Cheat Code #10: Internships

By Tadjh Brooks — Thu, 09 Dec 2010 18:41:21 GMT

In this final week, I'm going to try to keep the reading light! Lets discuss the next step beyond the CHEAT CODES for a budding music producer.

Once you've taken the CHEAT CODES I've shared with you for past nine weeks and add them to your repertoire, the next logical step is an internship.

As far as I can tell, landing an internship is the most influential step in a persons career. In my opinion, a quality internship should surpass that, which one learns in college. This is especially true in today's field of electronic media. The music business, in particular, almost requires it. This is due to the complexity of modern recording technologies.

There is a lot more to selling commercial music than pressing a few buttons. Learning to work, use and harness recording equipment is a steep learning curve.

All of the CHEAT CODES in this series have been written with the underlying assumption that the readers are still working out of personal studios while refining their craft, whereas an internship should be a place where one can go to learn how to put the finishing touches on their crafts. Unfortunately you can't have one without the other.

Pursuing an internship before one has basic knowledge in their field of interest can prove to be overwhelming and largely unfruitful.

The goal of an internship should be to learn as much as you can, touch as much you are allowed, and hopefully impress your comrades so as to land a job.

If you haven't already, read any of the Music Production CHEAT CODES that you're unsure about. Leave a comment with any questions you have.

The secret to landing an internship without college recommendation is Craigslist (Unless your uncle knows somebody!). Search in Craigslist's Talent Gigs section to find internship opportunities. Choosing which city you want to look for gigs is important too. Living in a city that has internship opportunities is even more important.

I wish you all luck in all of your future ventures!

This article is the tenth article of a 10 piece set. The table of contents can be found here

Cheat Code #9: L1/L2

By Tadjh Brooks — Thu, 09 Dec 2010 17:33:38 GMT

This week's cheat code will probably be your favorite! Why? I'm going to be giving you a tool that every studio should have.

The tool I'm speaking of is the L1 Ultramaximizer made by Waves.

I first heard of this plugin at a music convention in Los Angeles, California, (Learn more about the convention by clicking here) in a seminar taught by mastering engineer Rob Chiarelli. What he told me has forever changed the way my music sounds.

Years ago, I distributed music only to my friends and family. I always received overwhelming support for my work, but I knew my productions were subpar to a radio-ready sound quality. Get me? It sounded good, but not good enough. I'm sure we've all be there at some point.

The seminar at the TAXI Road Rally focused on pushing out radio-ready music. Rob briefly mentioned a vast number of tips and tricks. Most of his tips have become the basis for my very own Music Production CHEAT CODES blog series.The tip that stuck out the most though was the L1/L2.

The L1 Ultramaximizer and it's predecessor, the L2 Ultramaximizer, are peak limiters. What's that? To put it simply, recorded audio has a threshold at which the amplitude of a audio signal will overload the electrical signal and cause distortion. A peak limiter prevents such overloading while having the ability to raise the perceived loudness at the same time. Still confused? Lets just say a quality peak limiter can get of song of yours really loud before it starts doing noticeable damage to the overall sound quality.

Life has told us that "Bigger is better." In music we've decided that louder is better. Technical innovation in field of audio recording has made leaps and bounds in recent decades. Proof of this can been seen in the quality of audio, per se. Take an original classic (non-remastered) from the days of vinyl and then play a song that was released this year. Immediately you'll notice how much louder today's music is. Improvements in technology have led to what some have coined a Loudness War.

Like it or not, in order to sell commercial music, it would seem as if music producers have no other choice but to compete in this war.

May I introduce to you: L1/L2.

Put an instance of this plugin on your final mix-down. Rob says to set the threshold at or around -3.0 dB. Then set the Out Ceiling to -0.1 dB. This will give your song a boost in volume. Compare it to a song that is of CD quality. Continue to add instances of this plugin with the same settings until your song has a desired loudness. Additional instances may call for a higher threshold so as your final mix-down doesn't get too "squashed".

These peak limiters are available for purchase on Waves' website. They are a industry standard and can be found in virtually every recording studio across the nation.

The steps professional mastering engineers take in finalizing a song, consist of more than a single peak limiter. What this means is that the L1/L2 cannot necessarily promise a radio-ready sound nor replace a mastering engineer's expertise. | This tool is to simply get you in the ball park. Your job is to learn how to swing the bat. |

This suggestion goes for the aspiring and the budding music producer, GET a WAVES' peak limiter. I'm not asking how you intend to get it since Waves' product are cheap by no means, but few other purchases in life potentially offer a lifetime of use. Waves' product are standard because of the quality they deliver. I advocate the L1 for peak limiting. Others advocate Waves' other limiters like the Renaissance Compressor. Whatever you do, get your hands on a Waves' branded peak limiter.

This week's challenge is to check the Waves' website. They usually have specials and/or bundled packing deals on their products, so be sure to take advantage of them!

This article is the ninth article of a 10 piece set. The table of contents can be found here

Cheat Code #8: It's All About The Details

By Tadjh Brooks — Fri, 19 Nov 2010 12:26:08 GMT

You're gonna hate me after this week's cheat code, because I'm going to tell you something you already know, but love to ignore.

The devil really does live in the details!

Admittedly this cheat code is the tip I've most recently learned. While pitching some instrumentals to an industry producer he got fidgety. Sometimes he would nod his head. Other times he would space-out of our listening session. I wasn't sure why at the time. Naturally this shook me up a bit. I knew one of those moments where someone is about to say something that feels like a PUNCH TO THE JAW was coming.

He told me that I had good musical ideas and that some of my sounds were dope, but some of them... just sucked. He emphasized the part about some of them SUCKING. It was a wake up call. Wake up calls hurt.

I knew it. You know it. When we're passionate about a piece of art, we carve it without hesitation. This applies to the most meticulous of artists. Often the art seeps out of us and we do our best to get as much on to paper as we can (metaphorically speaking).

Creating art is the struggle of body to keep up with imagination.

After some time creating we reach this ambiguous landmark we like to call "finished".

I'm here to tell you to revoke this notion of being finished. As far as I'm concerned it doesn't exist.

This sit down with an industry producer taught me to sleep lightly. The slightest detail left ignored or untouched disrupts my sleep at night. I've come to a place where I am accountable for the decisions I make as an artist. I can't call a song finished until I can sleep soundly (and even then I am not completely satisfied). I can't afford to be anything shy of a perfectionist. I want to be head over hills in love with every detail.

Why so picky? If you notice something sounds less than your liking, chances are someone will too and will inevitably question your artistic choices. I want to be able to stand behind every artistic decision I make.

Before this sit down, I had no shame when it comes using canned instruments. You may call them instrument presets. Most virtual instruments on the market come with preset instruments designed for you to get right to work. There is nothing wrong with presets in this sense. There is something wrong if you live with a preset as opposed to shaping the preset to sound the way your imagination intended it to sound. I've never come across a preset sound that was exactly the way I heard it in my head. The ultimate goal is to eventually shape the preset using the virtual instrument's built in parameters to meet your expectations.

Being particular about the details is especially important in vocals. I don't believe in one-take magic (If it does exist I suppose it is a rarity because it has yet to bless me with its beauty). Today's music is precise while humans are not. It takes me hundreds of takes for one verse. Five hundred takes for one song wouldn't surprise me. Oh yeah and... Please don't keep all 500! Keep the few takes that have the right attitude, note, syncopation, pronunciation, and whatever other minuscule detail you can fathom.

The are no concrete examples this week. I can't tell you when you're piece of art is the exact way you intended it. Only you can do that, as long as you try.

This week's challenge is to dive into the parameters of virtual instruments, guitar pedals, amplifiers, pre-amplifiers, and what-have-you. Learn their benefits, limits and shortfalls so when you imagine something musical you know your tools well enough to replicate what's in your head.

That's always the hard part, isn't it?

Well, good luck!

This article is the eigth article of a 10 piece set. The table of contents can be found here

Cheat Code #7: Dirt Don't Hurt

By Tadjh Brooks — Fri, 12 Nov 2010 20:23:28 GMT

Once upon a time this article would have been irrelevant, but since we've entered the digital age the necessity for dirt is more important than ever before.

Music was once recorded on to tape. Tape has since become a dinosaur due to technological advances in digital recording. All in all, the advent of digital recording has been a blessing to the recording industry. Recording to tape was time consuming, expensive, tedious, and dirty. Digital recording improved upon tape's downfalls. Dirt however is one downfall that we couldn't do without.

Dirt can refer to hissing, distortion/overdrive, and over-compression. Tape is notorious for naturally compressing recorded audio as well as adding a little tape hiss to the finished product.

On the other hand, digital is squeaky clean. In fact, it is too clean and that's why Dirt Don't Hurt.

Nothing says classy, or nostalgic like the crackling sound of vinyl or the hissing sound of tape. As listeners of music we've have come to expect such dirt in our music. Proof of this is that I'm willing to bet you barely notice how much dirt is added to everyday music. It is there, I promise this, because lacking dirt comes off as cold, heartless, or artificial.
Here's the cheat code: Allow dirt to be your best friend.

How? Well, here is the tool you need to get started: a virtual guitar amplifier.

Think heavy metal guitars. They are aggressive due to overdrive and distortion.

Now imagine what would happen if you put the slightest amount of overdrive on to a pop vocal. If you want to make a vocalist sound edgy. Send a small amount of the vocal through a guitar amplifier. Problem solved.

To be honest. This trick seems to work on just about everything, even sweet melodic non-aggresive vocals. This includes drums, piano... hell the whole band.

SMALL amounts is the key thing here. Don't go overboard with it. Want an example of overboard? Listen to the last minute of Kanye West's "Runaway" (4:23).

In Kanye's case, the distortion is cool only because its artsy, not because it does a good job at simulating tape hiss.

Here is my favorite guitar amp plugin: Waves GTR

BUT there are plenty more that are far more affordable: Google Search

P.s. the best method to add dirt to a mix is with auxiliary bussing. Look it up!

Until next time!
T

This article is the seventh article of a 10 piece set. The table of contents can be found here

Cheat Code #6: Knowing Your Frequencies

By Tadjh Brooks — Fri, 05 Nov 2010 23:02:19 GMT

Lets build upon last weeks article in this weeks article: Know Your Frequencies.

The point in knowing your frequencies is simple: in order to fix the mix you must know what to your looking for. Knowing what your looking for is a matter of knowing your frequencies.

The best teacher for learning what frequencies sound like is a standard equalizer plugin that comes with just about any Digital Audio Workstation. Here's what to do...

Pick any frequency band and turn the Q to its highest allowed setting. Next take the gain and turn it up. Your equalizer should look something like the one pictured above.

AT THIS POINT, PLEASE BE SURE YOUR SPEAKERS AREN'T AT MAXIMUM VOLUME!

From here all you have to do is change the frequency of this we've been messing with band. The modified frequency band in the picture is set at 1200 Hz (that's cycles per second). This is pretty much the middle ground as far what humans are able to hear. Most people's voices are centered somewhere in this range. If we take this frequency band higher (5000 Hz for example) we will hear an airy high-pitched whistling sound. If we take this frequency band lower (100 Hz) we will hear the bass in someones voice.

What you do as a novice mixing engineer is learn what all of the frequencies from 20 Hz to 22000 Hz sound like.

Once you are familiar with the audible and subharmonic frequencies the next step is to put in your favorite CD. Listen not to the music, but to the frequencies. Notice what frequencies are accentuated as opposed to those that are downplayed.

(This will be easier to hear if you are familiar with the instrumentation thats being used. For example, play an acoustic guitar in your living room, then listen to a recording of a guitar. The differences are usually noticeable.)

Mixing a song is a craft in and of itself. There's an art to recording what we hear in daily life, then turning around and making it sound the best it can with modern & vintage technology.

Making something sound it's best is ambiguous unless you are familiar with the status quo. So this week I challenge to study the radio. Treat it like a text book. Eventually you'll know frequencies frontwards and backwards. When you do, the production quality of your personal projects will thank you for it.

Music that is on popular radio channels have always pioneered technical innovation in recorded music. As engineers we must study modern innovation while incorporating innovation from yesteryears to come up with innovations of our own. If you partake in this challenge you will be well on you way to a lasting career in the music industry.

This article is the sixth article of a 10 piece set. The table of contents can be found here

Cheat Code #5: Knowing Your Speakers

By Tadjh Brooks — Fri, 29 Oct 2010 18:51:55 GMT

Today's reality for aspiring musicians is this: as a musician I must be able to take a song from literal conception, all the way to distribution to the masses. In order to do so, we must be able to harness all of the tools that are available to us and be fairly adept at all of them! One such set of tools that trips many young musicians is their pair of personal speakers.

Makeshift personal recording studios are abundant in today's landscape. In a city such as my hometown of Cincinnati, Ohio, there are countless of these private studios. It stands to reason that these kind of recording studios exist all over the world. It also stands to reason that you have a recording studio of your own if you take any interest in the Music Production: CHEAT CODES series. That's the state of our industry. Still, there is a danger that lurks in these kinds of studios that I wish to prevent. Here's the typical symptom: a song that is being worked on sounds great coming out of the speakers in the studio, yet the moment it is taken it to a car stereo, iPod, or perhaps a club's speakers, the song's sound quality appears to be lacking in comparison to the songs played before and after it.

I've experienced this scenario entirely too many times when playing my songs back to back with records on the radio. There are many reasons why a song I create could be considered subpar sounding in comparison to songs on the radio, but for the sake of example, lets pretend my song has a sensible song structure, a strong pocket, a catchy melody and effectively uses good layering techniques. Somehow though my song is still lacking.

The problem in this case is with the mix of the song. Mixing is tricky. (Briefly, mixing is the art of balancing instruments, percussion, and/or vocals together so as each piece of music is in its proper place aurally, spatially, and dynamically.) What's even trickier is mixing on a set of speakers that you are unfamiliar with. The object of "Knowing Your Speakers" is to get familiar with your speakers and even your mixing environment as a way to help circumvent turning out productions that sound less than radio-ready.

Sounding radio-ready is important in today's music industry. Record labels have downsized a great amount. Artist & Repertoire departments have shrunk. What does this mean? Distributors are more interested in dealing with artists who have the "complete package" before a contractual agreement is ever signed. The days of major labels developing their artists for the long haul have come to pass. For amateur artist, sounding radio-ready is a large factor in catching the short�winded attention span of major label executives. They're a number of other factors�like having a sizeable online fan base, or being connected to big name DJs in a big city�that have propelled recent new artists to fame. Still, I believe that at the end of the day, having quality sounding music is the fundamental key to getting heard. My theory is that if I sound like a professional, then I'm more likely to be treated like a professional. The other strategies for garnering attention are in my opinion marketing schemes that are welcomed as a necessary bonus.

There are ways to familiarize yourself with your speakers.

Play CD quality songs that are similar in genre to that of your expertise on the same speakers that you're mixing on. Get a feel for the way a finished song sounds like on your speakers. The idea is that when it comes time to mix your own work, you will imitate what you've heard.

This method has never been very promising for me to be honest.

My most promising method is this: I have two pairs of speakers, and two pairs of headphones. One set of speakers is dark. The other is brittle. One pair of headphones are studio quality. The other is a pair of iPod headphones. The idea here is that I make my mix sound as best as I can on each medium. My dark speakers simulate a car stereo. My brittle speakers help give the mix a necessary sizzle or crisp-ness. My studio headphones help tame the bass frequencies. My iPod headphones allow me to hear what my listeners hear.

This method is experimental. So far the responses I've gotten have been overwhelming in regards to sound quality. I'd say my method is worth a try.

The most ideal way to mix would be to take it to an acoustically treated studio and either mix it yourself or pay someone to. Until then, make due with what you have!

If you are in the market for purchasing some speakers, drop me a comment. I�ll share with you some of my favorite speaker models.

This article is the fifth article of a 10 piece set. The table of contents can be found here

Cheat Code #4: Layering

By Tadjh Brooks — Fri, 22 Oct 2010 21:18:15 GMT

Whether we're talking instruments, percussion or vocals, layering is a must! Why is it necessary? Well... we will get there, but first lets break down this week's CHEAT CODE.

Layering is the act of duplicating a particular sound in order to achieve a desired effect.

For instance, pretend I want to add a horn section to a song I'm composing. These days, most applications like Garageband come with a selection of instruments ready to use. Software synthesizers. We will call these ready-made instruments "canned". Usually canned horn sections are lousy sounding. I don't want lousy. I want my synthesizers to sound somewhat comparable to the real thing! A way to do this would be to layer a couple of different good brass sounds together to create a GREAT one. I call this technique Imitation. We layer sounds in order to imitate a sound we are already familiar with.

To showcase the some of the other ways layering can be used, we will use Sean Kingston's new song "Letting Go".

Sean Kingston - Letting Go (Dutty Love) featuring Nicki Minaj

In this song we can find some of the different flavors that layering can come in: presence, dynamics, and innovation.

Presence is how we thicken a wimpy sound so that it doesn't get lost in the mix.

Lets take the lyric "What if you would just come right out of these clothes." This line first happens at 1:09. Here's the deal. At 1:09 you will notice the single synthesizer that's been used so far in this song has been layered with another synth. At the same time, Sean Kingston's voice quadruples whereas before 1:09 we could only here one instance of his voice.

This is a cause and effect scenario. Music is added to create tension and in effect more vocals are added to maintain the presence of Sean's vocal as well as to help build to the tension. We discussed how song structure utilizes tension and release in the second week of Music Production CHEAT CODES.

Increasing the presence of the synthesizers made the song build momentum. The increase in momentum called for an increase of presence in the vocalist. These are two fine instances of presence.

Dynamics is taking the idea of presence and building upon it. Presence is duplicating one sound while dynamics is duplicated harmonizing of that one sound. The result is a choir-like effect.

For example, at 3:19 in Kingston's song we can hear a chorus of harmonies. Each harmony is duplicated. Without layering it would be possible for Kingston's harmonies to disappear behind the synthesizers, drums or his own lead vocals. Layering in harmony sounds like overkill, but with a good mix several takes of a few different harmonies can fit within a song quite nicely.

Innovation is my favorite use of layering. Not be confused with imitation, innovation is combining two sounds with the hopes that some new sound is created. Sometimes innovation can be a byproduct of the other forms of layering, thus happening unintentionally. I call these Anomalies. I wont cover these here.

The best example of innovation found in the song "Letting Go" is in the snare. Wait, no. Not the snare. I meant to say the claps. Or... Get my point? This song layers a drum machine snare with a clap. What do you call this hybrid percussion? I call it innovation. Also, the synthetic congas in this song are layered with a kick drum and bass drum. More innovation. In fact, most innovation happens in the percussion section of songs.

Ready for the cheat code? Let the complexity of your composition determine how you choose to layer. Layering is necessary in order make a song have a well-rounded sonic quality. What does that mean? Who knows! What I do know is that layering is a key factor in a song that sounds amateur versus one that sounds radio-ready.

Here are some general rules I've picked up along the way.

Electric guitar parts are to be multiplied twelve times. Six panned to the left speaker, six to the right.

Sung vocals are usually sung in stacks of three or four. Three stacks include one centered vocal, one left and one right. This is a decent spread across the speakers and is ideal for verses. Four stacks include two vocals in the left speaker and two in the right. This is a larger spread across the speakers and ideal for choruses, harmonies and adlibs.

In rap vocals the less you layer, the better. My reasoning for this is that the speed at which words are spoken is so quick that a constant, overbearing spread of vocals wouldn't allow for a chorus section to properly payoff. Also, there is a fine line we can cross when recording syncopated raps in rhythm. Verses can start to sound chaotic due to the slightest imperfection in rhythmic timing. This is why rappers usually duplicate adlibs as opposed to an entire verse.

Layering can be a challenge when it comes to rhythmic timing. It takes a lot of work to get right. Today's music strives for perfection. I have to put in overtime in order to compete with songs on the radio.

Stay meticulous when editing your audio and midi! Nudge is your friend!

This week I challenge you to toy with innovation layering. Incorporate something fresh into your tracks, be it vocal, instrumental, or percussion. Use your imagination.

Till next time! And in the mean time, share this with a friend if this article was of any help!

This article is the fourth article of a 10 piece set. The table of contents can be found here

Cheat Code #3: Keeping The Pocket

By Tadjh Brooks — Fri, 15 Oct 2010 23:49:32 GMT

Keeping the pocket is by far the most important production element we have covered so far. It is also one of the most ambiguous and challenging elements to master. My goal is to convey this concept as best I can for you to take and digest, and hopefully pass along. Allow me to attempt to describe the phenomenon I've come to understand as keeping the pocket!

PAUSE! Before we can talk about keeping the pocket we must define what this pocket I speak of is to begin with.

I first heard the term "the pocket" while recording at Capitol Records some years ago. As I stood on the open floor of the live room, I listened to two of my chaperones as they observed a jazz drummer named Sammy Miller. (These chaperones were my camp counselors at GRAMMY Camp). I clearly remember one of them adamantly saying, "He has a nice pocket!"

Flash forward. The next notable instance I can recall was a chance visit from my uncle, Chuck Brooks. He came to my studio to see how I had progressed as an artist since his last visit. I played for him my latest song, Again. His first comment was, "Man, that has a nice pocket on it!" He quickly added to his critique by saying that the song needed an additional wood block (for example) in order to better accent the pocket.

From these two examples we can see what the pocket is on a very basic level. In general, the pocket is determined and defined by the drummer and additional percussion elements. The pocket is sometimes called the beat. The difference between the two is that not all beats have strong pockets. If you've ever bobbed your head or tapped your foot unconsciously to the rhythm of a song, chances are that you've fell victim to the pocket (which is a good thing). What I've been told is that eliciting this kind of physical response in your listener can be the difference between buying a song and not buying a song, topping the charts and a song that doesn�t chart at all, etc... Obviously this would make having a pocket quite important.

Here I will draw the line between the pocket and Keeping The Pocket.

Keeping The Pocket is the art of successfully complementing the pocket. Did I upset you? Yeah, because that definition was a total let down! Let me call a friend to help me out on this one...

Kid Cudi - Day 'N' Night

A very basic example of keeping the pocket can be found in the song Day 'N' Night by Kid Cudi. Listen to the INTRODUCTION of this song (from 0 to 15 seconds). The music starts with a synth and kick drum. What I'd like to point out is when the kick drum isn't playing Cudi's voice covers the gaps with an "UH" sound. This call and response form is used for the remainder of the song in varying ways. For instance, later in the song his rap patterns bounce off of the kick drum and end just in time for the snare to hit. Everything is syncopated yet none of the syncopation conflict with one another. This is a good implementation of keeping the pocket. One thing I'm sure all of us listening to this song can agree on is that at no point do we feel like what we are hearing is cluttered (although this sentence sure is). This song is constantly introducing funky little elements; all the while none of them clash. Avoiding clashing is key when keeping the pocket.

I said that keeping the pocket was ambiguous and challenging to master.

It's ambiguous because it's left up to interpretation. There isn't one way to define what complementing the pocket should sound like. Country artists syncopate their poetic lines of wisdom far differently than the bubblegum ballads of pop stars like Britney Spears.

It's challenging to master because of style. The main difference between any two artists is almost always their individual styles. Everyone chooses to complement his or her accompanying pieces of music differently. This goes for both instrumentalists and vocalists. The key to mastering Keeping The Pocket is to always ask your self, "Does the musical decision(s) I've made compliment or distract the listener from the overall composition?" I'll leave the challenge of answering that question up to you.

Lets recap. The pocket is the vibe. Keeping the pocket is supporting that vibe in a way that doesn't unintentionally create chaos ('cause, I mean, if you were going for a chaotic effect then more power to you!).

Oh and here's the silver lining to this week's cheat code! Repeat syncopation as often as you see fit. The easiest way to destroy the pocket is by trying to use every kind of syncopated rhythm you can think of. Stick with a few good rhythms that complement the rest of the music well and repeat them. This will hopefully lead to people saying, "Wow that's catchy."

I have a feeling I've created more questions than answers with this cheat code. Well, ask away! Simply click the facebook connect button below to leave me a comment!

This article is the third article of a 10 piece set. The table of contents can be found here

Cheat Code #2: Song Structure

By Tadjh Brooks — Fri, 08 Oct 2010 16:30:19 GMT

Have you ever noticed how similar some of your most favorite songs tend to be structurally? This week we are going to look at why that is the case and why this is important in music production.

Song structure is often overlooked and taken for granted. I assume we are all familiar with verses and how they lead into choruses and vice-versa. The average non-musician can accurately differentiate between the two. With that said, often when my colleagues bring me a demo for review, song structure is usually a front and foremost issue I critique.

When I mention song structure to my colleagues, they often give me something to the effect of, "I meant to do that. I am an artist after all," or "I don't want to conform." I too am guilty of having said this much more than I'll ever admit.

Here's what I've found: There is a fine line between artistry and downright chaos.

Some years back an audio engineer by the name of Rob Chiarelli said something that will forever stick with me, "You must know the rules before you can break them." Since then I've heard different versions of this same statement. Eventually it began to get under my skin! Why? Because the artist in me wanted to break the rules, but the mere fact that someone made a point to say this to me implied that I didn't know the rules. Ouch.

As artists we like to remain undefined. Yet, the other half of this that we tend to ignore is that undefined often goes hand-in-hand with unknown.

And for ethos' sake, if industry professionals say this then it must hold some credence.

Here the logic in a nutshell. Although we, as artists, can make sense of our art, we must consider the average consumer's inability to make sense out of our chaos. We must appeal to the listener as well as appeal to ourselves. This rule is not steadfast, but it is promising: the more we cater to the listener, the greater the chance we are in keeping the audience's attention. Defining your productions insomewhat predictable patterns (a la song structure) allows your audience to make sense of what can be interpreted as chaos.

Okay time to dive in to the logistics.

Song structure begins with the introduction. A few decades ago the introductions to songs we now consider to be classics were drawn out and elaborate. Think Motown. Admittedly, my attention span is short. Evidently so is everyone else's because the introduction in popular music today is kept short and sweet. Sometimes the intro is so short that there isn't much of one at all.

Moral of the story: get into the meat of the song a soon as possible. The world will be a better place, I promise.

After the introduction there are a few more pieces of popular song structure. What's left? Usually we'll find a few verses, a couple of choruses, and the sultry bridge. There are a bunch more optional pieces like the pre-chorus, the instrumental solo, and the outro for us to toy with as well.

The order and the choice of which song structure pieces to use are often determined by genre. To get the best idea for good song structure, listen to your favorite radio station. I don't always agree with the songs that make it to radio, but one thing radio tends to get right is presenting music in a logical song structure.

Here is a basic song structure that is a personal favorite of mine.
Intro - Reduced Chorus - Verse - Pre-Chorus - Chorus - Verse - Pre- Chorus - Chorus - Bridge - Chorus x2

The logic behind song structure is all about tension and release.

The verse is lower in energy than the pre-chorus, which is lower than the chorus. By repeating this three step pattern the listener is taken on an emotional journey. The bridge comes at the end of the song. The bridge is intended to stand apart from the rest of the song and is done so by a change in chord progression or the key of the song is optionally modulated. By the taking the listener farther away from the melody of the chorus in the final minutes of the song, the bridge allows this final chorus to explode or payoff. The payoff brings closure to the journey the listener just embarked on.

The order you choose to use is what makes your production unique, but the rule we all must abide by is using tension and release or high energy to low energy in order to captivate the audience.

And one other thing, don't get too fancy. Isn't it frustrating when you have to listen to a song three times before you can find the chorus? Yeah, well, the average person will not give a new song three listens if they aren't able to follow it from the first. Mom doesn't count.

A few notes that as soon as I write them will surely be broken:

Thirty-two measure verses are a no-no these days.

Repeating your chorus often is always a good thing! It is after all what the listener is most likely to remember.

Once again, keep the intro short. Please.

Finally, my challenge for everyone this week is to keep the structure simple and modulate the key of the song to create some dynamics. We don't modulate enough anymore! It's so cool when properly executed. Surprise me.

Hey you, one last thing. Have a question? Have two cents to give? Or better yet, have a bone to pick with me? Leave a comment below.

Next week: Keeping the Pocket!

This article is the second article of a 10 piece set. The table of contents can be found here

Cheat Code #1: The Pro Tools Misconception

By Tadjh Brooks — Fri, 01 Oct 2010 20:09:33 GMT

The name of this article is an ode to young producers who are racing to purchase Pro Tools. On several occasions I've sat with music producers that fell victim to the misconception: that everything they need to succeed in the music industry comes in the Digidesign branded packaging. In my experience, Pro Tools should be a stepping-stone or something to work towards as opposed to an entry-level production tool.

My reason for saying this is kind of cryptic. Yes, many professional musicians swear by Pro Tools, and yes, in order to compete with them, it's smart strategically to have the same tools on your tool belt. The problem I find is that many young producers fall prey to the misconception that one must use what the professionals use in order to succeed. This allows for the Pro Tools price tag to become a roadblock to success for young music producers.

Here's my two cents: a hit song is a hit song whether you use Digidesign's Pro Tools, Cakewalk's Sonar or a drawer full of spoons.

If I had a paycheck for a million dollars, my studio would get an upgrade, but until then I am forced to work with what I already have. That's the key point I strive to bring up with "The Pro Tools Misconception". This week I challenge you to make a radio-ready record with what you have currently. This applies to not only software like Pro Tools, but hardware, and the likes.

Compensate for your lack of tools with an abundance of talent, experience, and attention to detail. In the end, compensation will make you a better producer.

"Bah Stevens" (@Bahishim) is a music producer that works closely with multi-platinum music producer Rodney Jerkins (@ONLY1DARKCHILD). In a recent UStream session, Stevens stressed how it's not what program you use, but the person that's behind it. He smiled while telling the audience, "You've got to have the mind before the program."

This article is the first article of a 10 piece set. The table of contents can be found here

Music Production CHEAT CODES!

By Tadjh Brooks — Fri, 01 Oct 2010 19:44:47 GMT

For the next 10 weeks I will be sharing with you my top 10 truths about music production. The truths are pieces of wisdom that I've collected over the years from industry professionals.

These ideals aren't new, but are sometimes overlooked, so I share them to enlighten, to inspire, as well as to serve as a reminder.

We will cover the gambit: from keeping a pocket to benefitting from an internship.

Consider these truths to be music production cheat codes.

I would go as far as to say that the mastery of these 10 truths is the difference between amateur producers and seasoned veterans.

The top 10 truths we will cover are as follows:
1. The Pro Tools Misconception
2. Song Structure
3. Keeping the Pocket
4. Layering
5. Knowing Your Speakers
6. Knowing Your Frequencies
7. Dirt Don't Hurt
8. It's All About the Details
9. L1/L2
10. Internships

This week we begin with what I like to call "The Pro Tools Misconception"...

5 Signs of a Successful Summer

By Tadjh Brooks — Fri, 24 Sep 2010 20:57:58 GMT

There are 5 signs of a Successful Summer break.

When you...
1. Meet a bunch of new faces.
2. Take plenty of pictures.
3. Videotape the memories as they happen.
4. Struggle to pick one song that sums up how you great you feel.
5. Hope it never ends.
...you know its been one great summer.

#NowPlaying: iTALY - Runnin' With Hope

I have just returned to my hometown: Cincinnati, Ohio after a long summer in Los Angeles, California. If there is a song that could sum up my trip it'd have to be my song "Runnin' With Hope." It just sounds the way I felt this entire summer. (SPOILER: I'll release this song in my next blog entry) Now I have stories to tell, pictures to show, movies to upload, and even some @Twitters of a few of my new friends for you to #FF on this beautiful Friday evening. This weather almost reminds me of sunny CA.

Pictures

As you can see in these pictures, I'm in the lounge area of a recording studio. Over the summer I became an intern at a recording studio in Van Huys, CA. That was an amazing experience. I highly recommend you follow the music producers I met at Black Mango Studios: #FF @Jahi @MrScantz @soeVault.

The last picture is a group shot of a lot of the people I met while in Studio City, California. All I have to say is that these kids are amazing; all of them. I don't know if they know it, but I love them to death. Be on the lookout because many of these faces will be on your television screen for years to come.

Videos

http://www.youtube.com/v/_q3QRiT1m1A

This video is a collage of my summer. Believe me, I didn't capture half of the fun, but that's part of the fun... You can't say "I had a great Summer," unless you put down the camera and live.

The fifth requirement of a successful summer was hoping that it'd never end. I guess that's why I'm writing this blog entry, because I miss last summer already.

Share your best summer stories in the comments.

MAY Music Round-Up

By Beats By iTALY — Wed, 02 Jun 2010 14:39:29 GMT

SUMMER IS HERE!!! You gotta love summer jams! So... I have for you my TOP 5 songs so far.

I now present to YOU my TOP 5 for the month of May. WAIT... before I do this... I need to be 100% honest with you. I need help with my #5. You'll see what I mean...

#1. Travis McCoy ft. Bruno Mars - Billionaire

#2. Selena Gomez & The Scene - Naturally

#3. Alicia Keys - Unthinkable

#4. Drake - Find Your Love

#5. !!! Up for Debate !!!

I need a #5 for the month of May. Drop a comment with your suggestion for #5, or if you think my taste in music completely sucks... give me your TOP 5 for the Month of May by leaving a comment.

Freshbrain.org Honors BeatsByiTALY's Work!

By Beats By iTALY — Mon, 26 Apr 2010 21:32:15 GMT

&fsBig news! Remember that Freshbrain.org scholarship I applied for?

Well it turns out that I received a $500 scholarship for my work on the song titled "Again" !

Haven't heard it?

Click here to check it out!

I would like to personally thank the Freshbrain.org judges! I appreciate this honor more than I can express in words!

Until next time ;)
BBi

Thank Antonio For This Rare Video!

By Beats By iTALY — Sun, 04 Apr 2010 03:20:38 GMT

This is what happens when someone brings an iPhone to a studio session; things you were trying to keep quiet get leaked.

Sigh... well, if you can't beat 'em, JOIN EM!

Heres a rare look at "Comic Book Ending" a song written by me.

The lyrics in the video (chorus) say:

"All the good girls are taken, cause he robbed me once again. I just wanna Comic Book Ending, but the bad guys always win. I'm such a loser at loving, So tired of only making friends. I just wanna Comic Book Ending, but the bad guys always win."

Enjoy! =)

Click Here to See the Video!

The BeatsByiTALY Blog goes LIVE!

By Beats By iTALY — Thu, 25 Mar 2010 17:38:19 GMT

Welcome to BeatsByiTALY.com! After years of living on social networks, I have moved on up ladder and snagged my own website.

��The plan from here on is to bring fans from places like Twitter, Myspace, and Facebook to the new site. I'll be sure to do my part, but I need your help also!

��See the social network links on the left side of the page? OR the social links below these blog posts? Click away and in an instant you can share BeatsByiTALY.com to your friends!

��Thanks for the help guys and visit again for the new updates and free music downloads

Welcome to BeatsByiTALY.com!

By Beats By iTALY — Thu, 25 Mar 2010 15:48:56 GMT

Hello world! The BBi Blog is up. ITS OFFICIAL!

Recent Posts on BeatsByiTALY.com