MsP Production Blog


Archive for March, 2010

MsP Production Vault: Drum Kit – Complete Urban Flava

Wednesday, March 31st, 2010

Today marks the opening of the MsP Production Vault.  If you are a producer, especially a hip-hop/rap one, you spend a decent amount of time looking for new samples and sounds just to keep the fire going.  I know I’ve spent lots of time doing this, and I know others who spend hours looking for new torrents and downloads for their production.

To help you aspiring (and already established) producers out there with your search, every week I’ll be posting up new sample sets to add on to your music!

This week, we start with a drum kit that has the folder name “Complete Urban Flava.”  These were passed on to me by my cousin Boy Gnyus of Gnyus Productions.   It has over 300 different drum sounds, and it should be enough to keep you occupied until I drop another next week.  Head on to the vault to download it for free today!

The MsP Production Vault

More coming soon!

-mnshyn

Music Scene Spotlight – “The Baseballs”

Monday, March 29th, 2010

Being that this blog is for all of us MsP’ers to put what’s on our mind, I wanted to bring to your attention this really cool band that I’ve been listening to today who is not MsP related.  If you’ve read my past entries, you know that I’m into all different types of music and mixing stuff up.  This entry’s featured band, is a cover band called “The Baseballs.”

These guys are out of Berlin, and they started their band in 2007.  The interesting thing about these guys is that they cover current songs with an interesting twist.  They cover them in the styles of the 50’s, including doo wop, blues and REALLY REALLY old school R&B.

Here’s a couple of songs I found on YouTube.  Enjoy!

And for anyone interested their official site: http://www.thebaseballs.com. =]

-mnshyn

Copyright Made Easy, Pump Audio, and More Roll Call ’10 Updates

Thursday, March 25th, 2010

Copyrights, I say?  Yes.  Made easy, I say?  Yes.

Between my first two solo albums (“Phase 1 – Neolyrical” and “Phase 2 – Lyrics to an Identity“) and the one I just released, “Phase 3 – L.Y.R.I.C.A.L. Without Fear“, there was a five year gap, 2005 to 2010.  Of course, within that gap, so many things have come to the internet, including ways to make it easier for us at-home musicians/hobbyists/aspiring musicians.  From a marketing aspect, you have MySpace, Facebook, and Twitter for your social networking, and you also have internet radio stations like Jango and Last.FM.  Even Performance Rights Organizations like BMI have ways to register music online.

Recently, ADM told me about this one site called Pump Audio who offers services in getting your music to filmmakers and such who need music.  Basically, there’s licensing involved, and you get a cut of the royalties when someone decides to use your music for their project.  Not a bad thing, right?

I have read about the positives and negatives about sites like Pump Audio.  Some talk about the royalties split, some talk about whether or not they give you the exposure that you expect, and some even say that they take your music and try to repackage it.  That last one is the scariest.  Money to me isn’t that important, since I have a full-time job that pays ok.  Exposure, well I can take any exposure I can get.  As far as repackaging it, although only 1 or 2 claim that and it was never truly proven, that scares me a lot.

With that story told, you should now know why I’m now talking about copyright, and hoping that this post will give people some insight on what they can do for copyright.  I’ll be updating this post with some more information to make sure I’m 100% accurate, as what is a resource when it’s not fully reliable?

FRIENDLY REMINDER: You copyright music.  You don’t patent or trademark music.

To start off, copyright law says that if you made it and it can be shown, you own it. (See the When is my work protected? question in the government’s copyright official copyright section)

That’s quite easy to say, but unfortunately, that’s hard to prove in court.

Secondly, let’s address the “Poor Man’s Copyright,” which basically is the method of mailing your work to yourself and using the postmark as proof.  The copyright site debunks that as well since there are ways to presend an envelope then put the materials inside.  So no go with that. (See the I’ve heard about a “poor man’s copyright.” What is it? question in the government’s copyright official copyright section)

The best way, albeit a little pricey, is to go with the REAL, AUTHENTIC copyright.  Meaning, you go straight to the government and submit your music to the Library of Congress.  If you’ve got the certificate of copyright, you’re good to go in court.

Back in the day, (sounding like an old man, yet not at or above the age of 30), there were different forms you had to fill out if you wanted to do it the right way.  Those familiar with the process know of forms like the SR form, or the PA form.  You would pay $45 and submit your music on CD along with the proper forms.  Like doing your taxes, different forms were used for different situations, and you really had to read the print to know what’s going on.  It would get confusing also.  One of the biggest questions for me was, do I need to send $45 per song?  I have a 16 track album, so that means I have to shell out more than $700 just to copyright an album?

Well the answer to this is yes and no, depending on what you’ve got.  If you are the sole writer/performer of all the songs, you could actually submit one CD with all the songs, and only have to pay $45 once.  Good deal, right?

If you’re like me though, that won’t work.  Half of my songs are collabs on my albums, usually.  Since I’m not the sole writer/performer, you can’t submit just once.  You need to submit each song separately due to the spread of copyright between different writers/performers.

Examples are on this page. Scroll down to see the examples.

Then there would be the long wait time, because you’d have to mail it, wait for them to receive it, and then wait for your certificate.  One thing to note though, YOU ARE PROTECTED THE MINUTE THEY’VE RECEIVED IT.  So when you mail, you would attach a return receipt, and you can deem the song as properly copyrighted once you get that receipt back acknowledging that they’ve received the package on whatever date.

Since the last time I’ve had my hand on this, the copyright office has done two things that have made this easier.

The first is now there is only one form: The CO form.  Great!

And as an allusion back to my whole 5 year gap and the internet thing, the copyright office now allows ONLINE SUBMISSIONS, or what they call the eCO.  The price of submitting an eCO is $10 lower, probably because of smaller admin costs. You can peep here if you want to see what’s up.

So with all that, we musicians can now do our copyrighting online!

I just tried it, and I submitted two songs up on one CD (both solely mine), and coincidentally the same songs I’m going to use for Pump Audio.  It was very easy to do.  I signed up, filled out the online form, paid through their ACH/Credit Card system, and submitted the mp3’s.  Can’t really get much easier than that.

Now that I know they’ve gotten  my payment and my mp3 submissions, I can consider those two songs copyrighted!  They’ll be sending me the certificate after going through the processes.  I can now send to Pump Audio without fear of them stealing stuff and not having any protection.

Hopefully that helped you out, if you wanted to know anything about copyright.  I’ll be studying this more to see if I can add in some more useful info.

And as far as Roll Call ’10 info, aside from the work previously announced, Brian Bullion’s submission looks like it will be an Incubus style track, and ADM is submitting a rap beat (yes, a rap beat!) for use in the compilation.  People are leaving their comfort zones to mix stuff up.  Let’s see how this all goes down!

More to come, as always!  Keep it locked.

-mnshyn

My Attempt to go Gaga… Lady, that is

Tuesday, March 16th, 2010

Harmony Speaks has been a big fan of Lady Gaga’s work, and she requested trying to make a song of that style, a la “Bad Romance” for example.  Since I’m all about trying new things in music, I attempted to make something in that vein with the aim of getting Speaks to do some work on it.

Some notes on the type of music, from what I’ve heard and studied:

  1. The music feels like what should be played in a fashion show in Paris
  2. Speed should be around 120bpm give or take a few beats per minute
  3. Pads preferred as opposed to real sounding strings
  4. Kick drum should be hard, same formula as the Guetta kick (see this previous post for the formula), but using a different kick drum to start that is less hard than the K034, on every beat
  5. 303 type of bass going at every eighth after each kick drum to give more pump
  6. Dance clubby saws with slides, if possible, are desired
  7. Hard snares with the right touch of reverb, standard pattern at the 2nd and 4th beats
  8. Percs are okay to use; nothing over the top; and they break the beat in different spots to allow for variety
  9. Did not notice hats being used; at least not heavily
  10. Song format would be pop like, possible use of a middle 8, and something repetitive and catchy for also about 8 bars to get in people’s heads.

This, like the others, if used by Speaks, will go on the Roll Call ’10 album.  Below you can find a lo-fi version with tags [for security reasons. ;o) ]  for your streaming pleasure.


More to come soon!

-mnshyn

Track listing complete. Order is finalized. 75% done.

Friday, March 12th, 2010

Just a few notes from me re: Chamber Waves.

If you’ve been to the ADM facebook page and clicked on “discography” you would have seen a 10-track listing for the Chamber Waves album. Though I initially wanted to keep it to 10 tracks I’m adding an 11th. The 8th track will be “Switch-up” which is what we’re working on now and I didn’t want to remove any of the other songs because I like the way they fit into the flow of the album. I thought about perhaps moving something to the 2nd album but that’s a while off and that album will be going in a slightly different direction.

*Speaking of the 2nd album, I CAN tell you it will have a 149 BPM hardstyle track and an 80 BPM ambient track with NO percussion or audible bassline.*

At the end of this post you can see the finalized album listing.

Tracks 1, 2, 3, 4, and 6 are finished.
Tracks 5, 8, 11 are works in progress
Tracks 7 and 10 are in need of a major overhaul, including instrumentation (10) and massive EQ’ing (7)

As far as track 8 is concerned, I’m not sure what MooN ShynE will do on his Roll Call ’10 album, but I sort of want it to feature BBI on my album. Only because I already have a track featuring MooN ShynE and track 11, MMSKM, I will try to get background vocals from K-Maculate so that will feature him (hopefully). Maybe I’m being OCD about this but I just don’t want to repeat myself and, at least visually, I want to give the album variety.

1. Parallel
2. And Want Two
3. Reflections of You
4. Screamer
5. Project InhalOr feat. MooN ShynE
6. XXIII
7. Fast Fantasy
8. Switch-Up feat. Black and Blue Ink – (tentative…)
9. Create the Electric Process
10. Lonely on the Outside
11. MMSKM

That’s it for now………

The Club Song Kick Drum (not hip-hop club; David Guetta, i.e.)

Friday, March 12th, 2010

So “Switch Up” (the ADM/MooN ShynE/K-Maculate and maybe FoRcE oNe pending audition, for the MsP Roll Call ’10 compilation and ADM’s Chamber Waves album) is almost clear of the alpha stages, and we’re looking to get some more vocals in.  One of the most interesting things to me in this particular project is attaining that kick/bass drum that has that familiar hit.  Anyone who’s been in a club when they’ve played “Sexy B*tch” by David Guetta, for example, has heard that really hard, bassy kick drum played on every beat of the measure.

It took a while to really figure out what to do to get that particular sound, but I think I’ve pretty much gotten it down.

It consists of three different parts.

1. “K034” from the Deep/Hard Kicks set (I believe from Modern Beats?)
2.  EQ this kick around 150Hz, raising it, with a fairly wide Q,
3. Compress the kick: Threshold = -1.2dB, Ratio: 11.5:1, Gain: 7.0dB, Attack = 23.4 ms, Release = 2205 ms

At the end of that chain, that kick will knock you on your ass.  A few alphas before, I had a much higher gain, higher ratio, and faster attack.  This one sounds pretty good to me though; a nice pumpy bass sound with a nice kick in the attack.

One thing I have noticed in these songs is that some of them were heavily limited (limited as in the compression effect, not limited as in with a restraint).  Thing is, some of the versions I have of these songs are limited so hard that even the vocals sound pumpy from the mix.  They obviously all hit very hard, but the mix itself sounds terrible from an overall standpoint.

Hopefully, I’d like to try to get a mix of both worlds; get a good pumpy feel without compromising the rest of the mix.  If I can get the bass to pump and still achieve a favorable mix, then I’d say we’ve done a good job.  The pump of it all (I guess it’s what gives that fistpumping action) is part of the genre, I feel, and without getting that, I’d be betraying the sound we’re trying to achieve here.

So far, ADM and I have gotten a pretty good track so far, and I’m getting REAL excited about this.  We’re looking to work on Sunday to get in some vocals and get this song into the beta stages.

As always, I’ll make sure to keep you guys updated!

-mnshyn

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