This Pocket Drum Machine Is Perfect For On-The-Go Producers

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A calculator-sized drum machine.

Teenage Engineering has been creating tiny versions of music producing equipment for a while now as part of their Pocket Operator line, but their latest product offers more flexibility for producers than ever before. The PO-32 Tonic drum machine gets upgrades that allow users to import and export sounds via a standard 3.5mm headphone input or microphone.

Pocket Operator has a wide range of miniature, calculator-sized drum machines available that all come with slightly different sounds, but with the new accompanying Microtonic VST plug-in, producers can make new drum and synth samples they can load into their pocket-sized drum machine.

The drum machine features a small, quirky screen, and it has 16 buttons to assign sounds and patterns to, two knobs for adjusting pitch and modulation and 64 patern chaining. It runs on two AAA batteries.

Teenage Engineering offers a wide range of pocket drum machines, and the PO-32 is the most expensive at $90. The Microtonic VST is an additional $99 but if you pre-order them together the cost is only $140. Otherwise, you’ll have to wait until the first week of April to get your hands on the PO-32.

Source: Hot New Hip Hop

Beat Makers Vs Producers – Education The Key To Copyright Issues

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Industry insider and director of operations at the Reggae Embassy, Christina Grand, is encouraging local beat makers to get educated on how to carry out business transactions involving their creative work.

Grand expressed concern at the level of ignorance that exists among local beat makers where their rights as composers and creative entities are concerned, as she says in recent times, her organisation has been approached by countless beat makers seeking assistance in getting compensation for their riddims/beats.

She explained that many of these beat makers, through ignorance, ‘sell’ their riddims to producers without recognising that selling them the riddim doesn’t mean that they have sold their rights to the beats.

“Beat makers need to understand that selling their beats don’t have to mean they are giving up their rights and doing a work for hire. Selling their beats really means that they are selling a licence for these producers to use the beat,” she explained. “The problem is that these beat makers are not understanding and producers are taking everything from them. Stop using the terminology, ‘I’m going to sell you a beat’, explain to that producer that you will license them the beat but you will still keep your publishing rights.”

EXPLOITING BEAT MAKERS

She went on to explain that producers have been exploiting the fact that beat makers have little or no knowledge on what their rights are as composers and are encouraging local producers to stop abusing the advantage they have as it will only be a matter of time before beat makers become aware of the correct way of doing things.

“There are a lot of producers in the industry who feel like they can take advantage of people because they claim to have ‘bought’ these beats/riddims from these beat makers. It is unethical and unfair for producers to use these beats, pay the composers a little money and then rip them off by not allowing them to put their names on the publishing without realising that all they bought was a licence to use the beat.”

Esco, artiste-turned-producer, agreed to some extent.

He says, “In Jamaica, the beat maker was usually the producer, but that kinda changed over time with the emergence of those men who never play a instrument yet but got artistes who voiced on the riddims,” he said. “Those people were usually called the executive producer and the beat makers were also the producers, but because there was no unity in dancehall, that relationship break down. The producer and the beat maker was supposed to be one person, but because of the change in the business, their role has been reduced.”

He went on to say that as far as rights go, once a beat maker sells their work to a producer, they have no more hold to it.

“From you are the beat maker and you take any kind of money for the beat, it’s over. Unless you’ve signed a specific paperwork that says you’re selling a certain percentage, but from you build the beat and take money, that’s it. If you don’t take any money and there’s no contractual agreement, then the actual beat is still owned by the beat maker.”

CONTRACTUAL AGREEMENTS

Esco went on to explain that there is a lot of confusion when it comes down to who owns what, but highlighted that the solution to everyone’s problems is very easy.

“If people are smart when it comes on to this thing, they will lay out terms when conducting business. For example, if Esco is smart as a producer or a beat maker and I say I want US$1,000 fi di riddim, if the persons agree and pay me the money then they own the riddim. If I say I want US$500 but I want 25% of my rights reserved and him agree, then him gone with the riddim, but I still have some of my publishing rights reserved.”

Grand agreed, saying that producers and beat makers alike should sign contractual agreements whenever conducting business.

“Make sure you have everything in writing, stating that they can use the beat, not own the beat. Do not sign any documents stating that your work is a work for hire,” she said, encouraging persons who want to go about things the right way to get in touch with the Embassy.

“For those who want to learn what to do, they can come to us. We will give them advice, free of cost. Come in and speak to us as at the Embassy. We want to make a better reggae and dancehall industry for everybody.”

Source: The Cleaner

Akai Introduces Two New Standalone MPCs the ‘MPC X’ and ‘MPC Live’

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The next generation of MPC is here. Introducing the MPC X and MPC Live, brand new standalone Music Production Centers powered by MPC 2.0 software. Separate from the Pack. Standalone.

MPC X Features:
• Standalone MPC – no computer required
• 10.1” full-color multi-touch display
• Also acts as a control surface for MPC 2.0 software
• 16 Touch-capacitive Q-Link controls with OLED displays
• Turntable (RCA) inputs with ground peg
• 16GB of on-board storage (over 10GB of sound content included)
• User-expandable 2.5” SATA drive connector (SSD or HDD)
• 2 MIDI inputs, 4 MIDI Outputs
• 8 configurable CV/Gate outputs for the analog control of modular gear, such as classic synths
• 2 USB-A 3.0 slots for thumb drives or MIDI controllers
• Ableton Link and WiFi will be supported in future updates

MPC Live Features:
• Standalone MPC – no computer required
• 7-inch full-color multi-touch display
• Also acts as a control surface for MPC 2.0 software
• Internal, rechargeable lithium-ion battery
• Turntable (RCA) inputs with ground peg
• 16GB of on-board storage (over 10GB of sound content included)
• User-expandable 2.5” SATA drive connector (SSD or HDD)
• 2 pairs of MIDI inputs and outputs
• 2GB of RAM
• SD Card slot
• 2 USB-A 3.0 slots for thumb drives or MIDI controllers
• Ableton Link and WiFi will be supported in future updates

MPC 2.0 Software Features
• New graphical interface
• Audio track recording
• Real-time time-stretching and pitch-shifting
• Clip Program mode for clip launching workflow
• Reimagined mixer layout – resizable faders, an adaptive channel strip, a dedicated audio track
editing window, resizable waveform view
• Advanced signal routing capability – submixes, FX returns, multi-output plugin support
• More efficient and streamlined MPC workflow
• Audio and MIDI drag and drop
• Enhanced QLink Control

Zaytoven [@zaytovenbeatz] Uses the New MPC Live on Akai’s “Standalone Challenge”

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In this episode of the Standalone Challenge, Akai links with Grammy-award winning producer Zaytoven (Gucci Mane, Migos, Drake, Future). Watch as one of the main architects of the Trap sound, creates a track from scratch using only the MPC Live and an MPK249 plugged directly into the Live. No computers were used in the making of this beat.

We not only see how intuitive the music making process is on the MPC Live but also get a glimpse into the workflow of one of ATL’s finest.

Bryan Michael-Cox Takes Akai’s “Standalone Challenge” Using the New MPC X

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In this episode of the Standalone Challenge, Akai goes into the studio with renowned hitmaker Bryan Michael-Cox (Chris Brown, Justin Bieber, Trey Songz, Mary J. Blige). Plugging his MIDI keyboard and external hard drive directly into the new MPC X, Bryan creates a beautiful track on the fly using the sounds contained in the X and a few hand-picked samples. No computers were used in the making of this beat.

We not only see how quick and intuitive the music making process is on the MPC X, we also get a glimpse into the workflow of this multiple Grammy-award winning producer.

ATTENTION PRODUCERS: Marco Polo [@marcopolobeats] x The Drum Broker [@drumbroker] Present the Official “Pad Thai Vol. 4” Beat Making Contest.

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Rules

1) All entries must own “Pad Thai Vol.4”. Your order # (via www.marcopolobeats.com or www.thedrumbroker.com) grants you entry. (You receive the order# when you purchase it). Please do not enter if you don’t own “Pad Thai Vol. 4”. Bundle purchases including Pad Thai Vol. 4 grant you entry as well. If you don’t own it, no problem, head over to www.marcopolobeats.com or www.thedrumbroker.com and cop it!

2) Make a beat using any sounds from “Pad Thai Vol 4.” Of course you can use your own loops, samples, whatever you want just make sure something from “Pad Thai Vol. 4” is used to construct the beat. I’d prefer it to be obvious but even a few sounds is fine.

3) Email 1 beat submission to padthaibeats@gmail.com (only 1 beat please.) * VERY IMPORTANT * Please make sure you include your Pad Thai Vol. 4 order # + all your contact info in the email. Only submit your beat via mp3 attached to the email or a soundcloud link pasted into your submission email. Please do not send any download links or large attachments. The deadline for submissions is Monday January 23rd, 2017. We will announce the winner Monday, January 30th 2017.

PRIZES:

The winner receives the following:

1) Any drum & bass sounds from 2 of my released productions not included in “Pad Thai Vol. 4”. Just tell me the name of the songs and the drums & bass sounds are yours.

2) I will personally email/submit the winning beat to any rapper you want and let them know you got a banger (within reason of course…y’all know who I work with so please don’t ask for anything outlandish haha.) Past 3 winners have submitted beats directly to Pharoahe Monch, Masta Ace and Ed O.G

3) 1 free digital download of any album I’ve released.

4) 30 minutes with me in the studio via skype, phone or messenger (not in person, sorry Mischa don’t like guests). You can play me beats and get feedback or ask any production questions you want.. If you make hot shit I’m happy to help you get your beats to some MC’s. Rappers always need beats.

5) $150 store credit @ www.thedrumbroker.com . The Drum Broker is also offering up a NS-10M USB drive in addition to the generous store credit. $150 will get you a ton of HEAT from The Drum Broker.

Sound good?

Let the beat making begin and if you have any questions please ask them in the comments.

Good luck and most importantly have fun.

peace,

Marco x The Drum Broker

Charlie Heat Takes His Chances On ‘Rhythm Roulette’

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The Grammy-nominated Charlie Heat is a name you’ll be seeing a lot more of in 2017. Since working with Lil Uzi Vert early on, the Jersey artist Charlie Heat caught the ear of Kanye and has been on a tear ever since.

We headed to Philly to see how Charlie comes up with this stuff. After hitting up a record shop, he walks out with The Best Of Fabienne Delsol & The Bristols, Mutabaruka’s The Mystery Unfolds, and a Lou Reed record. After he finds his first golden sample, he slowly adds layer after layer for a certified banger. He continues hunting within the records and ends up making a whopping four beats in total. But for the final beat, he decides to work from the ground up, building it from scratch.

Attention Producers: Enter Jabee’s [@mynameisJabee] Black Future Remix Contest

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Attention producers! Oklahoma City emcee Jabee and his team are offering up a chance for you to get your potential remix pressed up on a limited edition 7″ (45RPM) vinyl box set.
Earlier this year, Jabee released his album Black Future which featured one of the standout tracks, “Monument” featuring the legendary Chuck D of Public Enemy.

Today, in partnership with Grand Union Media and Lock Grooves, we’re giving aspiring producers a chance to remix the Hannibal King-produced song as part of Jabee’s official Black Future Remix Contest.
All you need to do is download the original track [available here], create your remix and email your submissions directly to Jabee’s camp (jabee@blackfuturealbum.com). To qualify, remixes must be submitted by midnight on Feb. 1, 2017.
The winning remix will be added to a limited edition 7″ vinyl box set that drops on February 24, 2017.
Winner will also receive the limited box set, which includes:
• 6 picture lathe cut 7″ records
• 6 posters for each 7″ artwork
• 6 stickers for each record
• 1 Download card
• 1 t shirt
The box set is limited to only 50, and pre-orders go on sale Feb 7th!

Source: 2 Dope Boyz