Saturday, January 7, 2012

Industry Knowledge with Akil Esoon: Let's start 2012 off right with better business etiquette!


In my dealings and conversations with successful artists, managers, labels, and other industry workers, it has become abundantly clear that increasing your chance of success can be done by embracing two very simple concepts: create great music, and develop great relationships.

Unfortunately, the second half of that equation is sometimes (mis)labeled as simply ‘who you know,’ which implies that an existing connection is required in order to succeed. Sure, having an uncle that works for a label, or having a friend from high school who is now the guitar tech for Coldplay can help, but that’s rare. Those who have succeeded have done so by working hard at developing, and maintaining, great relationships with those they work with.

Let's start 2012 off right with better business etiquette! Here are some tips for developing contacts with meaning:


Being on time: To me one of, if not thee most important thing is Honoring TIME. One of the common attributes of all successful people is that they view their time as a precious resource. When you are late for appointments with people who value their time, you will have wasted one of their most valuable assets and there is a good chance they will view you as rude, irresponsible and disrespectful. Is this how you want to brand yourself?

Not only should you make every effort to be on time for business-related appointments, but you should also do your utmost to be on time for personal commitments. Valuing your friend’s time and earning their respect is an important part of your individual reputation.


Keeping your word: You can really tarnish a relationship by saying you’re going to do something and then not come through. It’s better to just say no if you can’t do it. Don’t get a reputation for being a flake.

Talking bad about others: Communities can be small, especially music communities. Watch what you say and who you say it to. You could be saying something bad about someone to a friend of that person. You don’t have to make yourself look good by dumping on others, and it may ruin a potential business relationship without you even knowing it.

Be Proactive!: Successful artists actively seek connections with those in the industry, at workshops, conferences, events, shows, as well as on their own time via phone and email.

Stay in contact: The old saying, “Out of sight, out of mind”, holds true in the world of business. Don’t just interact with those who can help you when you need something. It can make you come off as an annoying opportunist. Drop and email or give a call, sometimes just to say hello. Find out what the other person is into, if they have a hobby, or do something for them without expecting something in return. Find alternative ways to make a personal connection. Doing this can create a rapport that goes well beyond just a business relationship.


Meet face to face: Sending emails or making phone calls to those people you want to connect with are fine if they’re half way around the world, but there’s still no replacement for meeting someone face to face and looking them in the eye. An email that starts with ‘Dear Sir, My name is..’ is FAR less likely to get a reply than ‘Hi John, My name is Joe and we met at…’ Industry people are out there, constantly. Find out where, meet them, and give them a reason to remember you.

Be social: The music industry is one where personality matters. A LOT. A manager of a major label artist once told me that the personality of an artist was “equally as important as the music.” Everyone in the industry wants to work with social, interesting people, so if you want to develop a relationship with someone you aspire to work with, get to know them on a personal level.

Be nice: This probably goes without saying, but just in case, it’s important to always be nice, friendly, and respectful. Our industry is small, and word spreads quickly, so if you’re a jerk to someone, people will find out. On that same note, don’t ever EVER badmouth someone to anyone else. If you have a negative opinion about someone, either keep it to yourself, or word it in a way that won’t burn a bridge.

Saying thank you: If there was an 8th deadly sin it would be ungratefulness. If someone does something for you, take time out to show that you appreciate it. You’re almost guaranteed not to get a second favor from a person if you don’t show your gratitude for the first one.

Build & Maintain: Just having someone ‘on file’ isn’t good enough. If you want to succeed, you have to turn those first meetings into relationships. Sending them an occasional update, a quick hello, or a relevant compliment on something they’ve done (IE, one of their artists gets nominated for an award) is a great way to keep in touch and keep yourself in the forefront of their minds.


Pay It Forward: At some point (probably earlier than you think), you’ll be in a position to help someone else in the industry out. It may even be someone who had helped you in the past. The industry as a whole can only thrive if everyone supports everyone else, so do your part and give back with your time and energy.


Treat the newbies with respect: I hate it when I see people mistreat those underneath them. I can’t tell you how many times some ambitious youngster that I helped out in the past created or connected me with an opportunity that was hugely beneficial. Your influence could be just the thing to spark the next mogul, and it can be a big pay back for you in the future.


Lastly, but absolutely most importantly….


Don’t forget your fans! All of the above advice on developing and maintaining relationships can and should be applied to them, through the use of online mediums, opportunities at live shows, and any other way possible.

Making connections is a big part of our industry. If you want to increase your chances of success, it’s important to turn those contacts into colleagues by developing relationships with everyone you meet.

Wednesday, December 21, 2011

Industry Knowledge with Akil Esoon: How to Make CRAZY Thick, Well-Produced DRUMS!


How to Make CRAZY Thick, Well-Produced DRUMS!


Layering is the key to creating phat Drums, but not everyone who tries this does it successfully. It's essential to make sure that the hits you use don't fall on the exact same frequency – I'll show you how to do this and build a beat that's bold and beefy.


Step 1: We're going to layer up a beat from the ground up, and our first port of call is to establish a tempo and time signature. Then find a kick drum sound – if necessary, we'll layer up more than one sound to create a fat kick. Good hits can come from a wide variety of sources, Vinyl, Cd's, Mp3's & Live drums. just because we're making 'unreal' beats doesn't mean the hits can't come from a 'live' source.


Step 2: Once you've got the kick playing, use a spectrum analyser to determine where it's peaking. (I like izotope and waves plugins myself) If it shows the kick pumping away at 50Hz. Just bear in mind that you don't want the frequency of the kick to clash with that of the bassline. Also remember that you can resample a drum sound and repitch it in a sampler, if needs be.


Step 3: Virtual drum machines are very useful for layering, as you can use the pitch controls to shift sounds into the desired frequency area. To reinforce the sound further, and make it punch, I'm using a fat kick layer from FXpansion's Guru, which also allows for very fine adjustments to the amplitude envelope. Once the kick is sorted, use the same techniques for layering up a snare.


Step 4: Once you've got suitable kick and snare layers on the go, it's time to start sequencing the rest of your percussion. Reason, FL, & Guru is great for this and includes a nice selection of funky groove templates to shuffle your beats. Playing with the different velocity, shift, and swing levels can add character by varying the sound of each hit.


Step 5: So far, we've worked with single hits, but, to really give the drum beat a sense of size, depth and momentum, we're going to layer on an old breakbeat. Guru comes with its own loops, although if you're feeling adventurous, Go DIGGING! You never know whats gems you could find, or you could construct your own rhythm and then use the effects section to make it sound dated, as if it's been recorded from vinyl.


Step 6: Once you're satisfied that you have a nice, fat loop – complete with kicks that punch and snares that kick, and a good sense of separation, depth, and clarity – you'll need to route all the layers to a bus channel. Here, you can apply subtle effects to help gel all the sounds together, to promote the illusion of one big, bad beat. I've used Warm from Antares, a Waves compressor and Izotope. (My secret weapon is: Guitar Rig 5 from Native Instruments. It's CRAZY on drums!)


Step 8: Now that you have everything bussed, you can inspect the overall frequency distribution by using a spectrum analyser on the Group Channel. If you need to make adjustments to the sounds after this point, it's a good idea to refer to the analyser to help you determine what effects your adjustments are having. But remember to prioritise what you hear over what you see – it's only there to identify problems.

That's it Fort Pitt! Try out some of my techqunics and see what works for you. In the mean time I want to wish everyone blessings and and success in 2012!!!
That's all for this year, now go out there,Make CRAZY Thick, Well-Produced DRUMS and win some awards and make some money!

Hit me with any ?'s, Comm's, or Concerns.

Peace!

Monday, December 5, 2011

Industry Knowledge with Akil Esoon: Mixing Vs. Mastering!


Mixing VS Mastering!



From internet forums to music magazines, the term "mastering" is one of somewhat mythical proportions–the final step to end all of your problems and to give you that "BIG, major-label sound (!!!)" Mastering is important and it is the final step, but any respectable mastering engineer will tell you that mastering is not a substitute for a good mix. Mastering can, however, take a mix from good to great! Many musicians may be curious about what the difference is between the two. Since most people refer to both mixing and mastering together, they must basically be the same thing, right?


No! Well, not quite. They are related, though. They are both part of the post-production process of recording an album. They both involve using equipment to tweak the sound of your recording to get it sounding like a professional product. But they’re not exactly the same, and they are never done at the same time. Mixing and mastering are two distinct and separate steps of making an album.The most important thing to understand is this: a mix engineer applies effects and level changes to each individual instrument separately. A mastering engineer can only apply effects to everything in a mix at the same time.


For example, a mastering engineer can't add echo to the vocal without adding echo to all the other instruments in the song too. So what's the point of mastering, anyway? Mastering serves as a 'glue' to your mix by making overall changes. The main goal of mastering is to match the overall loudness and frequency balance (bass, treble and mid range) to A) your favorite professional (or amateur!) recordings and B) the other songs on your album, EP, etc.


Here's an example of what mastering can and can't do: Let's say a kick drum sounds weak. A mastering engineer may try boosting the low-end with a specialized mastering EQ to add impact, but if the instruments are poorly separated in the mix, the bass line will also be boosted by this EQ–in a way that causes the mix to become muddy. Both mixing and mastering are essential.Understanding both the power and limitations of each process is crucial to your success and your art.


Mixing and mastering go hand-in-hand.


Mixing always comes first. After recording your tracks, they go to the mix engineer, who listens to the song and adjusts each track individually—every guitar track, every vocal, even individual drum microphone tracks. He makes sure each one’s volume is at a good level and in the right proportion to the others. He puts effects on each track individually—like reverbs, delays, and compression—plus he puts effects on the overall mix as well. He also pans everything left or right, and sets up automation to make sure all volumes, effects, and pans are adjusted exactly right for every part of the song, every time he plays it back. Finally, the mix engineer bounces the mix to a stereo audio file, usually in full-quality WAV or AIFF format.


Next is when the mastering happens. Mastering serves a similar purpose to mixing, but instead of being applied to each individual instrument, mastering is applied to the completed mix, (two-channel stereo audio track). It is the final step of the process, the cherry on top of the recording. Mastering gets the finished product to sound sonically full and balanced, plus it brings the volume up so the recording can compete with other professionally made albums.

So although mixing and mastering similar, they are not one and the same. A good general rule to remember: if your song is mixed and not mastered, it’s not finished!


Hit me up with any ?'s, Comments, Or Concerns! Until next time, Go Mix a Hit Record! (then do it again!)

Sunday, October 23, 2011

How to get Samples/Download Videos (Audio Only) from YouTube

Aight, so....!


You're surfing online through some YouTube vids, came across a channel with some songs that you want to flip into some hot tracks. Easiest way I have found to do this is by using YouTube-MP3












YouTube-MP3 is a very handy site. Unlike it's other competitor sites, YouTube-MP3 has only 3 easy steps without dragging you through windows or tabs of pop-ups. Simply insert the song you want to sample's YouTube URL into the search field, click "convert video", click "download file" and you're done! That simple. Try it out


For some practice samples to flip, go here