Calibration of your tools is a necessity in any field you take part of in order to get your best work and the pro audio field is by far no exception. You have drum heads, guitars, and basses that all need tuned. But, did you ever think that your hardware needs a tuning too?

Below you’ll find a quick video tutorial about studio monitor calibration. Don’t take it lightly. In the music industry your ears are what make you money so the better you hear your work the better the masterpiece. What you will need for this tutorial is a SPL (sound pressure level) meeter and a signal generator plugin/hardware that offers Pink Noise.

One of the most prolific and respected producers is back with a new solo album. RZA, as his super hero alter ego Bobby Digital, drops one of the best hip hop albums this year. Quit unfortunately this album murders the latest Wu-Tang Clan album, 8 Diagrams. While for me there is only one song I can really get down with on 8 Diagrams, Digi Snacks is just a banger through the entire album. Note worthy songs are Long Time Coming, Creep, and Drama.

Rating: 5 out of 5 stars

I know I said my last post would be my last before

my move but when I checked my email this morning I had one from ModernBeats.com saying they are looking for beats to be featured on the new DMX album. This offer ends soon so I figured it couldn’t wait. I have included a copy of the original email below for my information. Good luck and happy beat making!

- Je.Rock

Multiplatinum recording artist DMX is looking for beats: Explicit Lyrics Accepted: Yes; Instrumentals Accepted: Yes; Music Genre: HipHop/Rap/Gospel; Description: Multiplatinum selling artist DMX is looking for beats for his next album, “Walk With Me Now, and You’ll Fly With Me Later”. Submit your beats for the chance of having your beat appear on this exciting new record. Also, keep in mind that DMX is signed to a four album deal so keep the beats coming. Destination ID: FT08AY06; Last Date to Deliver: Sep 30 2008

To submit your music to this DMX album opportunity, you must have a Broadjam membership. ModernBeats offers FREE $100 Broadjam memberships when ordering 1 or more of the sets below:

—————————————————— Here’s What You Get…FREE 6-month Membership to Broadjam ($100 value) Your Music Delivered to DMX Album Opportunities! Your Music Delivered to 100’s of Film/TV Destinations! Your Music Delivered to 1,000’s of Radio Stations! Your Music Delivered to Monthly ‘Cash Prize’ Contests! Your Music Reviewed by Industry Professionals! Your Music Sold Online, Keep 80% of Profits! Your Own Music Website, Domain Name, & Design! Your Songs, Photos, Videos, & Albums Hosted! Your Music and Name Promoted To Tha Max! ModernBeats Billboard-Proven Sets to Make Hits With! ——————————————————

Order A Set Above & Submit Your Music!

When you order any qualifying set above, ModernBeats will issue you a FREE Broadjam membership allowing you to deliver your music directly to this DMX album opportunity.

Over at MPC-Forums.com there is a debate raging on whether or not feeling you inspirations in your own tracks is biting or not. I say there is a huge difference between wanting to be the next J Dilla and using on of his mixing techniques. You can read up on the debate here.

Please reply with your opinion.

When I first heard that Linkin Park did a track with Busta I was in shock. What an unlikely collaboration this was. I mean, I am a big fan of both but after the LP and Jay-Z mashup album I thought LP got it out of their system. Then came Mike’s rapping album with group Fort Minor and I’m sorry but he sounded like a cheap ripoff of Slug from Atmosphere.

This single track is completely different from all that. I loved LP’s Reanimated album and I still rock that to this day. If CDs wore out like vinyl or tape FRGT/10 (with J5) would be inaudible. I’m really happy this track turned out well and see LP writing with rappers again instead of throwing stuff in the MTV Mashup mixer.

I loved The Big Bang also. I believe that album was one of Busta’s best, atleast since E.L.E. I can’t wait for this album’s release. With production from Dr. Dre, Timbaland, Pharrell, Swizz Beatz, RZA, J Dilla, and Cool & Dre along with guests like Linkin Park, Common and T.I. it already sounds like a banger.

You’re gonna get your traditional Busta Rhymes and Pharrell collabo. My man Focus from the Aftermath crew; Dr. Dre; the late, great J Dilla got work on the album. It’s gonna be great — look forward to the new bang-out.

Before I published this for some reason I found myself on youtube. Below is the video for the above track, I’ve seen better, but I also came across the video for the other Busta single “Don’t Touch Me” which is classic Busta and as always has Spliff right by his side. Enjoy!

Mark over at HipHopMakers has compiled a great list of 17 websites where you can find free VSTs. Another great thing is that thatnks to FXPansion they can also be free RTAS plugins too.

Read his post here…

Here’s what The Chop Shop can do for you.

We take your files and professionally mix and master them with your directions and specifications, all for a fraction of what traditional studio time would cost. The Chop Shop mixing and mastering is not only cost effective but also convenient, as you don’t even need to leave your home in order to get a professional sound.

If you want your demo to stand out, having a properly mixed and mastered CD goes a long way in distinguishing you as a true professional and showcasing your music.

For technical specs and prices, visit The Chop Shop. Also, visit the About page for more information about Jeremy, the mixing and mastering engineer who will be responsible for your project.

Stay Fly!

The Famous Beats Crew

It isn’t that I’m not about sampling, it is just I’m not too good at it. Currently, I also don’t have the cash flow either to be digging. I do have an abundant record collection though so its not like I haven’t given it a shot. I do believe that sampling is a true fundamental of hip-hop. Today I want to share with you my five favorite sites for hip hop samples. Let’s DIG in!!

ModernBeats.com

I honestly don’t know where I’d be today without this site. Until I came a cross it a few years ago I was making tracks with Propellerhead’s Reason factory samples. Though I was just learning the program, you really have to have the right tools to get the outcome you want. At the time I was using version 2.5, and reason wasn’t known for hip-hop production. It was made more for techno and dance, but it was the MIDI production software they chose to teach us in school.

To make this blurb a little shorter I’ll hop to the point. YOU CAN’T MAKE HIP-HOP TRACKS WITH TECHNO SAMPLES. At least I can’t. That’s where ModernBeats.com saved my production life. Once I actually had some great hip-hop samples to work with I was able to make tracks I deemed listenable (still not hip-hop though) and grow as a producer. Since then I pretty much bought up any sample set and instrument set they have. The quality of their products are the best of the best and I swear by them but you know, you can never have too many samples and you can’t always use the same ones so that’s why I have used other sites too.

P5Audio.com

P5Audio.com is another great resource. Though I haven’t used them as much, I probably have just as many of their sample sets as Modern Beats. There was a time when I first found the site that they were all I used, so I swear by them too.

MPC-Samples.com

MPC-Samples.com is another great place for samples. Again, I have quite a few of their sets but the other cool thing is that they also have a collection of e-books. I also have a few of them but I have yet to read them. Once I have some time I’ll get to it and I’ll review them.

MPCSounds.com

I have to admit right now that I have never used this site, however it is owned by the same people who own ModernBeats.com. I am putting this on my top 4 because once I am fortunate enough to receive my MPC 5000 that is on back order for god knows how long, I will be purchasing samples for that instead. I also hope then to dive more into crates and sampling records.

If you have not heard yet, Common has had a song from his upcoming LP, Invincible Summer, leaked to the net. It is also getting some not so good, and some not so bad reviews.

Personally, I have listened to it a few times and it is starting to grow on me. Pharrell does wonders on the beat (as always). The only gripe about this track is between the two, it is not the best lyrical collaboration. Both Com and P are not showing their A game here, but I applaud Common anyway being that this album is more of an “experimental” sound for him.

Any thoughts?

Tom Kenny, editor of Mix Magazine, stops by McNally Smith College of Music to talk digital recording, distribution, production, and share his general thoughts on the music industry of today and tomorrow.

If you’re involved in audio production, it’s hard to avoid Pro Tools. Even if your DAW of choice is one of the many other professional software sequencers out there, you’ll probably have to use Pro Tools at some point. Although it is a quality platform for audio processing, Pro Tools does have one notable drawback - it doesn’t run VST plugins (well, you could view it as an advantage, if you happen to have unlimited cash reserves for buying RTAS goodies).

Continue Reading @ podcomplex.com…

Unfortunately, you can’t just open your music creation software and come out with a polished track. To get that pristine album sound you first need to take each track through the mixing stage, and hands down, mixing is arguably the most involved. Having one facet of the mix out of place can ruin your entire track, maybe the entire album, but when the holy art becomes aligned the heavens part and angels sing “Alleluia”!

When it comes to mixing and the home recording artist there are normally two extremes. The first being the artist who barely mixes and quickly burns his track to cd for the next gig or demo. The second is the artist who meticulously combs over every nook and cranny until he has chased his tail so much he gets dizzy. If your reading this still you probably see yourself falling into one of these two categories so here is a list of 11 ways to make your mixes better.

Method To The Madness

The first part may seem like common sense but for the most part, may have occasionally passed you by. Have a set method to your mixes. Start every mix the same way and move like you have a check list so you know you haven’t forgotten anything. I like to start with my drums, finding good levels between each drum and panning. Maybe adding some reverb to the snare. Next I bring in the bass. Get my rhythm section going because that brings the feel of the whole track. Next if its not an instrumental bring in the vocals, then the rhythm instruments and so on.

Now, While you go through this step it is also import to remind yourself that you are just setting initial levels. As you add elements others may need to be turned down or EQ’ed different or what-have-you. Your choices are not set in stone and most likely will not stay near the original placement so don’t slave over every nuance just yet.

There’s Always Something There To Remind Me

There is nothing more frustrating than getting to a part in the mixing session where you just know you had something special planned from way back in tracking but you just can’t remember it. Well, remind yourself, but do it in a way where there isn’t Post-It Notes all over your studio. In most of the latest DAWs they allow you to make comments or notes. Mostly on a track by track basis. Jotting down a quick sentence or two to help jog your memory will do wonders for time constraints in the mixing sessions.

Ego Trippin’

Every mixing engineer that is the artist needs to break it down and realize they are part of a whole. Check your egos at the door. This project isn’t just about you! Though this is a little more relevant to other genres it is something good to learn right now.

It’ll be a little easier to explain it in a band situation. Say the guitarist is also the mixing engineer, which aspect of the mix do you think he/she will want to show off? This is why I will always swear by independent mixing engineers but I know that in some cases it is just not in the books… or more like check books.

Multiple egos is most often even worse. It’s the marry-go-round of “I Can’t Hear Me”. In a music group this will be a huge downfall, and quickly.

Emcee #1: “I can’t really hear myself in there, turn me up”.
Emcee #2: “You’re overpowering me, push me up a little”.

… and so on until the headroom for the track is taken up entirely of the vocal tracks leaving the backing tracks to be pushed quieter and quieter until you just have to start over.

Monitor, Monitor, Monitor

Probably one of the most vital aspects of mixing. I mean, what is the sense of mixing a track if you’re not listening to it? Of course it is awesome that you bought the best studio monitors Guitar Center, Musicians Friend, or Sweetwater had, but how many of the people that buy your album do you really think will be listening through your same setup?

The trick is to listen to it in as many different ways that you can get your grubby little mitts on. The first step would be multiple sets of studio monitors. Maybe one set is known to be excessive on the high end and the other set the low end, switching between the two will allow you to get a nice even mix so that if you mixed on just the high end set you might over compensate for the low end causing to blow someone’s head off with bass.

The second step would be to burn it and listen to it in any other way you can. Pop it in the car, dvd player to play on the tv speakers, maybe a home entertainment system. Try everything you can think of and take notes. Go back and apply your notes then do it all again. The only true way to get your best mix is to listen to it the way the people who will purchase your mix will.

EQ 101

Do not work on solo tracks for long. Let me repeat, do not, do not, do not work on solo tracks for long periods of time. No matter how perfect you make your kick sound it has to fit in the track with all the rest of the aspects going on. My suggestion is to use the solo button to do drastic changes to get it in the ballpark. Once there throw it back in the track and listen to make small changes.

Another way would be melodic parts. Say in your hook you have three instruments playing the same parts only in different octaves. You could solo these three tracks and work on the EQ in a group,  in order to create more “space” for each instrument in the mix. EQing tracks out like that will ultimately help you hear all the parts in a mix better which is the ultimate goal in the first place. You should hear every aspect of the whole track and see it as a whole without being over powered by any one aspect.

EQ 201

You may have got the best sounding EQ on a track you think you can so move on but you are never, ever committed to your EQ. If later down the line it doesn’t work for you change it. Sometimes this means drastically too. Completely zeroing your original settings and starting over could be the better and faster option. Don’t be scared. It won’t hate you for it.

Also, maybe a part in the track calls for a different EQ setting. Say you have two bass tracks, one a “real bass” and the other being a synth sub bass. You already EQed them to have separation so you can hear the difference between the two, but in the intro you don’t want the sub. Simply automate the EQ for your “real” track to give it more depth then enable the original EQ once the sub comes in.

Be extremely cautious EQing, too. Sometimes when you can’t get the EQ exactly right it takes a change in level instead.

Don’t Listen

Yes, you read that correctly. At this point do not listen… to the ENTIRE track. Listen to parts in your mix. This is where selective hearing is a must. Listening to the vocals compared to the background vocals, the kick to the bass, etc… etc… Listen to your track in as many different ways as possible.

Another great way to not listen is to actually not listen. Most often listening for hours on end for days on end doesn’t get the best tracks. Set it aside for two days or so. When you come back to it with fresh ears I’m sure you’ll find some things that could use a tweak or two.

Cut It Out

No matter how you try, sometimes no matter how you tweak a part it just doesn’t fit in a section. Don’t force it. If it doesn’t fit, it doesn’t fit. Cut it for a new section. Doing this will also give movement to your track by adding and subtracting parts.

Plugin Overload

I know about this first hand probably more than others. When I started creating and mixing tracks all I wanted to do was insert a plugin and see what cool things I could do with it. Most of the time adding more than one plug to a track. Complete overload! While some cool EQs here, and wierd automation there is cool it really takes away from it all having to much. Decide what is necessary and cut the rest of the BS out. Having to much going on is one good way of turning listeners off because they get confused.

Dynamics

All the best mixes have flux in dynamics. It is one of the best tools to use to take your listener on a journey. Maybe start with a nice smooth intro, building it up to a banging hook. When the verse comes back in drop a part or two and start the building process again.

You can also control the dynamics with the master fader and you always want your “loudest” part to be the most hoppin’ so that would most definitely be a hook. Maybe you automate your fader to increase in amplitude as the track builds and when the hook its the fader is back at unity gain.

Application

The last, but certainly not least, step in mixing is application. I know it doesn’t make sense that I would say that being that you have already applied these steps that I have previously mentioned, but that isn’t what I’m talking about here. I’m talking about applying new ideas and concepts. Stick to what you know, but at the same time spice it up a bit. I personally love to learn and I feel that anyone who wants to be the best at whatever they do should be the same. I always read the latest magazines for a walk through or tutorial on something that could bring a little extra to my game. If I don’t really care for then I leave it, but if it works it is just another aspect in your bag of tricks.

FOR IMMEDIATE RELEASE

Media Contact: Nicole Balistreri

Minneapolis, MN — Famousbeats.net is pleased to announce the launch of Famous Beats Radio, the place to get your daily fix of fresh beats. Developed to showcase artists
and producers, and turn listeners on to the latest production styles, Famous Beats Radio will get your head bobbing.

Famousbeats.net community artists are welcome to submit their work to be included in the daily podcasts. Just stop by the blog and contact Jeremy, webmaster and beat maker extraordinaire.

Stay funky.
- The Famous Beats Crew -

FOR IMMEDIATE RELEASE

Media Contact: Nicole Balistreri

Minneapolis, MN — Famousbeats.net is pleased to announce the launch of the Famous Beats Podcast Collective, the place to get your fix of fresh original material developed for Famous Beats. The collective consists of three free podcasts: Famous Beats Videocast, Famous Beats Odiogo, and Famous Beats Radio.

The Famous Beats Videocast consists of fly how-to videos, tips and techniques, and other general funkiness developed to keep you up-to-date on the latest production styles. Stop by and view them, and check out the Odiogo posts and FB Radio.

Famousbeats.net community artists are welcome to submit their work to be included in the daily Famous Beats Radio podcasts. Just stop by the blog and contact Jeremy, webmaster and beat maker extraordinaire.

Stay funky.
- The Famous Beats Crew -

All I can say is that this is the best Roots album to date. As soon as the album started it got my head bobbing and it didn’t stop. Great guest appearances by Mos Def, Styles P, Common, Saigon, Talib Kweli, and many others. Listening to it literally left me speechless.

Rating: 5 out of 5 stars

I’m all for artist growth and experimentation but the first thing that comes to my mind when listening to this album is.. WHERE IS ANT? This album is more like the Sean Daley Band. On this album, there are very few songs that catch my ear for their production value. It is some of Slug’s best lyrics to date but Atmosphere is a duo. I know this album came out last week, but I’m a big Atmosphere fan and just wanted to have the album marinate a little before writing a bad review. I shouldn’t call it bad, the album is far from bad. It just isn’t what you expect from an Atmosphere album. A couple tracks that catch my ear are “Your Glass House” & “Can’t Break”. They are well written, great lyrics, but the beat is more like Grayskul than Atmosphere. Not bad, I like them, just shocking. On the other hand there are three tracks I just can’t get over, the production just hurts my ears; “The Skinny”, “Shoulda Known”, & “You”. Now on a better note there are three classic Atmosphere tracks; “Puppets”, “The Waitress”, & “In Her Music Box”. But two of them are at the very end and the third doesn’t get kicking until its almost two thirds over.

For my final note I would say that this isn’t an over all bad album but for Atmosphere it is. I expected a lot more.

Rating: 3 out of 5 stars

Cubase.net

Cubase.net is a huge community of Cubase users. With over 713415 articles and 29756 registered users This is definitely my first pick for the top Cubase community. Hands Down!

Cubase.com

Cubase.com may not have the numbers of Cubase.net, but if for some reason you can’t find what you are looking for this should be your next stop.

SteinbergUsers.com

This one is not dedicated just to Cubase but everything Steinberg. With 5290 registered user on everything from Cubase to VSTs this is another great resource for Cubase users.