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

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

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

Metro Boomin Announces Collab Album With Nav Dropping In 2017

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Metro Boomin and Nav have been cooking up heat.

Merry Christmas, errbody. Announced via Twitter, Metro Boomin is dropping a collab album with Toronto singer/producer Nav in 2017. Here’s what Metro tweeted, “Me and @beatsbynav dropping our collab album 2017.”

The Atlanta-Toronto connection is strong right now, and we’ll see how this project compares to the greatness that was What A Time To Be Alive. Metro’s collaboration with 21 Savage, Savage Mode, was a massive success, so we feel this is the right direction for the producer to go in. The more collaborative tapes the better.

Source: Hot New Hip Hop

London On Da Track & Metro Boomin Working On “LondonBoomin” Collab Project

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The two popular Atlanta producers are collaborating on a new mixtape.

After a monstrous 2014-2015 run, London on da Track has had a quietly productive 2016, with credits on YG’s Still Brazy, 2 Chainz and Lil Wayne’s Collegrove, and Young Thug’s Slime Season 3. In a new interview with Complex, the Atlanta producer revealed some exciting news: he’s working on a full project with Metro Boomin titled LondonBoomin.

Metro Boomin is no stranger to the collab project, a format that usually involves two rappers connecting, or a rapper connecting with a producer. The producer v. producer format has not been frequently explored in hip hop in the last few years. A project between Metro and London, two of the genre’s most talented producers, will surely have a positive result.

Source: Hot New Hip Hop

5 Producers You May Not Know On Desiigner’s “New English”

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Get to know the producers behind “New English.”

Desiigner hit the jackpot — Mike Dean is executive producing his debut album. Dean’s gothic synths are recognizable on a couple songs on Desiigner’s debut mixtape New English — “Da Day” and “Overnight” — but for the most part, his tape was produced by relative unknowns, many of whom hail from his native Brooklyn, many of whom are not yet of legal drinking age, and thus borne of the same generational zeitgeist.

Click through the gallery to check out five of the lesser-known (but no less talented) producers who contributed to New English.

The Shell God
Produced: “Zombie Walk”
Twitter: @THESHELLGOD

The Shell God is a 20-year-old producer from the southside of Charlotte who was inspired to pursue production by a conversation with the late South Carolina rapper Speaker Knockerz. “I chose ‘TheShellGod’ because where I’m from ‘shell’ means high and everyone knows I’m always high,” he told HypeFreshMag. “It just kinda stuck.”

“Zombie Walk” is the only other song besides “Panda” on Desiigner’s SoundCloud, and as such The Shell God’s beat sales have “skyrocketed.” Business is booming! To date, his biggest productions include Team 600’s Jus Blow’s “Gang Members” and Capo’s “Let Him Have It.” Collaborations with Kodak Black, Young Thug, Glo Gang, OTF, and G.O.O.D.

NickFRSH
Produced: “Caliber”
Twitter: @NickFRSH

Prior to producing “Caliber” (a veritable banger), 19-year-old Brooklyn producer NickFRSH most notably finessed a collab with Kodak Black. He is positioning himself in the inner sanctum of hip hop’s new youth movement. He promises “more to come.” With a SEO-friendly producer nom de plume and a memorable producer tag, there’s no way NickFRSH can fail.

Rico Beats
Produced: “Roll Wit Me”
Twitter: @RICOBEATS

Brooklyn producer Rico Beats is the most successful producer to contribute to New English outside of Mike Dean. Through his production deal with Sony/ATV he’s collaborated with the likes of Pusha T, 50 Cent, Jadakiss, Pusha T, Fabolous, Lil Wayne, The-Dream, & Wale. He’s probably best known for his production on Nicki Minaj’s “Roman Reloaded.” It looks like he’ll have some beats on King Push… stay tuned.

EManOnTheTrack
Produced: “Made It Out”
Twitter: @EManOnTheTrack

The most mysterious of the producers featured in this article, EManOnTheTrack advertises his beats as the “cleanest on the net.” “Made It Out” is by far his biggest credit to date. It’s a a cataclysmic drill banger that makes Desiigner appear more Chief Keefian than Future Hendrixious and belies the prevailing quality of the rest of his beats, which is an appealing Zaytoven-like simplicity.

Ignorvnce
Produced: “Jet” feat. Pusha T
Twitter: @Ignorvnce_

Similar to the case of EManOnTheTrack, Ignorvnce’s presence on New English is not representative of his general style. Best known for his collaborations with The Underachievers, the Brooklyn producer tends to makes beats that sound like a modern version of the Superfly soundtrack – breezy, soulful joints with Elysian strings and flutes.

Source: HotNewHipHop

Zaytoven and Mike Will Made-It Are Producing Bulk of Gucci Mane’s New Album

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Gucci Mane, Zaytoven and Mike Will Made-It have something in the works. Zaytoven says in a new interview that Gucci has recorded a “whole album and then some” since his release from prison in May. Production has been handled almost exclusively by Zaytoven and Mike Will Made-It.

“On his new album, me and Mike WiLL did a lot of production together,”says Zaytiggy. “We did a lot of the songs together. That’s something that’s not really been heard before.”

Zay explains that Gucci wrote the majority of the songs while he was still incarcerated. The 36-year-old beatmaker went on to describe the moment he was reunited with his friend and collaborator.

“I seen him and he looked totally different. We hugged, we talked for maybe 10 minutes, and after that it was back to work,” says Zay. “Just like old times: I’m making the beat and he’s recording real fast. And we’re sitting back listening to it, laughing.”
Fans should be happy to hear that the sound Guwop and Zay are cooking up is a good mix of old and new. Zaytoven says, “I know I made two or three that are like, vintage Zaytoven and Gucci. And we hit you with the new stuff that you ain’t ever heard before. There was a void in trap music for a long time and Gucci is coming back to fill the void. I think this is his biggest stage yet. I think he’s going to rise to the occasion, with the music that everybody has been missing all this time.”
Keep it locked to XXL as more information about Gucci’s impending album emerges. The other day, it was revealed that Gucci and Zay have over 100 unreleased songs in the vault.

Source: XXL

J.U.S.T.I.C.E. League Claims Chance The Rapper Didn’t Pay Them for Beats

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Flying Lotus’ recent remarks about the plight of producers inspired the J.U.S.T.I.C.E. League to speak on the matter. It is unclear which member of the League did the tweeting, but Rook, Colione or Bart specifically called out Chance the Rapper for not paying producers.

“@flyinglotus is right,” J.U.S.T.I.C.E. League wrote. “Y u think we aint been working with ur favorite rappers lately? I doubt that @chancetherapper even pays producers.”

When other notable producers like Nascent and Jake One responded to the tweet, the J.U.S.T.I.C.E.
League made it clear that they never got paid for their work with Chance the Rapper .
“Good to hear, we still waiting,” a response to Nascent reads. “idk if u did or not. Hopefully lol. But
I know on OUR end what happened,” the League wrote in a tweet directed at Jake One.
The airing out of Chance the Rapper was not the only thing on the J.U.S.T.I.C.E. League’s agenda. The League account spoke about the problems for producers in the modern music industry.
“I’m thankful we came up when the industry and artist still respected producers and our fees,” the League wrote. “I feel really bad for the new guys. Recently high level execs @ major labels say, they love us and we’re one of the best ever, but they’re scared of us because of our fees. if u do favors & cut our rate, labels dont even want to give you all your producer points on a contract! Lol they nothing but bloodsuckers.”

The J.U.S.T.I.C.E. League also spoke about the enduring racism that exists within the music business.
“On top of the fuckery, the music industry is probably THE MOST RACIST business ever,” the League continued. “Black music is in turmoil financially & creatively. see it with my own eyes in the offices everyday. White artists get trips to Monaco, black artist get bottles of Hennessy and weed. The worst perpetrators of racism in the industry, treating us like shit is our own people!!! Its like they secret agents of white supremacy!”

The extended tirade ended with a shot at a streaming service which allegedly has not paid any royalties. The company was not named but Spotify and Apple Music were notably excluded from the speculation.

“I ain’t no whistle blower, but I know for a FACT, ONE streaming service hasn’t paid out ANY royalties. It ain’t Spotify or Apple Music,” the producer wrote. “For the record, there are a shit ton of streaming companies….don’t put words in my mouth.”

Source – XXL