I want to preface this quick article by saying, I will never quit sampling entirely. It is absolutely crucial to my sound and the way I make beats. However, the time has come in my career and musical journey to change direction. Since I began making beats, I’ve been diggin in the crates for samples to flip. During the last 2 years, I have been digging in other places for samples, specifically digitally. I know some die hard vinyl junkies and beat makers won’t understand my reasoning and truthfully i’m not here to debate my departure from getting my fingers dusty. This is meant to be an insight into a new way of doing things and hopefully my readers can gain something from my insight.

Sync Licensing -

During the last few years, I have been fortunate enough to license my music for Television and Media (Sync Licensing) and capitialize on a new revenue stream aside from selling beats to independent artists and labels. The problem (and I hesitate to say “problem”) with sync licensing is that original and sample free music is a requirement to license. If your music contains samples, it must be pre-cleared, meaning you fork over the sample clearing fees in hopes that your song will generate a revenue stream. Considering the price of sample clearance fees, it makes more sense to avoid sampling entirely and create sample free music. It takes time to create sample free music using live instrumentation and synths. Time spent learning new instruments, time spent engineering sounds to have the essence of vinyl, and time spent breaking free of the constraints of sampling. This equates to less time for diggin in the crates.

Digital Digging -

Let’s face it… everyone is digging in the crates for samples. The inherent problem with diggin for vinyl is that everyone is sampling the same material and diggin in the same spots. In order to get unique samples, you have to dig hard (in other countries) and spend money (trade shows, rare vinyl, etc.). If you are like me, geographically displaced (I live in Alaska) finding rare samples and vinyl isn’t easy or possible. Again, less time spent making music and more time searching for samples. If you thoroughly enjoy digging for vinyl and are passionate, it makes sense to continue diggin in the crates. However, there is a whole new world of music waiting to be chopped up.

Its 2012 and the Internet has opened up a whole new way to access samples for making beats. Digital digging. Spotify, iTunes, Netflix, YouTube, and many other digital domains have become my modern day equivelent to the “milk crate”. There is tons of new music and genres to dig in and it is much easier to access digitally. Electronic, indie rock, new soul, etc. I’m big on workflow and efficiency, so it makes sense to spend less time finding samples while finding samples that less people are using.

Outsource your diggin -

Some people are going to disagree and even feel that it’s cheating, but I’ve outsourced my digging to some extent. I still want dusty samples! I want vinyl pop and crackle. I’ve been fortunate enough to run across a few diggers who send me samples to flip. It takes me 5 minutes to listen through the preview samplers and pick which tracks I want and bam… HQ Wav file is in my inbox 30 minutes later. You might call it cheating, I call it a competitive advantage. Again, less time physically digging for samples by taking advantage of a new workflow. I can knock out more beats and allocate more time to creating original music and honing in my mixing skills.

Love it or hate it, digital digging is acceptable and can change your workflow, creativity, and so much more if you are willing to embrace it.

Alkota

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Alkota’s Bang These Beats Vol.1 is a mix of released and unreleased hip hop & boom bap instrumentals produced by Alkota between 2008-2011. Bang These Beats, Alkota’s 2nd Beat Tape is 20 instrumentals deep of professionally mixed & mastered ear candy. These joints are the backdrops to songs featuring Rasco, Sean Price, Don Streat, Ruste Juxx, Pep Love, Soiled Seed, RD Peoples, Indefiniate Etiquette, and Phonetic. Cuts are provided by DJ Grazzhoppa.
Don’t Sleep! Download Now & Bang These Beats!

Bang These Beats – Vol.1 (Instrumentals) by alkotabeats

Not gunna lie… this one might be tempting! As much as I wanna hate on this, making beats on the iPad just got a whole lot more legit. Lets check some features and specs, shall we?

The Hardware:

• The first MPC designed specifically for iPad 2
• Fitted compartment for iPad 2 provides fully integrated portable MPC solution
• 16 backlit genuine MPC pads with MPC Note Repeat & MPC Swing
• Works seamlessly with the MPC App: sequence & sample editing, effects, EQ and more
• Create beats on the go and transfer to a Mac or PC for further mastering
• Double-hinged case sits upright, lies flat or closes for transport
• Compatible with virtually any Core MIDI app
• Built-in rechargeable lithium-ion battery
• Charges iPad when plugged into wall power

The App -

• Sequence four tracks simultaneously: four-track mixer built in
• Built in sound library of samples and drum kits
• Record and overdub sequences and create and edit your own Programs
• 16-Levels mode: play one sample at 16 levels of attack, velocity, length, and tuning
• Note variation slider allows you to manipulate attack, velocity, length, and tuning as you play
• Built-in effects: delay, bit crusher, master compressor/limiter
• Time correct: 1/8 note – 1/32T with variable Swing setting
• Note Repeat: 1/8 note – 1/32T timing
• Sample using internal mic or line-in and trim and categorize samples
• Sample from your iPod library with turntable interface
• Share on SoundCloud, Facebook or twitter
• Supports WIST, Wireless Sync Start protocol from Korg
• Supports AudioPaste

The Specs -

• Pads: 16 velocity sensitive with aftertouch. backlit by velocity
• UI Buttons:Ideal performance controls available, including:
  • Note Repeat
  • Transport Controls
  • Mute / Solo
  • Track Select
  • Erase
  • Timing Correct

Clearing Samples…. NOT!

I’ve run across this “mysterious” topic so many times over the last 10+ years I’ve been making beats. Almost every music production forum contains 100+ posts on sample clearance. People still don’t understand sample clearance process, ramifications, or age old question… “to clear or not to clear”? In Feburary 2011, I interviewed sample clearance expert Deborah Mannis-Gardner from DMG Sample Clearance on the topic of sample clearance. You can read the interview here. I was actually really disappointed with the interview. Sure it was a great marketing pitch for DMG Sample Clearance and the Corporate fear mongering Music Industry (Big Boys). Deb takes a hardliner approach on IPR (Intellectual Property Rights) by stating if you don’t clear samples (any samples…) you are a pirate, thief, butt fucker, etc.

In my opinion, the DMG’s of the world and Global Publishers of music are completely justified in their stance… kind of. At some point in time someone (corporation, individual, investors, etc.) invested their hard earned time and money into producing a for profit recording. Fast forward to the future, another so called artist samples, borrows, steals, uses, incorporates, whatever you may call it an element from the original recording into their own work. Now if this artist is Kayne West and hes selling millions of records, downloads, and reaping publishing revenues from the performance of the sampled material… then yes the douche bag should and will clear the sample.

The confusion arises because so many “up and coming” artists already think they are Kayne West. Internet forums are riddled with ridiculous “what if” questions about clearing samples. What if I use a sample and want to sell my song on iTunes? What if I use a sample beat and I blow up? I don’t want to get sued for using this sample… etc. Listen up young ninjas, if you are an independent artist, label, or producer who resides in the Hip Hop/Electronic genre of music chances are you won’t ever get to enjoy publishing royalties. If you get a cease and desist letter for using a sample, consider that a sign that you have somewhat made it in the music business. You are 1 in 5 million chasing the same dream of getting big and there isn’t a damn thing wrong with that.

But lets be realistic… fuck a sample clearance. As an up and coming producer or artist, its good to get your sample chop game on, its part of progressing your sound and develops fundamental skills for beat makers. Put your material out there, throw it on iTunes, BandCamp, sell a few beats with samples, etc. because chances are that no one, at least the money grubbing publishers, is going to ever know or care about it.

Enjoy the “indie grey zone” that exists with sampling laws and enforcement while you can because I have a strange feeling its about to come to an end or get alot harder to create things with bills like SOPA & Protect IP being pushed through congress. Further, the technology used to detect sampling and monitor the internet and airwaves for uncleared samples is advancing by leaps and bounds.

Until Stasi Amerika is in full effect… Fuck a sample clearance.

The Arcitype Interviewed by Dante Luna

Check out this video featuring Boston MA Native Producer, The Arcitype. The Arcitype breaks down how he got into the music business and turned making beats into a full time career. Don’t Sleep! Lots of good information here.

1. Introduce yourself to the readers who may not be familiar with Stu Bangas?
I’m an 80s baby, born right outside of DC, so I grew up listening to Mobb, Wu, Biggie, Gangstarr, Keith Murray, Redman, Eric Sermon, Tribe, Heltah Skeltah, OGC, Black Moon, Real Live, 7L and Esoteric, Apathy, Celph, Vinnie Paz, etc. etc., and I always had an affinity for street music. I’m from the suburbs, but these dudes were talking about shit that me and my friends imagined ourselves doing, while we were skipping class to smoke blunts and mess with our technics turntables. I, myself got my first pair of turntables (Technic 1200s) when I was a sophomore in college in like 1999, and my first MPC my senior year in college in 2002. I moved to Boston, MA where some of my friends were going to Northeastern and I just started messing with the MPC constantly. It was literally all I did, go to work, come home and make beats or dig for records. So now I’ve been working on the MPC200xl for like 10 years. I’ve worked with a lot of “underground/Indy” rap artists since I first started sending beats out to cats in like 2007. I did work on Slaine’s “White Man is the Devil 2” cd, did work for a Krumbsnatcha/Green Lantern mixtape, two beats for Heltah Skeltah’s “D.I.R.T.” album, a beat on Blaq Poet’s “Blaq Out” album, whole albums with Reef the Lost Cauze and Blaq Poet, a beat on Vinnie Paz’s “Season of the Assassin” cd, and a beat on his upcoming cd “God of the Serengetti”, a beat on Apathy’s “Honkey Kong” cd, 4-5 beats on Copywrite’s upcoming cd “God Save the King”, a beat on Ill Bill’s upcoming cd “The Grimy Awards”, 2 beats on Doap Nixon’s “Sour Diesel” cd, a couple beats on Chino XL’s upcoming cd “Ricanstructian”, and other shit in the works I don’t wanna speak on quite yet…

[...]

STU BANGA BEAT TAPE -

If you aren’t familiar with Stu Bangas production, then you are missing out on some heat! Stu produces the kind of beats that make you wanna mean mug your grandma, a cute puppy, or even your baby brother. The native Bostonian blesses us with a collection of 12 instrumentals he produced for Vinnie Paz, Blaq Poet, Apathy, Wais P, Lateb, Esoteric, Reef the Lost Cauze as well as some unreleased beats from 2010-2011. If you are looking for go hard instrumentals for your beat collection, this is your tape… but it ain’t free! The instrumentals can be downloaded for less than a dime bag ($9) here:

Available via the Brutal Music BandCamp Page

Akai MPC Renaissance -

Oh Wow! Akai announces the new MPC… The “Renaissance” as they are labeling it. Looks to be about useful as the Native Instruments Maschine. Not really that impressed with hardware controller/software combinations. I don’t see the point. This is essentially the same thing as running a Pad controller + existing DAW… but if it bangs and speeds up your workflow, by all means go cop one!

Onward to the promo video!

Get hyped on this promo video…

MPC Renaissance Specs -

You can find out more about the MPC Renaissance in the video above, and specs are below.

We can also tell you that Akai has two more MPC products on the way: the MPC Studio looks set to be a slimline version of the MPC Renaissance (a Maschine Mikro rival, perhaps?) while, intriguingly, the MPC Fly is designed for the iPad 2. More details on these as we get them.

MPC Renaissance hardware

• Fuses legendary MPC production with the processing power of your computer
• Vintage Mode changes output sound character to MPC3000, MPC60 and more
• 16 backlit genuine MPC pads, 16 Q-Link controls, and adjustable backlit LCD screen
• Classic MPC Note Repeat, MPC Swing and MPC transport controls
• MPC SOFTWARE for Mac or PC with 64-track sequencing capability
• Two XLR-1/4″ combo inputs and dedicated turntable input
• Four-channel US B 2.0 audio interface and two-port US B 2.0 hub built in
• Up to eight pad banks―more than any other MPC ever
• Two MIDI inputs and four MIDI outputs
• Stereo 1/4″ out, stereo assignable mix 1/4″ out & S/PDIF I/O

MPC Renaissance software

• 64-track sequencing capability
• Massive 6GB+ sound library, including all of the sounds of the classic MPC3000
• Instant mapping and real-time adjustment of VST plug-ins
• Record each track as an MPC drum program, Keygroup program or VST plug-in
• Runs standalone and as VST, AU or RTAS plug-in
• Supports WAV, MP3, AIFF, REX and SND
• Supports samples and sequences from any MPC ever made
• Mac and PC-compatible

Thoughts on selling beats and producing for money…

I started making beats circa 2001-2002. This was a time in my life when I was 100% about making beats and music purely for passion. I was productive, hungry, and never once thought about making money off my music until 2003. I stumbled into getting paid to make beats by accident, it was a pure fluke. A local artist in hometown paid me $500 for my first exclusive beat. Looking back, I consider myself fortunate to have gotten $500 for a beat that by today’s standards seems unbearable for me to listen to. But hey, thats progress… right?

20/20 hindsight tells me that I actually got fucked by getting $500 for my first beat. Why you ask? I believe I was prematurely thrown into the professional music arena. At the time I hadn’t completely honed in my production skills. My chopping skills were stellar, but my drums were weak and basslines lacking. I was literally pumping out tons of beats, but I was lucky if 1/10 were keepers. The problem with selling beats and getting paid to make music was that I got the wrong idea on how to approach the music business. Instead of focusing on growth and progression and a beatmaker and producer, my mindset was focused on getting paid for my music. Instead of spending time getting those drums to hit harder and the basslines to hound lower, I was too busy scheming on selling beats. It was counterproductive at best.

The “Get Paid” mindset hurt me over the following years. I had several opportunities to build my discography and work with some extremely talented and well known, even legendary artists, but these were no budget situations that I wasn’t willing to work for. There is a misconception that everyone in the music business (especially hip hop) has a budget, but thats completely false. Some of the most talented, well known artists are broke. They get beats thrown at them by producers and beat makers that are light years ahead in the talent department than you and I. Work for FREE when it can excel your career! Especially in today’s hyper competitive climate. Talent is a commodity, so get in where you fit in and carve a niche.

Fast forward to 2012. I do music full time for a living. I don’t make a ton of money, but I love what I do. My sound has developed and I’m “comfortable” with submitting and playing my music for most anyone. It took nearly 1o+ years to get to this point. My sound eventually came together, but I feel like it was a tad too late. Again, all that time chasing  money and neglecting music for what it began as… a passion. I’m an entrepreneur at heart and I can’t help turning everything I do into some sort of business, or at least trying. It’s in my blood. However, I see alot of younger kids getting into music and hip hop for all the wrong reasons. From the get go, people want to sell beats and make money. Pop Culture has done an excellent job at brainwashing everyone into commercial robots lacking passion and drive to do anything meaningful. If you aren’t passionate about music and making beats, you should quit now, because you will never excel, progress, or turn this into a career.

Success is subjective. Some random beat maker on the internet considers selling his beat for $10 success, while another producer’s success is giving a free beat to his favorite artist and hearing it on a finished album. Define what success is to you personally when it comes to music. Set some goals… some achievable, realistic, measurable goals for yourself as a producer, beat maker, or whatever your creative passion may be. Doing this will greatly improve your attitude towards “the game” and also save you a lot of disappointment and time.

Quit worrying about selling beats, and start making more music… find passion in your craft and the money will show up when you least expect it.

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Bangin Beats start with Bangin Drums…

Alkota’s “Gems From The Crates” Drum Kit is a must have for any production drum library/sample arsenal. This exclusive collection of hip hop drum samples was sound designed from the ground up with the boom bap & hip hop producer in mind.

Our sound designer got inspiration from producers like J Dilla, DJ Premiere, Nottz, & Black Milk before crafting this kit. Each drum sample is 100% original and unique to this kit. You won’t hear these drums anywhere else. Every kick, snare, and percussive element has been professionally tweaked and processed (Mixed & Mastered) to ensure maximum punch & warmth!

Gems From The Crates was created to be relevant and fresh regardless of your production style. Although we designed this kit for the “Boom Baptists”, the sounds are versatile enough for any production style. If you are looking for crunchy, hard hitting kicks and snares that smack… download this drum kit!

Gems From The Crate Features: 150 Sounds including: 50 Kicks, 50 Snares, 30 Claps, & 20 Percussion Samples.

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Example Beat made using these Drum Samples: