Question by kingcarterboy: where can i purchase a book about music notes, the industry, and tips and pointers to make beats and recording
tips and tricks on how to make sound quality beats, how to use mixers and recorders, music notes? Wat’s points mean in the music industry, wat’s royalty in the music business mean?
Best answer:
Answer by Reality
“Everything You Need to know about the Music Business”
What do you think? Answer below!
Question by titantakeover03: How can I make in the music industry as a beat-maker? I make beats for hip-hop, rap and r&b but I’m a littl
How can I make in the music industry as a beat-maker?
I make beats for hip-hop, rap and r&b but I wanted to know what yall think ? Check the page..
www.myspace.com/
newstyle3030
Best answer:
Answer by Bo
i just hope you have a backup plan.
then again you might not need one.
since most beats are just ripoffs of old ones…
What do you think? Answer below!
Question by titantakeover03: How can I make in the music industry as a beat-maker? I make beats for hip-hop, rap and r&b but I’m a littl
How can I make in the music industry as a beat-maker?
I make beats for hip-hop, rap and r&b but I wanted to know what yall think ? Check the page..
www.myspace.comnewstyle3030
Best answer:
Answer by Robynn-lynn
You have to have a wish list of who you want to work with, and dont be afraid to play them every song you’ve ever made. The strangest thing about muthafckaz’ picking beats is just sometimes they pick some shit that maybe you made five years ago, and they think it’s hot.. Number two- send your shit to every company. Number three- but this should have bine number one find a lawyer that beleievs in you. Your lawyer will walk you into all the doors, you understand what im saying? Get a lawyer that has power to shop your shit and get that lawyer will keep you in business, and you always pay your lawyer — ALWAYS PAY YOUR LAWYER! He’ll keep you in the mix….
Know better? Leave your own answer in the comments!
Jeff Price, writing for TuneCore, has a different take on Apple’s iCloud. He thinks it will both transform the industry and shift consumer listening from downloaded files to streams. That may mean I may have to substantially revise my knee-jerk take following Apple’s announcement – and it also raises questions about whether dividing up a $ 25-a-year fee will leave much of a revenue stream for artists.
iCloud: A Music Industry Game-Changing Product
You can read Apple’s description of the product on their site. Oddly – given TuneCore’s emphasis on streaming – Apple doesn’t mention streams, not once. Indeed, they actually tout the ability to download and to listen to music matched on iTunes Match as 256k AAC files.
http://www.apple.com/icloud/features/
There are several observations in his piece worth highlighting:
Why would this transform the landscape? Two things: one being increased lock-in to Apple’s products, Price argues. While there’s no new DRM, the automatic download as AAC renders files incompatible with some non-Apple players. (I disagree slightly here – AAC compatibility could simply become more widespread, and even now, it’s not limited to Apple.) I think sheer iCloud compatibility could increase Apple dependency, however – and to the iTunes store, too, which is essential to TuneCore’s business as a gatekeeper for unsigned artists.
The other half of the argument is more interesting:
Just as the original Napster trained people to download music and listen to it on their computers, Apple, due to its vast hardware proliferation (iPhones in particular) is in a position to shift consumer behavior yet again–this time from downloading music to listening to it via streams. And with this consumer shift, the music industry will reset itself once again until the next revolution…
The bottom line here is whether consumers buy in and adjust their listening habits. If they do, Price could be right – we could see a shift from downloads to streams, an income shift from purchases to royalties, and even greater dominance of Apple over how people consume music. Notably, because of the lack of licensing deals, Apple might be without competition. My big fear: those shifts could ultimately mean that only artists with lots of plays get revenues, which again would tilt the scales to big artists. The charts would simply be on your iTunes players, not on the radio. We’ll have to wait and see; stay tuned as I hear from more people close to the iCloud deals and product.
Updated – one last thought for the day. If you’re wondering how you can split up a $ 25-a-year fee and provide streaming, a simple answer may be, you can’t. It’s possible TuneCore is simply dead wrong, because it doesn’t seem that the math for licensing fees would add up. Apple, for their part, never mentions streaming.
But I am at least partly comforted in my fears about streaming becoming the norm at this absurdly-low price by the evidence that this isn’t a streaming service to begin with. Ahem.
The Exclusive Story behind Intuit’s Hard-Won Success It’s a modern-day David and Goliath story for the business world: a company dreamed up at a kitchen table, built on explosive PC growth, and forced to battle a giant in the race to revolutionize an industry. This is the story of Intuit, creator of renowned software products like Quicken, QuickBooks, and TurboTax-the company that beat mighty Microsoft and changed the way 25 million people manage their finances. Written by Intuit veteran S
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Question by rtang@sbcglobal.net: What should I set my EQ settings to for industry standard vocal recording in Ableton Live Lite 7?
Best answer:
Answer by unknownsoundman
EQ FLAT!
What do you think? Answer below!
20th December 2010: This is the second part of my perspectives and it’s about the beginning of the transition from tape and hardware devices to computers. Technology drives music. Once a talented individual gets a hol…
AudioProFeeds-1
Question by Senona: What is the difference between a music producer and a beat maker in the music industry?
I understand that beat makers are just what they are called…beat makers, but also they themselves are producing instrumental music. Producers do the same things as far as I know. What is the major difference?
Best answer:
Answer by [[JiMiNiQUe]]
beat makers arent all necessary producers although a lot of producers make the beats;
producers are people that are willing to put their money into making the select song….
beatmakers make the beats….
but in the musik industry alot of producers are beatmakers because they want to make sure their beat is known
in movies producers are basically the ones that put the money into the project
Give your answer to this question below!
The WeatherKing Ambassador has been the industry-standard drum head ever since the plastic head was established in 1957. For toms this is true today, although some drummers employ a reinforced snare batter and a partially dampened bass drum batter.
Drummers keep hitting harder and Remo has previously responded with the Emperor X, Powerstroke-X and Black Suede Emperor, which was, according to Remo, “A response to rock and metal players looking for a little warmer sounding head that still had the resonance, projection and durability Remo is known for.” All this has led logically to the Ambassador-X.
The coated Ambassador-X is a single-ply head, like the original Ambassador, but at 12-mil is 20 percent thicker than the standard Ambassador’s 10-mil (1,000 gauge) – 0.012″ as opposed to 0.01″. It’s a subtle increase, but the white coat looks denser and creamier than the standard Ambassador.
Otherwise the head is identical in build with the same top quality Mylar exclusively supplied by DuPont. Sizes are limited to 8″ through to 18″ with no bass drums, but perhaps that is not surprising since even standard Ambassador bass drum heads are uncommon these days.
We’ve always been Ambassador fans. They sound great when they’re fresh and also worn in and starting to stretch, when you get more of the ‘blam’ factor.
The new Ambassador-Xs retain these qualities with that familiar, open, generous tone. But there’s a little more attack, warmth and richness to the sound.
Tuned high you get a timpani-like ping with a full note and defined pitch. Tuned lower you get a fat tone with lots of ‘thwack’ followed by good sustain, particularly on the bigger drums.
When we first played the 16″ floor tom it resonated forever and we had to de-tune a lug to control it. There’s certainly no shortage of sustain.
Many drummers who use normal Ambassadors on their toms require something tougher on their snare and resort to, for example, a CS batter. The Ambassador-X is that bit harder-wearing, prompting its use as a snare batter too. Rim shots ping out; ghost notes are clean and crisp.
Using standard Ambassadors for the resonant tom heads feels entirely natural and we used a medium tuning, getting the best balance of sustain, tone and response.
We tested these heads at a weekend charity festival where they were played outdoors in the open air. This is always a severe test since the sound can be cold and dissipate quickly, but the full-toned A-Xs performed as we hoped.
Evans beat Remo to market with a 12-mil head, the G-Plus, which we loved. We’re equally impressed by the Ambassador-X. You get the industry standard single ply head – the all-time proven all-rounder – with extra strength, durability and warmth.
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See the rest here:
Remo Ambassador-X Heads
For this book review, we welcome guest writer Andy Farnell, who himself has a terrific book on interactive sound design and free modular patching environment Pure Data, entitled Designing Sound. It began as a review of a book on using free software – but it could be, more than that, a chance to fight procrastination. And while this runs the gamut, including graphics and design and not just sound, that could be even more relevant to those of us who need to delve into those other areas for our creative work. -Ed.
We all have a stack of things to get round to one day. Building a website. Making a video. Writing a book or recording an album. Allow me to share with you ten days that will transform your list of could do, would do, always going to do… into a list of exciting projects you’ve started.
That’s how long it took me to flick through Daniel James’ “Crafting Digital Media”, a light-reading compendium of software wisdom published by APress and weighing in at just under 400 pages.
It takes two of the major excuses for procrastination, “I don’t understand the interface, so I’m waiting for someone to show me.” and “I don’t have the money to buy the latest software”, and stomps them in the face with a giant boot.
There are roughly eight topics, or chunks of knowledge covered.
The first is about photography, with demonstrations in F-Spot, GThumb and GIMP — all the free tools you need to transfer, manipulate, and polish high-quality digital images.
Every software package in the book is a free, open source product that can be legally downloaded and used. These are not shareware or limited trial programs, but full versions of powerful, standards compatible applications — all modern free software with reliable, polished interfaces and powerful features. The book also comes with a CD containing Ubuntu 9.04.
The second chapter concerns illustration and font design. This is a whistle stop tour of modern scalable vector graphics tools and techniques, touching on Inkscape, FontForge, and GIMP again, showing you how to import, export, convert and edit high quality multi-layered scalable graphics.
Next comes 2D animation, where KToon and Synfig are demonstrated, showing the basic concepts of frame sequencing and tweening. And naturally, 3D modelling follows, with a look at Blender, the immensely-powerful 3D object design and rendering package with auxiliary game engine.
Although each section covers a complete production concept, it isn’t tiring or exhaustive. Just enough guidance is given to launch the program, explore the features, introduce the key concepts and leave you to play. If you actually follow along with the software examples, it’s a truly exciting journey, as you go to sleep each night with your head exploding with possibilities.
The art of publishing is the next adventure, with explorations of page layout, document structure, creating PDFs, posters, books and flyers. Subjects like fonts, typography, kerning and color processes are explained through examples with the Scribus application.
As a musician, you might be wondering where the audio tools are. The book doesn’t disappoint. There’s something for even experienced users in this compendium of tools spanning three chapters. Packages such as Mixx, Hydrogen, Jack, Seq24, Alsa Modular, Audacity, Ardour, and JAMin are explored in the context of all the common tasks like podcasting, recording, sequencing, effecting, compressing and mastering, EQ, CD production, and creating your own streaming server.
As an old fart who has just discovered YouTube, I found the next section on video editing to be very helpful since I’ve just started to explore making video tutorials. The now comical proliferation of incompatible video formats and codecs, a depressing indictment of the failure of standards, are cut through in short order. Daniel lays down the basics of formats and their conversion using AVIdemux, cropping and resizing while preserving high quality, and basic editing using Kino and the Open Movie Editor. A quick treatment of audio sync, titles and effects wraps up the section nicely.
Web development is the last chapter on software packages. Arguably there are so many choices for Web2.0 site design that it’s hard to justify any particular one. This book opts for solid and proven Drupal, along with a tour of the industry standard Apache web server, MySQL back-end, and Icecast media server to give a user-driven internet radio station as the chapter example.
Each of these topics is an entire profession in itself, about which shelves of books could be written, so don’t expect to become much of an an expert in any. What “Crafting Digital Media” does is open the door and get you started producing content very quickly. From there the opportunities are up to you.
As well as gently throwing in up-to-date anecdotal knowledge and asides from his encyclopaedic knowledge of modern media software, Daniel ties together the various threads into a whole that leaves you feeling empowered to start any new digital production project.
Let’s face it, the key to most pieces of software is a few simple steps, a few core commands, that seem so easy once you know them that you want to kick yourself for not trying sooner. Getting over that initial barrier is what this book offers.
The book would be a fantastic companion to new users of Ubuntu Studio, Pure:Dyne or 64Studio distributions, though several of the packages are multi-platform, so are available for Mac and Windows too. Ed.: Indeed, a large number of the tools are cross-platform – GIMP, FontForge, and Inkscape run on Mac and Windows, and Ardour on Mac. But then again, if you’ve got a Mac or PC, this is a great time to explore Linux a bit as a second OS, and all this software is available to you. Graphics software should even run acceptably virtualized. -PK
Title: Crafting Digital Media
Author: Daniel James
Publisher: Apress
Year: 2009
ISBN: 9781430218876
Price: $29 (RRP:$40)
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The Most From Free Software: Book Review, Getting Things Made, Un-Procrastination