You may or may not relate to this in the genre sense but you should be able to understand the “feeling” of it.

Without going into specifics and without thinking about it too much, think of any song that at one time or another made you feel euphoric. Take that to mean what you want – elated, energized, relaxed and happy, high… whatever. It also shouldn’t matter what song it was, what genre, how old it was, or how old were. Have you picked a song yet? Don’t try to zero in on any specific song that makes you feel good, try to focus on a time you felt good because of a song. Hope you have a song in mind because now the thinking begins.

For the next part try to separate any emotional attachment your song may have stirred up in you. This isn’t about how a song makes you feel, but rather that a song makes you feel good because of the essence of the song and not because XYZ happened while that song was playing. Understand? What was it about the song that made you feel the way you did? Was it the drum beat? Or perhaps it was some guitar riff? To some people it may be the power of the lyrics that brings out that charged, euphoric feeling; while for others (myself among them) it might be the speed of the song and how it “pumps.”

When I listen to a song that I know will give me an adrenaline rush I can easily break that song down into it’s components and listen to all the individual parts and still get that energized feeling from it. I can hear the bassline pumping and rolling along, pulling the song forward like a train. I can break down the drum beat and can feel getting charged with ever bass drum kick, while the hats give me a lifeline to hold on to as the song races along. The leads, screaming in my ear, make my hair stand on end as epinephrine is being released in my body; and that glue we call rhythm that holds the song together just makes me want to turn the volume up as high as it’ll go!

Think about the song you picked – can you listen to any of the instruments alone that make up that song and still feel unstoppable or does the song lose it’s substance? If it’s lost it’s substance, it was probably just a great song that you “loved” and made you happy. But if you can break that song down and one of those instruments can still make you feel electric then that’s the kind of euphoric song I was talking about. THAT is how songs should be felt! It’s probably one of the few times in music where emotional attachment to a song could be non-existent and it will still put a stupid grin on your face or make you walk with the flow of the beat without even realizing it.

There are various ways to look at this no one way is correct especially if you consider people’s taste in music.
Consider the following: rock ballads, trance, Canibus, the drum section of a quality marching band, and 12/8.
1. Rock ballads – some call them “power ballads” and some say they’re two different things but regardless, they are very emotional, often heavy rock songs with rich guitars and expressive lyrics that convey a message and try to arouse euphoria in you through their compelling musical composition and writing.
2. Trance – a unique genre in the way that it’s the only electronic genre which has long loops and instrument build-ups that actually make the song work! (I say electronic genre because there is looping and build-up in other forms of music but it is not their focus). Smooth basslines that pump and roll along and drums that pull you in and hypnotize you with their beats as leads and synths play their euphoric patterns over and over. This genre is the child of euphoria.
3. Canibus – lyrics. Having a large vocabulary is one thing but being a wordsmith with the ability to properly use the intricacies of the English language, layered over a beat, if probably one of the most unique ways to draw out that feeling of euphoria – though it’s more of an amazement at the complexity rather than an energy response, the feeling is still there.
4. Drum section of a quality marching band – the military, a Division-1 game, a street parade. It may not be something you have albums of on your iPod that you play while walking to work or school or driving but I bet if you’re the type of person that listens to music with their entire body and soul, and not just their ears, you know what I’m talking about. Close your eyes and picture the snares, the toms, the triplets… picture the hands of the drummers moving so fast it just looks like a time-lapse blur. Listen to that cadence and how they march along to it and tell me you wish there wasn’t more bones and joints in your own body to move in response to that beat!
5. 12/8 – a time signature consisting of 4 sets of 3 8th notes each, giving you the feeling of 4/4 but the pulsing of 6/8. 12/8 has been used for a long time in older music, especially soft rock and some oldies. Over the course of the past decade it has become increasingly popular in electronic music because it enhances that pumping feel that makes the song sound likes it’s just rolling along and conveys speed of the music much easier to the listener. This repeated “tribal” percussion can very easily give you a euphoric high.

I can “cliff” this in a few words: euphoric songs are those without emotional attachment that can trigger an adrenaline rush and/or allow you to still be excited by the song even if you listen to just one instrument in the composition. It doesn’t have to be your favorite song or even a genre you normally listen to. It can be a song that reminds of you a special time but even if it’s not, it is definitely a song that evokes a high, which, for lack of a better word, puts a “spring in your step.”

Great songs are special because of the old “the whole is greater than the sum of its parts.” Euphoric songs are special because its parts can evoke feelings just as powerful as the whole song. The next time you’re listening to a song that literally gets you pumped, try to listen to the makeup of the song. See if the bass drum rattles you or if you feel like you want to spit the lyrics out as ferociously as the performer, and notice how you’re walking and if you’re swaying more than normal.

Music is an excellent source of mental and physical energy and you don’t have to be a musician to experience it. I hope you feel what you’re listening to and not just absorb it through the orifice on either side of your head. I hope you can experience music in such a way that nothing can bring you down. I hope you can engage music through ALL your senses.

That’s it for now………

I walked up to the counter and while ringing up the CD, he asks me, “Did you hear about Aaliyah?”

I said, “No, what happened?”

He replied, “She was in a plane crash and passed away.”

My jaw dropped.

I admired Aaliyah, because her “One in a Million” album was a classic to me.  The combination of Aaliyah on top of Timbaland beats were a match made in heaven, and I had bumped the songs from that album consistently for a number of years, most especially “If Your Girl Only Knew,” “One in a Million,” “Four Page Letter,” and the remix to “Hot Like Fire.”  Her voice was just right; she wasn’t a flashy singer, but on point with emotion and delivery with that correct amount of soul.  Her harmonies always sounded great.

Most people usually use the word “angel” to describe her, and I’d have to say that description is pretty accurate especially when it came to her voice.  There was a smooth feel there that just made you feel, “this girl’s definitely got it.”

And you have to admit, the hair over the eye, shades, and the baggy jeans/pants and tank tops were a good look without sluttiness giving a touch of not-so-feminine but sexy.

She had great versatility too.  On that album alone you had ballads like “Four Page Letter” and “How Could the One I Gave My Heart To,” more funky songs like “If Your Girl Only Knew” and “Hot Like Fire” (remix was RIDICULOUS), and sensual sounding songs like “One in a Million,” and she handled her business properly on each.

Couple that with Timbaland’s ingenuity, and you had the perfect combination.  Sorry Keri Hilson (even as great a songwriter as you are), but Keri doesn’t match nearly as well with Timbo as Aaliyah did.

Even her later works, like “More than a Woman,” “We Need a Resolution,” “Rock the Boat,” “Try Again,” and “Miss you,” were all really good songs, and I thought Aaliyah opening up “Up Jumps the Boogie” with Timbo, Missy and Magoo was just epic; there was just a feel to it that made you feel something was about to happen.

When I think of female R&B artists now, there’s a void where Aaliyah should be.  No disrespect to the Beyonce’s and Alicia Keys’s of the world (both great artists, mind you), but there was something about Aaliyah that was different.  The right amount of soul and sweet melody with no gimmicks, no overdone sexiness, and a good amount of versatility.

Here’s just some of my favorites from YouTube so you can enjoy the greatness that was Aaliyah:

If Your Girl Only Knew:

One in a Million:

Four Page Letter:

Hot Like Fire [remix]:

Rest in Peace Aaliyah.  We all miss you.

-mnshyn

Looking back in the history of music, there have been a number of instances where people have put symbols and hidden messages behind people’s music whether it was the intention of the artist or not.  How many stories have you heard where if you play a certain record backwards at a certain point in a track you will hear some hidden message? People love it, the speculation, the guessing, just for the privilege of saying “I told you that’s what it was!”

One of the biggest hidden message stories had to do with the biggest band to date, “The Beatles.”

Is Paul McCartney dead?  That was the question.  Was he replaced with a body double by the name of William Campbell who won a Paul look-alike contest?  Fans and conspiracy-theorists alike have speculated over this for years, and have given the following as some of the “evidence:”

1. On “Strawberry Fields Forever,” John supposedly says “I buried Paul” near the end of the song.  (John says he said “Cranberry Sauce,” not “I buried Paul”)
2. Play “I’m So Tired” backwards, and you’ll hear John say “Paul is dead, miss him, miss him, miss him.”
3. Play “Revolution 9″ backwards, and the droning number 9′s, turn to “Turn me on dead man.”
4. The order in which The Beatles are walking in Abbey Road put Paul in position to be the one in the casket during funeral proceedings.  John, dressed in white is the preacher, Ringo is the pallbearer, Paul (who is smoking, barefoot, and out of step with everyone else) would be the corpse, and George is dressed like a grave digger.
5. A walrus is symbol of death in certain cultures, and coincidentally, Paul is the Walrus on the Magical Mystery Tour cover.  He’s also wearing a black rose instead of a red rose as the other three are wearing.

Now are these coincidences?  Or was it planned by The Beatles?  These are just a few of the many instances on music and on pictures and album covers that people have found and speculate that the Paul we have heard over the years since roughly around 1965 is the not the original Paul.

If this “Paul is Dead Hoax” stuff interests you, click here for a more detailed rundown of all the “hints.”

Of course, backmasking (the real term for using reverse-playing sounds on a forward playing track) has been the subject of notoriety when it comes to hidden messages.  Stuff by Ozzy Osbourne, Led Zeppelin’s “Stairway to Heaven”, and others have been said to have evil messages when played backwards, though they have denied any evil doing.  More modern bands such as Slayer and Cradle of Filth have had their share of admittedly backmasking messages.  There have been good messages also, such as by the Christian band Petra, who asks why people look for the devil instead of seeking the Lord, and others who have made parodies by placing funny messages backwards just for people to play it and have a good laugh.

And with that, I embark on my fourth solo album, with all of that in mind.

Phase 4 – symboLYRICism

More to come soon!

-mnshyn

I’m using this upcoming album, “Lyricist Manifesto”, to demonstrate my lyrical prowess. I feel the 1st Black and Blue Ink. self-titled album was our best yet, showing our skills in word play, punch-lines and imagery. Through rational thought, I’m trying to challenge myself to make the Lyricist Manifesto a piece of lyrical art that would supply mainstream hip-hop listeners a more enjoyable experience than what they are subjected to on the radio and in clubs.

I try to listen to what’s playing out there…like kanye, 50, the cash money crew, Dipset,Jay-Z ….what have you…… but nothing catches my attention like a powerful verse supplied by those rippers that I do listen to……. Canibus, jedi mind tricks, rakim, and some lesser known cats. I can put together a good verse that can show I can rhyme in my sleep. But what Moon Shyne and I are trying to do in this next album will be a real treat to the hip-hop fan. I often have lyrical bars coming to me throughout the course of the day. What I do is harness that power till I hit the booth and lyrical magic then occurs. What I ask is from ya’ll is to take your ear-muffs off and pay attention to the power of the Lyricist Manifesto!

God Bless, K-maculate

==

For more on Black and Blue Ink. and the upcoming “The Lyricist Manifesto” album, make sure to go to http://www.blackandblueink.net for the latest updates.

“Straight No Chaser” is a group of 10 male vocalists, harmonizing their way through covers such as “Time of the Season” by the Zombies, “Africa” by Toto, “Up on the Roof” by The Drifters, and a nice rendition of “Wonderwall” by Oasis.

I’m always up for unique music performances, and although I’ve seen some cool a capella performances, there was a certain swag to these guys that really caught my ear and eye.  Their performance of “Time of the Season,” (coincidentally something I had sampled, more on that later. =] ) was great.  The vocal arrangement was on point, and the performance was strong with the vocalists showing their personalities not just in their voices but in their delivery and actions.  There was a particular cut when Jerome Collins (one of their Tenors and soloists) was moving his head in such a way with the adlibs that showed how much they enjoyed what they do and how much they put into their performances, and another where he was doing some Michael Jackson moves.  I hope to catch them in Atlantic City in July as they will be at the Harrah’s for almost two months.

Here’s their rendition of Wonderwall, which I thought was pretty dope:

Here’s their website: http://www.sncmusic.com/

Hope you enjoy the tip.  Stay tuned tomorrow for my review on drum recording; I’m going to go over my processes for the original kit I’m putting out this Wednesday. =]

-mnshyn

I’ve never been exposed to that much reggae, at least in the Bob Marley sense.  I’ve had a lot of exposure to the Dancehall stylings of Cutty Ranks, Buju Banton, Elephant Man and the like.  So when I heard that Bob Marley’s son Damian, a.k.a. Jr. Gong, was going to hook up with NaS for a collaboration album, it was exciting to hear some new sounds.

I’ve always been a fan of NaS, since Live at the BBQ.  I do have a bias towards NY emcees because that’s the sound I grew up with.

I have all his solo efforts except The Lost Tapes.  Right now, I have his albums ranked as follows:

1. iLLmatic
2. Hip-Hop is Dead
3. Godson
4. It Was Written
5. Untitled
6. Stillmatic
7. Street’s Disciple
8. I Am…
9. Nastradamus

Distant Relatives is a different beast.  First off it’s a collaboration album.  Secondly, it’s a pure departure from the New York sound we’re accustomed to hearing from NaS.  No Salaam Remi, no L.E.S., no Large Professor, just to name a few consistent collaborators.

From a production standpoint, it might be his best album, which of course you have to credit Jr. Gong (and his brother Stephen) for the amazing musical backdrops.  Very thick instrumentation and uplifting ambiance make this album a pleasure to listen to.  Songs like “Tribes at War” carry an African feel to them that push the listener to visualize the continent.

Here’s a breakdown of each track:

1. As We Enter: An awesome intro.  To show that solidarity, Nas and Gong trade bars on a fast beat to show you the unified effort.  Definitely a good start.
2. Tribes at War feat. K’Naan: Production-wise, this is one of the best on the album.  The instrumentation makes you feel Africa, with the bongos in a tribal pattern, the tonal percussion in the back, the grunt on the down beat, and the chorus of people chanting. The descending strings and the smooth synth are nice touches. All three performers kill it here.  K’Naan’s sequence about conflict was great:

   1, it’s me and my nation against the world //
   2, then me and my clan against the nation //
   3, then me and my fam against the clan //
   4, then me and my brother we no hesitation //

   Go against the family until they cave in //
   5, who’s left in this deadly equation? //
   That’s right, it’s me against my brother //
   Then we point a Kalashnikov and kill one another //

3. Strong Will Continue: This song is very powerful.  The hook and production sounds like a rally of troops, and it’s very uplifting.  It moves you to take action. As Gong’s hook goes: “Only the strong will continue, do you have it in you? ‘Cause we got a journey to go.” The industrial effects combined with the distorted guitars and strings give this track an adventurous feel. The light piano also gives the track a nice touch.
4. Leaders feat. Stephen Marley: This one has that classic reggae feel.  I feel like I should be listening to this in a cloud of smoke lol.  But seriously though, this one talks about leaders and pushing them to change the world rather than use their power and influence for personal gain. Damian possesses such a smooth voice, and with such powerful lyrics, Gong truly shines.
5. Friends: Another reggae feel, and it addresses friendship.  I’m sure we’ve all been through our share of drama with our real and artificial or fairweather friends.  Gong’s choruses in this song are great, because it’s simple and true.  Real friends won’t do you wrong, real friends never change. Nas kills this song, and here’s a powerful sequence:

   Real men, we have a code of ethics, no questions, no jealousies //
   No feminine tendencies we expecting //
   No gossip, no phony logic, no counting your homey’s pocket //
   Spare no expense for legal defense if your homey locked up //

   No keeping tabs on who was the last who looked out //
   Selfishness, that’s a character flaw, no holdin out //
   Yo what happened to the honor? Primadonna drama //
   Teflon love for my dudes who solid //

6. Count Your Blessings: This one is very uplifting, making it a point that you should be happy with what you have.  Nas mentions his son, and how he wishes to raise him the same way Bob Marley did Damian, and even when you’re not at the top and you wish to be, just keep your aspirations high. I like the bongos in this one and the smooth guitars. When the verses come in, the way the distorted guitars come in give you a great sense of purpose.
7. Dispear: At first, I thought they had either misspelled dissapear, or a different way to spell despair.  But it actually means This Spear.  It’s a lot more aggressive than the other songs on the album, and the spear is a symbol of power, violence, and control, and how it has broken down society. Sonically, it sounds like preparing for war. The middle pause with the whispers and animal sound gives you the feel that you’re hunting with that spear, which I thought was a great touch.
8. Land of Promise: More reggae here, reminiscent of Jamrock (Gong’s HUGE hit a few years back), and it pays homage to Africa.  How Africa is real, and how what you perceive in New York and California are nothing comparable.
9. In His Own Words feat. Stephen Marley: This one’s a song for God.  NaS shows his appreciation and faith, despite the negativity that surrounds him and in the world. Production-wise, it’s very uplifting.
10. Nahmean: This one’s about as close to the hip-hop sound you will get on this album.  The head-nod is official on this. Both Gong and Nas go in and destroy this one lyrically, asking what the higher-ups are doing for us.
11. Patience: This track is the most inquisitive, and the most thought provoking.  A lot of history on this song, addressing The Bible and The Qu’ran, as well as the origins of words, numbers, and everything in existence.  Gong was the most eloquent on this track. The instrumentation on this is beautiful along with the sample that goes on in the hook. Very synthy compared to the rest of the album; the atmosphere of this beat mixes in SO WELL with these philosophical questions and thoughts.
12. My Generation feat. Lil’ Wayne and Joss Stone: This is the most uplifting song on the entire album, and I’m sure will be a radio hit.  I know of many people who were disappointed with Wayne being on the album, but he did his part and didn’t bring the song down at all.  The hook is great, and it just an all-out feel good song.  Nas’s first line is great: “Can you blame my generation, subject to gentrification, depicting their frustrations over ill instrumentation?”
13. Africa Must Wake Up feat. K’Naan: This one has that reggae feel.  K’Naan comes in with a Somali verse, and the translation is available in the sleeve.  It serves as a good ending to the album.

I’m very pleased with the album, and it sounds great cover to cover.  It’s a classic.  Nas’s lyrics, combined with Marley’s lyrics/vocals and production make for a very powerful, 5 mic rated, combination. It’s not your typical hip-hop or reggae album, as it fuses both quite well.

Do yourself a favor, and buy the album.

More stuff coming soon!  Stay tuned!

-mnshyn

We lost another one.  We lost Guru of Gangstarr, to cancer.

To be honest, I was never the biggest fan (and I don’t mean that in the negative sense where you’re trashing someone, just literally as typed) of Guru, but his importance in hip-hop’s history is without question.  He was a good emcee, and the ideal yang to DJ Premier’s yin.  He was a natural fit to Premo’s production.  Premo, on my producer influence list, especially in my earlier work, was trading #1 or #2 with Dr. Dre, depending on the project, with RZA, Just Blaze and Timbaland rounding out my top five.

Solar, Guru’s producer in the last half of his career, submitted this letter that Guru wished to release upon his death (credit: AllHipHop.com):

I, Guru, am writing this letter to my fans, friends and loved ones around the world. I have had a long battle with cancer and have succumbed to the disease. I have suffered with this illness for over a year. I have exhausted all medical options.

I have a non-profit organization called Each One Counts dedicated to carrying on my charitable work on behalf of abused and disadvantaged children from around the world and also to educate and research a cure for this terrible disease that took my life. I write this with tears in my eyes, not of sorrow but of joy for what a wonderful life I have enjoyed and how many great people I have had the pleasure of meeting.

My loyal best friend, partner and brother, Solar, has been at my side through it all and has been made my health proxy by myself on all matters relating to myself. He has been with me by my side on my many hospital stays, operations, doctors visits and stayed with me at my home and cared for me when I could not care for myself. Solar and his family is my family and I love them dearly and I expect my family, friends, and fans to respect that, regardless to anybody’s feelings on the matter. It is my wish that counts. This being said I am survived by the love of my life, my sun KC, who I trust will be looked after by Solar and his family as their own. Any awards or tributes should be accepted, organized approved by Solar on behalf myself and my son until he is of age to except on his own.

I do not wish my ex-DJ to have anything to do with my name likeness, events tributes etc. connected in anyway to my situation including any use of my name or circumstance for any reason and I have instructed my lawyers to enforce this. I had nothing to do with him in life for over 7 years and want nothing to do with him in death. Solar has my life story and is well informed on my family situation, as well as the real reason for separating from my ex-DJ. As the sole founder of GangStarr, I am very proud of what GangStarr has meant to the music world and fans. I equally am proud of my Jazzmatazz series and as the father of Hip-Hop/Jazz. I am most proud of my leadership and pioneering efforts on Jazzmatazz 4 for reinvigorating the Hip-Hop/Jazz genre in a time when music quality has reached an all time low. Solar and I have toured in places that I have never been before with GangStarr or Jazzmatatazz and we gained a reputation for being the best on the planet at Hip-Hop/Jazz, as well as the biggest and most influential Hip-Hop/Jazz record with Jazzmatazz 4 of the decade to now. The work I have done with Solar represents a legacy far beyond its time. And we as a team were not afraid to push the envelope. To me this is what true artists do! As men of honor we stood tall in the face of small mindedness, greed, and ignorance. As we fought for music and integrity at the cost of not earning millions and for this I will always be happy and proud, and would like to thank the million fans who have seen us perform over the years from all over the world. The work I have done with Solar represents a legacy far beyond its time and is my most creative and experimental to date. I hope that our music will receive the attention it deserves as it is some of the best work I have done and represents some of the best years of my life.

If you’d like to read more on the story, you can click here.

I know that Guru and Premo had a falling out, and it made me sad to know that they never patched it up.  As much as Guru isn’t one of my favorite emcees, GangStarr had some really good hits and to me epitomize hip-hop.  When I think hip-hop, I think of GangStarr, because you have Premo’s boom bap, Guru with his rhymes, and Premo scratching.  It’s textbook hip-hop music at it’s finest.  “Code of the Streets,” “Mass Appeal,” “DWYCK,” “Tons O’ Gunz”, and “Above the Clouds” were just a few of their culture-wide accepted classics, “Full Clip” and “1/2 and 1/2″ with M.O.P. being two of my personal favorites to add to the list above.

Gangstarr is on that top list of the legendary duos of the early 90′s, which includes a who’s-who of names including Eric B. and Rakim, Pete Rock and CL Smooth, and EPMD (Erick Sermon and Parrish Smith).

Guru had some big ideas, and aside from his GangStarr legacy, will also be known for his pioneering efforts in what is considered hip-hop jazz or jazz rap, a feat that I do admire.  I’ve personally gotten to appreciate jazz more over these past few years, especially when I got to play bass for a jazz band a few semesters ago, really taking in the sounds of Dave Brubeck, Herbie Hancock, and others.

Guru’s Jazzmatazz was an interesting fusion, using a mix of live jazz musicians and some sampling for his audio backdrop; it was a departure of the static looping of hip-hop, using longer phrasing and it allowed for more dynamic instrumental performance.  The sound was a lot smoother, and had a definite, laid-back, classy feel that you would associate with jazz.  Couple that with Guru’s laid back delivery and flow, and you’ve got a nice combo.

I’m going to drop some YouTube videos below of some of the joints I mentioned above to pay tribute.  If you’re a later fan of hip-hop and you’ve never gotten to hear Gangstarr, you’re definitely missing out.  I’ll also link up a Jazzmatazz track too just so you can appreciate some of Guru’s pioneering work.

Above the Clouds feat. Inspektah Deck:

1/2 and 1/2 feat. M.O.P.

Full Clip

Jazzmatazz: State of Clarity feat. Common and Bob James

Rest In Peace, Guru.  Hip-hop music, musicians and listeners alike, will forever thank you.

-mnshyn

Pipe organs – check.

Plucked chord drops – check.

Epic strings – check.

Dirty drums – check.

Long Beach to Compton – check.

1995 – check.

Ice Cube – check.

If you haven’t picked up on it yet, I have scored and am producing a hip-hop track (yes, hip-hop) on the MsP collaboration album Roll Call ’10.  It has the flavor of an old-school, mid-’90′s, West Coast track.  It’s not really a “Gangsta” track, though the theme for the song will be gang related, but only to a degree.

We don’t really want to give away too much on the content of the song but what we can tell you is that it will not be POV – the lyrics will be from 2 bystanders/observers.  The track WILL play on your state of mind and you WILL feel like you just watched some psychological drama.  Beyond that, you’ll have to wait and see.

Last night (4.4.10/Easter Sunday)  MooN ShynE and I discussed how this track should progress and we came up with some interesting ideas as far as the “theme” of the song.

This track will feature:
MooN ShynE – vocals / mixing / mastering / arrangement
K-Maculate – vocals
ADM – producer / composer / storyline (partial)

I would appreciate MooN ShynE’s input on this as well…

That’s it for now………

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

I was just playing around, trying to come up with some different sounds.  I ended up with this little catchy thing at 130bpm.  The second half of the 16 bar loop sounds like House to me, and the first half sounds like… pop maybe?  Not too sure.

Anyway, I’m still trying to find a fresh sound for Phase 4, while keeping to my roots.  I’ve still got the Jazz/Swing stuff on tap, as well as some other ideas I want to try.  Nothing solidified yet.

I’m guessing part of this is influenced by my visit to Ultra (club in Teaneck, NJ) this past Friday for a birthday party, the fistpumping nature of the Jersey Shore (which I’ve only watched once, and since people make fun of the fistpumping I thought I’d try the music out), and going through some of mine and ADM’s old music in the Chamber[303] days.

It’s nice to not be limited by anything.  Hopefully I’ll get some traction, and maybe record a track or two that would be the foundation for my next opus.  I don’t want to release anything though until Phase 3 has gotten around for a bit.  Remember, it’s coming out March 1, 2010 on iTunes!

Drop comments with your thoughts.  ADM might have something to say about this because if that one half isn’t house, I’m sure he’ll let me know. =]

Project inhalOr and Wind Beneath My Wings with Destiny Soprano are both on deck, as well as a few songs from Cocoa.

More to come!

-mnshyn