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Archive for the ‘Music Theory and Practice’ Category

MsP Compilation Album Starting Up with a MooN ShynE, ADM and K-Maculate Project and a FoRcE oNe and MooN ShynE Project

Monday, March 8th, 2010

As much as this weekend was a busy weekend (mostly because of my cousin getting married, congratulations to Jay and Thiana), I was able to get some work done and start on two projects.  One of which is the FoRcE oNe project that I had mentioned in a previous post, and the other is a joint project between myself, ADM and K-Maculate, which had an impromptu beginning.  Both of which will go on the MsP compilation album, tentatively titled Roll Call ’10.

The FoRcE oNe project has some interesting tidbits.  First off, the beat for this one as selected was a custom I made specifically for him in his interests.  He’s a big Lil’ Wayne and Young Money fan, so this beat follows that new southern sound with an MsP twist.   The drum pattern and bassline are akin to those found on their recent work, but the instrumentation and sampling is more MsP style.  Once some recording is done, I will post up a tidbit so you guys can get an idea of what we’re aiming for.  The second thing about this that I like is that FoRcE oNe will be spearheading the project, and I will just be trying to bring out the vision he’s got.  I’m trying to get him to let his creativity loose while increasing my producing experience in the sense of producing for other people.  Most of my producer work has been for myself, so getting a chance to produce for others (especially for uno because he’s only done one song on his own, this will be his second) is always exciting.

The beat is in Bb minor, and utilizes samples from a rare old school soul song called “Why,” as well as the use of the Hypersonic plugin by Steinberg.  Drums used were from the Sounds in HD kits that Boy Gnyus supplied me with, and of course the beat was created in FL Studio.  It clocks in at 140bpm, but will mostly sound more like 70bpm with that Young Money style flow that’s been coming from the South.

The second project that was worked on this weekend was the impromptu MooN ShynE/ADM/K-Maculate project that started earlier this evening. What we’re looking to do is something in the vein of what David Guetta has been doing these days as well as other non-hip-hop club hits.  So far, we’ve nailed down a decent club beat akin to Guetta’s recent hits such as “Sexy B*tch” and “Memories” with Kid Cudi, but once again, putting an MsP spin on it.  It’s a good mesh of styles as ADM’s electronic work comes into play here production wise in a big way, K comes in with some creativity as far as concepts, lyrics and vocals, and I come in with my lyrics/vocals and production work.  We’ve already recorded a small piece of the song that will fit as one of those catchy 8 bar loops that DJ’s should have fun with in the clubs.

The song is in Ebm, using a mixture of different drum kits we have here at Lunar Base.  We used Native Instruments’ FM8 for some synth work, as well as Vanguard for a gate.  We were using Cakewalk Studio Instruments String Section, but we may opt for a different set of strings (Hypersonic being a very likely candidate) as I’ve overused String Section to death lol.  We layered the kicks and included 808 bass drums to give it that extra push.  We’re also using the Izotope plugin called Trash (the plugin used to achieve Justin Timberlake’s voice in Sexy Back) to give it that real gritty club feeling.  Next week, we’re looking to do some more work on this, and I hope to have a sample for you guys to hear after that session.

All in all, a very productive weekend, and with other projects also in the wings, there will be more fun coming!  Stay tuned.

-mnshyn

Black and Blue Ink.’s Lyricist Manifesto, “Left Hook,” and The Pro Tools M-Powered 7.4 Windows 7 Fix

Sunday, February 21st, 2010

Before I begin, I’ll put the fix up:

ProTools M-Powered 7.4, Internet Explorer 8 and Windows 7 Fix

As I’m sure many people will be wanting that first. I don’t want people to think I actually don’t have the fix and I’m just leading them to my blog as a deception. For more info, read further down below about the fix because I did make some notes on it.

As a short note, this is the fix for the 0xc0000005 error you get when starting Pro Tools M-Powered 7.4 on Windows 7 32-bit, with or without Internet Explorer 8.  My guess is that you can probably apply this fix on older versions of Windows and it will allow you to keep IE8.

==

So Black and Blue Ink. has officially started work on “The Lyricist Manifesto,” the new album slated for this coming Fall 2010. Since you can count on BBI coming through with nothing but hard lyrics and hard beats, that’s what you will pretty much get out of this. No hooks, no fancy intros, no nonsense. Just straight up in your face lyrics with creativity and imagery, pushing the limits of rap lyrics. As soon as the beats hit, we’re off taking turns spittin a 16, 24, or even 32. If you’re a fan of metaphors, imagery, punchlines, and literary devices, and other rap/poetry/prose techniques, this is the album for you, combined with hardcore beats.

This is a bit of a departure for me, because I am more of a song/track oriented rapper than a lyrical rapper (though I used to be back in the days), and that’s because as of late I’ve been really pushing for my musicianism to materialize in my music in terms of the way beats are made, usage of music theory, different techniques in song form, etc.  However, the fact that it is a departure, also presents itself and a challenge, and a challenge I definitely want to take up.

The challenge now, involves a couple of things.

First off, for example, we just finished recording a song called “Left Hook.”  It’s called as such because we “left hook” out.  No hook.  Also, for some odd reason (though commonplace if you’ve ever had the experience of watching K-Maculate record), K-Maculate alludes to not being lefty but bringing it to you.  I don’t know why, he just did (it brought many a laugh between me, ADM, Harmony Speaks and Boy Gnyus who were all present at the time).  The song itself is 1:45.  Yes, not even two minutes.  We both spit 16 bars, and that was it.  As K wanted it, he wanted no hooks, no intros, no nonsense, spit and continue on.

It just seems a bit short to me.  However, we agreed that we could maybe spit 24s on future beats, just to try to at least make the 2 minute mark.  So that was resolved.

The next challenge, is making the entire album not sound repetitive, and giving each song a character.  Normally, every song has some kind of character to the beat, to your lyrics, some character by topic, and by the chorus you put in or other characteristics.  With this project, you’re confined to the beat and lyrics only.

The good thing about this is that it hones in my writing, and maybe it will make me more creative lyrically.

As a producer, I have to make the marriage between the vocals and the beat in a way that even if we are spittin our usual bravado for every song, I can make it so that each song still carries a character.

I’ll know I’ve succeeded if by the end of this project, the vocals and beat are so intertwined that mixing the acapellas and instrumentals would be blasphemous (tempo not withstanding).

This may not seem like a challenge, but when you’re dealing with these type of lyrics, those vocals can easily be moved to a different instrumental and it would be perfectly fine.  I feel that in order for this album to be stronger, the beats and vocals must be 100% complementary, and that may only be possible if the beat is tailored perfectly to the vocals.  I don’t want loose vocals that could go on any beat.  This means a lot more post-production work rather than pre.  Once K and I record our verses, I will go through the track, take notes on the vocals, then go back and add to the beat so that the beat fits the vocals as completely as possible.  I guess you can say it’s like a movie score.

Now that I’ve written all that, I feel I have a better grasp on what I need to do with these tracks as we move forward.  Let’s see what happens.  Watch our main home page here, as well as the BBI Facebook as I will be posting up “Left Hook” in the next few days.

Also, as indicated by the title, I’ve stumbled upon (no pun intended, I didn’t use stumbleupon) a fix for Pro Tools M-Powered 7.4 to work on Windows 7.  It drove me bananas for months since I got Windows 7 that my Pro Tools does not work, but now with this fix, it works perfectly on 7.  The original fix though had a lot of URL’s in it, most of which I remember as spyware related sites, so I deleted all of those (they were in the site zone entries and history entries written into the .reg file), and left the more appropriate registry entries.  Please feel free to delete any other suspicious registry entries and let me know so I can update this patch as well.

ProTools M-Powered 7.4, Internet Explorer 8 and Windows 7 Fix

Mind you, I don’t deal in warez, so that is just the fix, not the program itself.  Click the link if you’re having that problem with M-Powered 7.4 with either IE8 and/or Windows 7.  On prior versions of Windows, uninstalling IE8 would do the trick, but disabling it on Windows 7 (uninstalling IE8 is not permitted on Win7, just disabling) would not work.  This will get you around that.

As I said above, I’ve deleted the questionable entries (that I’ve noticed).  You may want to give the .reg file a once-over first before merging it with yours in case you have a better eye.

I’ll have more soon!  More projects, and this weekend I am excited for a FoRcE oNe beat selection/recording session, as he is taking the initiative to make a song and be a big part of the creative process.  I’m a fan of artist evolution, so this will be a very fulfilling project for me.  He has only one solo song under his belt completed, so we’ll see what the young gunna has to say.   Be on the lookout for that one.

Also, Cocoa has some demos she is looking to have me hear and work on, and Destiny and I have a few projects on deck as well.  You can’t forget projeCt inhalOr with ADM, and I’m sure you’ll be hearing a bunch from Brian Bullion soon as far as production is concerned.  The entire fam has got at least one project waiting in the wings, so as I’ve always said, 2010 is our year.  Watch!

-mnshyn

Half House, Half… Not Too Sure

Tuesday, February 9th, 2010

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

Hear it now! MooN ShynE – The Bomb Squad feat. The Entire MsP Family

Monday, February 1st, 2010


If you have been following this blog, you’ll notice that the first ten blogs were about this particular song which took almost 2 years to create when you include all the delays (no pun intended) and the different versions and iterations.

Well here is the final song, in all its splendor and glory, [at 96k though, CD quality available from iTunes on March 1, 2010 ;o) ] and I hope you guys like it.  Considering it’s the first song where every active MsP member’s voice is on it, this is a very important song to me and one of the ones I’m most proud of. =]

Order of performers:

0. GnP’s Takewun on the prologue.

1. Cocoa
2. DiMpLeZ (MooN ShynE and ADM in the background)
3. K-Maculate
4. Less with a cameo by GNP’s Boy Gnyus yelling “Aiyyo back the f*ck up!”
5. Harmony Speaks (on the walkie-talkie, talking to MooN ShynE)
6. FoRcE oNe
7. Brian Bullion
8. ADM (with MooN ShynE)
9. Destiny Soprano
10. MooN ShynE

Some blog posts of importance to this song, for anyone wanting to ask about production techniques:
History of the song
Robot voice used for DiMpLeZ
Vocal notes for Harmony Speaks
Comp’ing Destiny Soprano’s vocals

Hope you guys like it. =] Remember, to get the CD Quality version, get it on iTunes when it comes out on March 1, 2010 when “Phase 3 – L.Y.R.I.C.A.L. Without Fear” makes its debut.

-mnshyn

Starting Phase 4… Adding Some Jazz

Tuesday, January 26th, 2010

Jazz?

A couple of semesters ago, Fall 08 to be exact, I signed up for Jazz Ensemble I, which was the intro class where you would play Jazz music and learn whatever you could in the process.  It was a great experience, because since I was used to playing pop/rock or making beats, being introduced to jazz was overwhelming at first.  I thought I was pretty good at guitar solos until I took this class.  I ‘m used to just following the scale that my ear picked up, and going with it.

I was taken aback though by these jazz guitar soloists, and when I was asked to solo, I was pretty much embarrassed. =]

For those who don’t know, Jazz for the most part follows this format (at least this is how it was in the class I took with the songs we played, and I only took 1 semester out of the 4 possible):

1. Head (the introduction, some kind of melody with the chord structure) once or twice
2. You go to each soloist where they would improvise their solo on top of the chord structure that was prototyped in the “head.”  You may hear the chord structure quite a few times dependent on the soloist, but because each soloist will play the parts different (either because of the different instruments or just different playing style), the song is very dynamic even though the chords repeat.
3. Play the Head again with some kind of ending

A few reasons why it took me a bit  to get used to playing jazz:

1. Although I know how to play all the majors, minors, 7′s (majors, minors, and dominants), I couldn’t think of how to play diminished and dminished 7 chords on the fly (though I knew what they were in theory).
2. I also didn’t know what a minor 7 flat 5 was until I took Music Theory I during the Fall 09 semester.
3. I had no idea that there were Blues scales, so there were many times I played where I was either sharp or flat on a note because I was following regular scales.

So every time we’d go around the room and it was my turn to play a guitar solo, I’d shake my head letting Professor Krikun know that I wanted him to skip me.

The last few times I played though I started to get the hang of  it just by practice.  My solos just became based on the chord rather than the scale.  If the chord changed to an Eb minor then I would play in Eb minor, for example, rather than trying to guess what the overall key is and play to that.

I ended up shifting to bass almost halfway through the semester, and had a blast doing that.  What made it even better was that I bought a bass specifically for it: The Epiphone Viola Bass.

The Epiphone Viola Bass is in the same shape as Paul McCartney’s Hofner bass.  It’s hollow body, so it has a nice round tone to it that is usually absent from solid body basses.  I’m a big Beatles fan, so playing a bass that had that look and feel to it was great.

At that point, I started really grasping the basic rhythmic points to a bossa, a 12-bar blues, and so on.  I learned how to properly do a walking bassline.  A walking bassline is a bassline that you hear in blues songs and other jazzy tracks where you can hear the bassline consistently throughout the song, giving it a nice little thump that keeps the rhythm moving every eighth note or so.

The only successful song I ever did a solo for in that class was a bass solo, and it was for a jazz rendition of Sam Cooke’s Summertime in D minor.  The song’ll be forever embedded in me because it was the first time I felt like an actual jazz player playing that walking bassline then performing a cohesive solo that fit and sounded decent.

Now that the history lesson has been given, let’s bring it back to today for some relevance.

With Phase 3 completely done, it was time to, as Jay-Z and Swiss would put it, go “On to the Next One.”

I see Phases 1 to 3 as a trilogy, and I want to start Phase 4 with some new ideas.  Plus, I started to find the track listing format that I followed for three albums to become limiting, so I felt it’s time to start with a clean slate.  Maybe Phase 4 could even start a new trilogy.

So what I want to do, is somehow make a jazzy rap track, with the rhythm of that Summertime rendition.  Even something like Ray Charles’s “Hit the Road Jack.”  The basic points being that the drums are fast and the bassline walks.

The drums play in double time what most rap songs are at.  Figure a good range for rap (NY style) would be somewhere between 80 and 100bpm give or take a few beats.

I did some experiments, and I found that the tempo for this particular project would sit well around 180bpm.

I did a quick a rendition in FLStudio of that version of Summertime, and using that as a template, I will morph it into something original with the same type of rhythm.  I’ll post the results in the next few days. =]

This is just the beginning of course, so let’s see how far I can push the envelope before it breaks.  I don’t want it to stray TOO far off; as I want to stay faithful to the hip-hop roots.

Stay tuned!  And remember, March 1, 2010.. Phase 3 will be on iTunes!

-mnshyn

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