these are fairly well-known to fans of Hip Hop production. Whether you agree with me or not, enjoy these songs as a whole, just as they were intended.
The Producers Code Of Not Revealing Samples
There’s kind of a producer’s code where you don’t put people out there for samples that they’ve used and what they’ve used them on…that’s kind of a no-no. I’m not trying to get a bunch of my peers mad at me. It’s not really the producers themselves. It’s the fanatics that are trying to look for every song and every sample. I can respect that, and it’s fun. It’s fun to listen to a record and come across a song that makes you go, “Oh, shit! That’s what he used.” Even as a producer, I love finding samples, man. I love coming across shit, seeing how someone else flipped it, and going, “Okay, that’s nice.” But you’ve got these fanatics that want to out them, and they’re not even getting anything from it.
The Experience Of Crate Digging
There are a lot of producers out here that don’t dig; they’ve never even played a record—which is fine. Digging is not for everybody. I consider myself a digger, but I’m not a collector. I dig a lot, but if I don’t like the record, I bring it back to the store and get credit for it. I only keep about 10 crates of records at one time. I’m not a collector, and all the stuff in those 10 crates are things that I keep, because I actually like the record. I think it’s important to get that experience and get your fingers dirty…to walk out of a record store and the whole front of your shirt is dusty from leaning against old records the whole time.
To take that record out, look at it, dust it off, then throw it on the turntable—when you hear that crackle—it’s an experience. When you listen to that song, and all of a sudden, a certain note hits you, it’s like, “Awww, man!” You start recording that boy in, then you’re working on drums, and you start chopping that sample up. It’s a rush, man. And it’s a rush that I think a lot of beatmakers don’t get.
I talked with DX to provide notes on a few of these joints. Here are my 20 favorites, in no particular order:
Apollo Brown’s Top 20 Hip Hop Samples
Janko Nilovic – In The Space
That Janko Nilovic? Right away, that’s one of those joints that I wish I produced. I wish I found that sample first. All you can do is praise that producer and listen to the song like, “Damn!” That song is amazing.
Ecstacy, Passion, & Pain – “Born To Lose You”
What grabs me first, obviously is the beginning. Right when it starts [hums melody]…man, that…awww! When I first heard the Hip Hop song that sampled it, it was my favorite song on that album. Aside from the beginning, it’s just a good song to listen to the whole way through.
10cc – “I’m Not In Love”
A lot of people didn’t know that was the sample that it is. If you listed to it, kind of in the middle…
Tower Of Power – “Sparkling In The Sand”
I’m 32, so some of these cats might not know what that sample is. It was an amazing song for Hip Hop.
The Eleventh Hour – “Nasty”
There’s samples that jump right out at you, right away. Boom!
Little Boy Blues – “Seed Of Love”
That jumps right out at you too, like, “Damn.”
The Thrill Of The Sample Hunt
A lot of times, you have to listen to every second, because we know that a lot of these old songs from the ‘60s and ‘70s change up. You can listen to the first 10 seconds, and it’s totally different between the first minute and the second minute. And then it switches up again between minute three and minute three-point-five. And then it switches up again at the end to a totally different song. So through the whole process, you gotta listen to the whole song. And it kind of tells people, “Yo, this is what we do. We don’t just listen to the beginning.” No, you’ve got to listen to a whole song. I want you to listen to the whole song, hear what we hear, and you can find that sample. Some are easy to find, and some are hard to find. Instead of running down every song, I’m going to let you do the proper research and listen close to every second of what makes these sampled songs so amazing to me.
Ann Peebles – “Troubles, Heartaches, And Sadness”
Rubba – “Way Star”
Donald Byrd – “Wind Parade”
J. J. Band – “Changing Face”
Jack Bruce – “Born To Be Blue”
Switch – “Honey, I Love You”
Jean Plum – “I Love Him”
Gap Mangione – “Diana In The Autumn Wind”
Billy Cobham – “Heather”
C.A. Quintet – “Trip Thru Hell”
Evelyn “Champagne” King – “The Show Is Over”
McCoy Tyner – “Folks”
The Sweet Inspirations – “You Roam When You Don’t Get It At Home”
Jerry Butler – “Whatever Goes Around”
The Soul Of Sampling
As a sampling producer, what I’m doing is praising your art and complimenting you by saying, “Your song is so dope, that I want to sample it and turn it into some modern-day Hip Hop.” There’s a lot of artists that kind of go with it. They go, “Yo, I wasn’t even relevant in the ‘70s, but now you’re making me relevant in the 2000s.” This song was mediocre in the ‘70s even then. But now, we just sampled it, and made it into a banger. And people are now checking for that artist like, “Yo, I wanna buy his whole album. I want to hear that.” We’re helping people out. It’s a catch-22 without a doubt. But it’s something that I do, I appreciate it, and I enjoy it. Taking an old joint and recreating a whole new melody with feeling and soul—it’s nothing like it. I’m not a keyboard producer, and I’ll never be one. I’ll quit before I become a keyboard producer. I could do that if I wanted to, but there’s no soul or feeling in that. That’s why I do what I do.
22-time GRAMMY winning Engineer and Producer Al Schmitt joins Dave and Herb on the 117th episode of Pensado’s Place!
First we discuss running OS X on HP laptops, then deconstructed tracks with Point Blank London, what do you listen to for reference, the new Daft Punk album and finish on the article by Ed Eagan on whether we we pay enough for gear?
Today I’m checking out a new ambient library for Camel Audio’s Alchemy called Biolabs: Light Space. It works with Alchemy as well as the free Alchemy Player.
Dave Pensado shows one of his favorite stereo filtering effects using hi-pass and low-pass filters on the 75th Into The Lair!
Hexler has release a new version of TouchOSC, a customizable multi-touch music controller app, and it’s now available for both iOS and Android.
Here’s what’s new in version 1.9:
- Support for iPhone5
- Support for custom layout sizes
- Support for more MIDI message types (All controls now support Control Change, Note, Program Change, Poly Pressure, Channel Pressure and Pitch Bend messages)
- Added XY control MIDI mapping mode (Placing 2 or 3 fingers on the control will send only x or y messages)
- New iPhone5 layout: Automat5
- Fixed handling of UTF-8 encoded strings in both application and editor
- Fixed naming issues with virtual CoreMIDI connections (iOS)
- Removed support for MIDIMobilizer Mk I (Please use a CoreMIDI compatible accessory, i.e. MIDIMobilizer Mk II, instead)
Here’s what they have to say about the new Android support:
After much testing, hacking and cursing we?re rather confident this version will play nicely with most devices and existing layouts out there, and fully support the feature set offered by its iOS brother and the TouchOSC Editor/Bridge applications (minus some Apple specific features like CoreMIDI, that sadly have no Android equivalent). The definitive plan is to keep both versions as close to identical as possible from this point on.
As the attempt to fund the development (and the metric ton of testing devices) using a donation model was plainly unsuccessful, and the common response seemed to be “I’ll donate when it’s finished”, the app is being released as a new, paid application on the Google Play store and we?ll try to keep pricing (just as much as the feature set) identical across platforms. That being said, both versions will be reduced in price for a couple of days to celebrate, to say thank you for the continued support over the years and to apologize for the long wait!
Note: If you own an older iOS device, see the Hexler site prior to upgrading.
Checking out the new synth library from Sample Logic called Cyclone, it’s a library that combines samples, synthesis, and a new custom interface into one powerful instrument.
Producer and American progressive house and electro house DJ Morgan Page joins Dave and Herb on the 116th episode of Pensado’s Place!