This is an article from an illmuzik.com forum member who playfully calls himself “GOD”. He is actually, someone of high stature in the industry but prefers to remain anonymus. Anyway this article is pure genius. READ, STUDY AND LEARN

Dear All:

I have a lot of time today, after a horrendous day yesterday. For simplicity I will write A&R as “AR” so I don’t have to always reach for the ampersand- “&”.

God, you’ve been talking a lot recently about how an artist or producer can make money in the biz by “selling out” and trying to cater to a specific trend. But, is that the only way?

To answer the latter portion of the statement, in many cases, the only way a producer will find work is through the repression of his/her own artistic wants and apply their talents in a production company’s “assembly line” of ghost writers and producers who understand the commercialism involved in getting a hit song out there consistently.

However, there is a way that smart AR men may get ahead of themselves, if they are bold enough to do so, or an exec sees a certain genre of music from one of their divisions slipping.

Perhaps some newer music should be injected into the mainstream, one that has a growing popularity and contains a slight “edge” to it that it could stick around within a larger genre for more than a year. (By that statement, an example would be the ‘new’ 70’s genre pop rock of “The Strokes” and “Jet” boosting sales for the overall “modern rock” genre of music of their respective companies divisions.)

OK, God, so how does it all work?

Let’s make it a hypothetical situation:

My name is God, and I am the president of a big label’s rock division . Usually, I’m out and about schmoozing and letting my assistants work the phone. But a problem call comes in from my boss.

He’s been back to HQ in Germany (where the parent company is located), and the Germans are not liking some of the lagging sales. Their insane German statisticians in accounting are showing that it’s in fact MY ROCK DIVISION that is a problem. Apparently, I’ve been spending more time at bars drinking martinis and not enough time busting the balls of my underlings to get some profit out of my division.

I tell my boss that the internet is to blame, and he doesn’t buy it… ok God, go fix this problem.

So, I’m angry, I go back to my office from a god-awful trendy bar that “everyone” is obliged to go to. I ask my assistants for stats on overhead, expenditures, I even do a pseudo-audit (if you do a real one, your job will be gone…) to find out where the money is going and why is our division lagging.

Now there are many things that could be done to “change the situation” without actually trying to find a new trend, but those are in depth and do not partake to the overall topic of this post.

Calling a research company.

Anyway, I call a research company that specifically deals with identifying new “trends” (be it clothing, music, etc.) that are clicking with teens in America. I talk to their President (those companies usually are not that big) and tell them my situation.

I need to find some kind of trend out there, and the AR underlings that work for me to find new talent are too busy trying to get me out of my job to care (refer to my A&R 101 post if you don’t understand that). In fact, they want me to lose my job, so they can have a shot at it (yeah right!).

Anyway, the lady on the other line (from the research company,) knows the spiel, she’s got a thousand “informants” (teens that get comped or paid by the research company to gather information on consumption trends of teens, like what music is hot, what styles are cool, etc.)

So, I subcontract her to find me a rock/metal trend, I have no idea if she’ll find one, but I need to get something fast.

I wallow in my misery for a bit, and some time (the length of time depends on the scope of the research), the lady from the research company has found something that’s “gonna be in.”

I’m listening, and she tells me (NOW THIS IS HYPOTHETICAL) that there’s a growing underculture that has spread to a couple cities of that is dancehall/metal that’s called CRAPMETAL (THIS IS HYPOTHETICAL<OK?? lol) A lot middle class kids that also happen to be mooks are really digging the dancehall/metal. In fact it’s got a name called “CRAPMETAL” and the kids also have a clothing style that’s not reggae and not metal. It’s something different, the kids all wear ripped Emporio Armani clothing (hypothetical), Nike soccer/football shoes with cleats, and the girls make mini-skirts out of ripped up FCUK (French Connection UK) shirts.

I’m floored, this IS a new trend… what are the numbers?

She tells me a number I like, and says it’s growing at an alarming rate. She asks me if I would like for them to find more demographics and more indices regarding the trend. It’ll cost more money, but I can have a better view.

Sure, I say… so some time later, I get an email with graphs and charts showing a representation of the growth of the new “trend.”

It’s gonna be big… like nineties resurgence of punk, the stats prove it… the slope on the graph just took a massive turn up… i need to send some AR men I actually trust to go to the front lines, I’ll even check out a couple shows and do some questioning.

The scene is biggest in London, it’s spreading to New York.

God, that’s some evil sh**, you’re telling me people do that? What’s next, how do you make money off this new trend?

So after intense scouting of the shows, buying all existing independent CDs of the genre, talking to people in the “scene” (they don’t know why I’m there) I think the music, if repackaged and reworked by some producers to make the cuts friendlier for radio, I know, this new form of rock called CRAPMETAL could make a huge income spike for our division and will have revenue impact.

First, I have to find the most popular indie labels that release music from this trend.

I call a couple up, posing as an “investor” because I “really like the music” and want to help out. One fish bites the bait, and after several meetings, the fish is told that the money is actually from a major label, we cut a deal with the fish (the “head” of the indie label.) He likes the idea of money (some of the other labels didn’t, it was “selling out.” He will work with us in confidence so that our money can be put into making this trend more popular. Also, my company buys half of the indie company, and the deal is obviously, not revealed to the public (it would kill the trend if the followers of the new music found out about major labels buying half of their most beloved CRAPMETAL label.

We start injecting money into that label called CRAPMETAL RECORDS. They have the most popular CRAPMETAL ARTISTS, and we start paying for CRAPMETAL bands to be on the front of the slip sheet that indie distributors get. More distributors buy CRAPMETAL artist. CRAPMETAL RECORDS artists also get booked through a better booking agency, and tour like hell to promote their record.

OK, GOD, go on… this is interesting
Little do they know that through my contacts, I start getting crapmetal on TV in the news and in entertainment briefs. small clips, but effective.

I need to capitalise, however, you can’t spend TOO MUCH money on this, or it won’t be profitable (did I mention that our share of CRAPMETAL RECORDS had increased eightfold due to increased sales, distribution, etc.)

Anyway, I decide to get CRAPMETAL RECORDS out of the contrived indie distribution deal which was cover for the major label from looking like the “indie sold out”, it did a year or two before, when we bought 50% of it, but nobody knew. That looked good for my division, the label kept me on as president of the division, still. Whew!

CRAPMETAL RECORDS will have distribution through our label’s major distributor, UNI. That’s worldwide. The CRAPMETAL band that sold 300,000 records without the aid of MTV and other mainstream media outlet attention is called “The Shites.” By this point, other labels are looking at signing CRAPMETAL bands, but are in a discovery process, like the one I was in TWO YEARS earlier, with the help of a friendly trend research company. So, I’m ahead of the pack, but I always have to watch my back.

My company essentially controls and is half-owner of the world’s largest “independent” CRAPMETAL company that signed with us for a distribution deal. I play some hardball and the original owner sells out some more stake of his company. The major has control now, rumours are around about such a deal, but I don’t care, the “owner” is still the puppet head of the label.

What’s next, God?

I have “The Shites” make a video. But behind the scenes, I was working with Nike, Emporio Armani, and FCUK about the trend in CRAPMETAL. Cross promotion of their products in the video, in exchange for advertising money from the companies are a start in the right direction. (THIS IS ALL HYPOTHETICAL.)

Emporio Armani says that it could sacrifice making genuine ripped up CRAPMETAL clothing, and that won’t hurt the company’s overall branding posture. They’re in.

Nike loves the idea of selling more shoes. They’re experienced in cross-promotions (Air Force Ones anybody?) and having tons of kids wearing “cleats” to look cool is great. They’ll make money out of it!

FCUK is in too. It won’t hurt their brand to make a line for CRAPMETAL.

The deal is that I have to have my label push CRAPMETAL out to the mass public.

No problem, “The Shites” finished their album with a producer I coerced them into choosing, and they have 3 songs that were really polished for radio. If I could have promotions get that out, along with the video, and an MTV documentary “how CRAPMETAL is in” and “everybody’s doing it,” (MTV is sophisticated, they can make CRAPMETAL stories and marketing seem more “real” not as cheesy as I put it )

Anyway, the machine is set. CRAPMETAL is already coming to the surface, having hit most of the major cities through an underground scene, and I’m on the brink of releasing the first such CRAPMETAL album to the masses.

Song goes to TV, radio. Entertainment news covers it. I have more CRAPMETAL bands on the CRAPMETAL RECORDS roster all ready to go. They will open up for “The Shites.” “The Shites” will do more tours, get more popular, because the trend has grown so hot, and more of CRAPMETAL RECORDS artists will have major releases. Other labels are scrambling to get more CRAPMETAL artists, which means that it will make the genre more popular.

The genre gets hot, kids are wearing the Nike Cleats, FCUK and Armani.

The trend lasts for a couple of years, but I capitalised the most out of it, because I knew of it from the beginning.

CRAPMETAL RECORDS is worth 10-15million USD/Euro, not bad for buying half of the label in the early days for 100,000. Money is borrowed against the shares of the company’s worth and hedged for a possible collapse of the trend and scene.

Even if the scene collapses, we (the major label )made our money, even if “The Shites” spent their money on booze and women!

CONCLUSION

Obviously, if everything goes the way I said it did, then I would be moved up in the company ranks, or could bargain for a better position at another company. I would have saved my arse, and made a lot of money.

Does this sound all too conspired? A lot of indie punk labels went through the same thing, as well as the “independent” thinking, but major label owned rap labels. Even Master P claimed he was independent, but he really wasn’t.

It’s about feigning independence to not alienate your audience/consumers, but really pulling the ropes to have a lower probability of failure.

But, unfortunately, there aren’t that many trends that would be such hits as “CRAPMETAL,” so that’s why a lot of companies try to get the most of promoting and marketing what is already “in” at the time to boost division profits. It’s easier that way and less risky.

Didn’t I mention CRAPMETAL went perfectly with the “mook” profile. You can’t ask for nothing more, grunge rock was that way, too.

Good luck, and ask a lot of questions.

Sincerely,
God

DJ Ruthless Ramsey takes his love for cassettes to the next level. Forget pause tape recordings… here he demonstrates how to scratch, blend, and mix using two boom boxes and a Numark mixer. Sadly, his two outdated cassette decks puts the skill of most Serato users to shame. His turntable skill are nothing to be taken lightly either… respect!

Digidesign has just announced that the upcoming release of Pro Tools 8, which includes features and updates such as new plugins, five new virtual instruments, along with additional scoring MIDI, editiing, and mixing capabilities.

There’s no final word on when we can expect the update, but this appears to be pretty significant for those considering a change in DAW.

Visit Digidesign for more info.

Since the early days of soft synths such as Propellerhead ReBirth and Native Instruments Pro-5, manufacturers have come a long way toward making them sound smoother, more authentic and yes, analog. However, there is (and likely always will be) a segment of musicmakers who snub virtual synths in favor of their analog predecessors. Soft synths simply aren’t and never will be — no matter what their respective makers claim — truly analog, and well-versed ears can hear the difference. However, I am not here to entertain one the oldest debates in music studio history — analog versus digital — but rather to discuss how you can truly make your computer-based synth rig sound more analog.

HARDEN UP YOUR SOFTWARE
For starters, the best way to add some real analog flavor is not by tweaking some mysterious “analog amount” knob on your favorite soft synth, but rather to actually port the soft synth’s audio into the analog domain. I’m talking about getting some real circuits involved. One of the key ingredients in my own soft-synth-laden music is a pair of high-quality, mono vacuum-tube channel strips. Retaining this setup in a mostly digital studio lets me either run specific tracks — such as virtual synth lines — through the channel strips, or simply take my entire final mixdowns out of the computer, through the vacuum tubes and then back into the DAW. Such a tactic can go a long way toward warming up those “digital-sounding” synthesizers, samplers, drum machines and so on.

If you’re a laptop-only, on-a-budget type, don’t be intimidated by the idea of tube outboard gear; it doesn’t have to be expensive. Several manufacturers, such as ART (Applied Research and Technology; www.artproaudio.com, dbx, www.dbxpro.com and Behringer www.behringer.com make mono and stereo channel strips and/or dynamics processors that won’t break your bank.

Another approach, which is popular with old-school producers and big-studio aficionados, involves mixing down either specific tracks or your final mixes to magnetic tape. A certain unique audible quality — unlike tubes or analog synth circuits — characterizes tape; it can take your digitally generated tracks out of the cold, precise zeros-and-ones world, saturate their sound and enhance their overall harmonics. As opposed to channel strips, inexpensive reel-to-reel tape recorders are rare, but you can sometimes find great bargains in pawnshops. If you don’t want to spring for a big, bulky ¼-inch or 2-inch tape machine, even mixing down to a standard cassette before dropping back into Pro Tools or your favorite DAW can liven up an all-digital recording. If you’re too young to remember recording to cassette, using previously unused “metal” or “chrome” tapes for your recordings comes highly recommended. They reproduce noticeably higher fidelity and sport a much lower noise floor than “normal” tapes. In today’s world, used or even new cassette tape recorders are still easily found online for a paltry price. Blank cassettes are still widely available at electronics stores.

FILTER FUSION
Another way to infuse some true analog goods into your soft synths is via analog filters. First things first: Do you or any of your friends own any real analog keyboards? When was the last time you checked on the back to see what jacks were present? Some analog synths have audio inputs for processing external audio through their filters, which is an excellent way to take the sine, square, saw and other waveforms of your hard-disk-dwelling synths into the realm where in the end, few if any will know that the original source was digital. If it turns out that you don’t have access to such audio inputs, then check out some of these moderately priced stand-alone hardware filters. The Allen & Heath Xone:VF-1 ($699; www.xone.co.uk) is based on Allen & Heath’s hugely popular, top-notch Xone series of DJ mixers. The Electro-Harmonix Bi-Filter ($899, www.ehx.com) comes courtesy of a company with a deep history in gorgeous analog stompboxes and vacuum-tube technology. They sell well below the list price but seem to be running scarce and may be discontinued soon. Never to be forgotten, the design of the Moog Music Moogerfooger MF-101 ($279; www.moogmusic.com) hails from the renowned original Moog modular synthesizers, which laid claim to some of the most recognized filters of all time. Best of all, it’s currently in production and easily found at a low price. Another tempting option that’s in production is the new Jomox T-Resonator ($399; www.jomox.com) analog filter box from the German company with a cult following. There are other filters that are both lower and higher priced; the aforementioned are just a quality sampling of what’s out there.

STOMP!
Exploiting stompboxes (guitar/bass effects pedals) is another (often very inexpensive) way to infuse some good old analog tastiness into your algorithm-born, data-dithering synthesizer friends. As a bonus, with some trial and error you might just end up with an entirely unique sound. The nice thing about stompboxes is that there are so many varieties; they range all over the map in the price-versus-quality equation, and each truly has a unique, functional-for-something sound — even the cheap ones. Of course, stompboxes are meant for instrument-level signals — not line-level — but often unexpectedly cool things can result when, to quote Goldfrapp’s Will Gregory from the February 2008 issue of Remix, “…you do things you aren’t supposed to and they sound good.” Using stompboxes on things other than what they are intended for might seem as obvious as breathing to some, but to others, especially many laptop-centric electronic producers who’ve never played in a traditional band, it’s an untapped gold mine that’s right in front of your eyes.

Remix Mag

……..i can just smell the dusty record jackets.

Have you ever heard one of the most recognizable songs in the world broken down,
track by track? Most haven’t…CUZ YOU CANT FIND EM!!! So enjoy this
treat. SAMPLERS HEAVEN.

……just keep listening, it gets VERY interesting…if you listen real close, you can
here the tape splice edits! ENJOY!

Senator Barack Obama gave his acceptance speech at the Democratic National Convention in Colorado last night [click to read]. Rappers and others tuned in to see what would be said. The night kicked off with a performance from Will.i.am [click to read] and John Legend and a speech from former Vice President Al Gore [click to read]. Rappers Bun B [click to read], Big Boi [click to read] and Murs all gave their opinions as an MTV play by play of the speech. Some of their comments can be read below:

Bun B: “The video intro is very moving. Candid shots of Barack Obama throughout his life really gives a better look at how his character was built. It gives him an even stronger connection to the people by showing his struggle, and how parallel it is to ours.”

“Through hard work and sacrifice, Barack feels this country can achieve its goals. He’s right. These are the principles this land was built on. It’s what will keep this country strong.”

“He speaks of how this country is better than the examples set by the consequences of the administration. It’s true that Bush’s regime has left us with higher unemployment rates. The jobs being shipped overseas continue to cripple this economy.”

“We need to change the idea that people can’t argue respectfully. This is very true today. In order to effect change on the other side we have to be willing to listen as well as be heard.”

“If McCain is willing to have a debate about who’s better to be commander in chief he’s ready. Also he wants to send troops to Afghanistan. Claims McCain will follow Osama to the gates of hell but won’t even meet him at the gates of his house. Perfect sentiment of everyone I know.”

“If McCain wants to follow Bush’s strategy that’s fine but it don’t help us. Our foreign policy is falling apart and we must change it. I know I’m personally tired of how we look to the rest of the world. It’s time to be proud to be American again.”

Murs: “The new slogan is born ‘eight is enough.’ I appreciate sen. Obama always acknowledging mccains service to our country. And despite him being the Democratic nominee he continues to address America as a whole Republicans and independents included.”

“The comment on individual responsibility was my favorite by far. I like the comment about properly equipping and caring for our troops. But would prefer the mention of the word peace at least once.”

“Now this is what I’m talking about! Specifics. Clean water. Ten year plan to end our dependence on foreign oil. Tax cuts for small biz owners like my mother and myself. Domestically built energy efficient cars? Who could be against that?”

“He said, ‘our gay and lesbian brothers and sisters.’ Wow! Bold. But I’m definitely feeling the statement and his stance about finding a common ground when in a disagreement.”

Big Boi: “The points he made about the mental and physical care of the troops upon returning home from battle was very important. My father was a veteran and that is a key topic for me. These men and women come back from defending our way of life and can’t even get the care they deserve.”

Much respect to Haroon (via cratekings). Besides regularly dropping insightful and intelligent commentary, Haroon also dishes out some serious audio and production of his own. Check out this complimentary 9 track 22 minute collection entitled A Hip-Hop Tribute To Isaac Hayes and pay homage to one of the original soul masters. RIP MR. HAYES!!

http://homepage.mac.com/alqahtani/.Public/tribute-to-isaac-hayes.mp3

The record industry as a whole is doing fine.

No it’s not bringing in the profits that it once did but it is still “profitable” and at the end of the day that’s all that matters for the powers that B!

Pop music- is through the roof!

Country music- will always be here.

The only music sector that is failing is “black music” aka  Rhythm and blues, Hip Hop and Rap.

1st of all, music of color was never suppose to make it in the first place. It was only allowed because “somebody” realized that it could bring in a lot of money. Back in the day black records had to dawn a white face. Proven by white artist with there pictures on the front of there records and and black artist with no picture or the picture of white kids or even other white artist on the front of there covers.

It’s not “black artist” that want these sample clearances, it’s Corporations that own the rights to that music. We know that the CEO’s of these Company’s are not black writers, singers and producers of the music!

Old school artist never really got paid though they moved millions and millions of units. Very few black artist, producers or writers to this day own any of there music. You can only name a handful at best. The top dogs would have to be Ray Charles (RIP) Smokey Robinson and Quincy Jones.

How many legendary black entertainers when they pass do you hear were broke as fuck? I can’t name any that weren’t. That’s a sad affair!

One for the Clubs. Peep It.

If ya diggin, click the link below to download.
The Dream - I Luv Ur Girl - JonRingo official remix