This Thursday's "I dO Music" Event

It's BACK!!
I dO MUSIC is a series of networking music events started in the Fall of '07 by PatchWerk Recording Studios to give Song Writers, Producers, Artists, and Musicians a setting to NETWORK, LEARN, PROMOTE, and PERFORM. As an incentive to attend we incorporate a special 45 minute, 3-5 person business panel where our attendees can learn something new and valuable about the ever changing music business.

Watch A Video Clip From Last Month:



Next Installment This Thursday!! July 2nd, 2009

Where: Apache Cafe, 64 Third Street, Atlanta

Time: 8pm

Featured Panel: WERKing Your Way UP! (From Internships to paid gigs... How to Break into this Tough Industry)

Feature Panelist:
Frances Crawford, Client Relations, PatchWerk Recording Studios
Brittany King, Executive Assistant, Chris Hicks
Tmah, VP of A&R, Konvict Muzik
Angela Young, Manager, PatchWerk Recording Studios

Feature Performers - LISTEN!!!!

Gorie - Pop
Rizzie - R&B
Metro Boyz - Atlanta
Zayani - Accoustic
Perfect Dissonance - Alternative/Accoustic
Feature Performance: *American Yard* Konvict/SRC/Universal Motown

SEE YOU ON THURSDAY!!! "LET'S WERK..."

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I dO Music!
"Empowering Musicians Worldwide"

ASCAP Top Songwriters

The songwriting/production team of Christopher"Tricky"Stewart & The-Dream tied for songwriter of the year honors with fellow songwriting/production duo Stargate(Tor Hermansen & Mikkel Eriksen) at the 22nd annual ASCAP Rhythm & Soul Music Awards.

These gentlemen were recognized for their work on five songs, including "Just Fine" by Mary J.Blige, "Touch My Body" by Mariah Carey and "I Luv Your Girl" by The Dream. Five of the songs earning kudos for Stargate are "Miss Independent" by Ne-Yo, "Spotlight" by Jennifer Hudson and "Take a Bow" by Rihanna. All of these songs were certified hits.

Smokey Robinson was honored with ASCAP's Rhythm & Soul Heritage Award co-presented by Motown Records founder Berry Gordy, singer/songwriters Nick Ashford & Valerie Simpson and ASCAP president/chairman Paul Williams.

Singer/songwriter Alicia Keys received the night's other special award, ASCAP's Golden Note Award. Presented by ASCAP's Williams, the award recognizes songwriters, composers and artist who have achieved extraordinary career milestones.

When looking to achieve greatness understand the names above have kept their place with consistency. Find your niche and make it WERK!

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"Empowering Musicians Worldwide"

Here's Why They Call Him King (R.I.P. MJ)

MJ's Most Significant Achievements One Word...*WOW*

Michael Jackson has set many records throughout his career and won many awards. From the early days of the Jackson 5 to the current day. Michael Jackson has been in a league of his own with his best competition being himself and trying to improve on what he has already achieved.
He are a just a few of the record breaking achievements.

Biggest Selling Album Of All Time - Guiness Book Of World Records
Michael Jackson's "Thriller" Album is the biggest selling album of all time, with over 50 million copies sold worldwide. Thriller is also the biggest selling U.S album with sales of 25 million copies.

Most No1 Hits in 1980's
By The End of the 1980's MIchael Jackson had more #1 hits than any other artist for the decade.

Greatest Audience - Guiness Book Of World Records
The highest-ever viewership was 133.4 million viewers watching the NBC transmission of Super Bowl XXVII on June 31, 1993. Michael was spotlighted during the half-time peformance.

Bad Tour - Guiness Book Of World Records
Michael Jackson's world tour brought in a record gross revenue of over $124 million during September 1987-December 1988.

100 Million Records
Michael has sold over 100 million singles and albums outside of the U.S.

Billboard Charts
Michael Jackson is the first person in the 37 year history of the Billboard chart to enter straight in at No1, with his single "You Are Not Alone". The previous record "Earth Song" which had debuted at No5 and also Michael Jacksons.

Biggest Selling Video
Michael Jackson's "The Making Of Thriller" is the biggest selling video to be released by an artist.

Billboard "Hot 100" Singles Chart
Most No1 Hits by Male Artist (13)

No1 Debuts
Michael Jacksons "Bad", "Dangerous", and "HIStory" albums all debuted in at No1.

Awards
Michael has won more awards than any other artist.

No1 On Charts
In 1983 Michael became the first artist to simultaneously hold the number one spots on Billboard's rock albums and rock singles charts, as well as the R&B albums and singles charts.

Consecutive No1 Singles
Jackson 5 were the first group to ever have four consecutive No1 singles.

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"Empowering Musicians Worldwide"

FYI DIY

“Why listen to someone else tell you how to do it, when you can do it yourself. It’s all in you.” – Nas “Black Zombies”

Nas’ words come to life as I sit surfing the internet, becoming aware of the infinite amount of resources available to us and discovering new music from artists all over the world. The “Industrial Age” paved the way for corporations to thrive and instilled a sense of dependency from the people who became the driving force behind “Corporate America”. As technology advanced, the world wide web allowed us to explore new realities. We began constructing information highways, developing social networking communities and now we’re at a point where we’re starting to see the emergence of virtual civilizations.

With this leap into the “Information Age” we began to see the rate of entrepreneurship and independency rise. Change is a gradual process and it may take time for the majority to identify, accept and embrace new ideas or realities. With the current “Recession” taking its toll on the world, I feel that the time is now to step into the front seat of our destinies and begin taking advantage of the opportunities that lie ahead.

Within the music realm, I continue to see artist operating in “dependency mode” that the Industrial Age created. “I need a record deal to have success.” “I need a record label to connect with my fans, produce and distribute my album.” “I need an advertising agency, marketing and/or PR firm to build my brand.” “I need startup money to finance my music career.” The list goes on to the point where we feel that we cannot accomplish anything without an overseer. What if that infrastructure crumbles and you’re forced to depend on self to steer your career in the direction you envision? Look at the success and financial rewards gained from entrepreneurs who exited the corporate world and invested in Telecommunications in the 80’s. Look at the success and financial rewards gained from entrepreneurs who exited the corporate world and invested in Real Estate in the 90’s. Look at the success and financial rewards gained from entrepreneurs who exited the corporate world and invested in social networking sites such as MySpace, Facebook, and Last.fm in the last decade. The message that I’m conveying is that we need to follow the pattern toward success by stepping outside of the box and putting ourselves in a position where we’re ahead of the curve.

DIY, Do-It-Yourself, is the new trend in music. Artists are taking matters into their own hands, creating success, connecting with fans, producing and distributing their own albums, and building their own brands without a record label. By no means am I saying that we should completely eliminate the record label. As an independent artist getting a start in the industry, take advantage of the infinite resources available to you and use them to your advantage. Once you’ve built a strong following and brand, if you feel that you need assistance with taking your career further, approach a record label to expand your platform. As I said before, the market is over saturated with artists, so the demand for unsigned acts is low. Don’t be afraid to take risks and explore the infinite possibilities that lie ahead. FYI, For-Your-Information, DIY, Do-It-Yourself, so you can stand out from the other zombies who are all moving in the same direction.

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Music Follows Twitter

A new study group finds that active Twitter users buy 77% more digital music downloads on average than non-users. Additionally, 12% of those who have bought music in the last three months also report having used Twitter versus 8% overall Web users.

"Based on their music-purchasing history, active Twitter users are simply worth more to record labels and music retailers than those who are not using Twitter," says NPD entertainment analyst Russ Crupnick.

A third of all Twitter user reported buying a CD in the prior three months, and 34% reported buying music digitally, compared to 23% and 16% for overall Web users. Another one-third of Twitter users listened to music on a social networking site, 41% via online radio and 39% watched music videos online. Overall, they are twice as likely than average web users to visit Myspace Music and Pandora.

"Twitter has the potential to help foster the discovery of new music, and improve targeted marketing of music groups of highly-involved and technologically savvy consumers, but it has to be done right," Crupnick said. There must be a careful balance struck between entertainment and direct conversation on one hand, and marketing on the other. Used properly Twitter has the power to entertain--and to motivate music fans to purchase more new albums, downloads, merchandise, and concert tickets.

Source: Billboard.biz

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I dO Music!
"Bringing Together The World's Music-Makers"

Your Music Told Me to Tell You, "Hi Hater!"

One thing I can't understand: Upcoming artists who abandon songs that garner positive feedback. Now, I understand that you're proud of your music and would love to blast it ALL from a super-sized speakerbox on the nearest mountaintop. However, as an individual trying to brand yourself, to stop performing a song that supports your buzz simply because you're tired of it is the best way to undercut yourself!

Imagine, meeting a guy/girl and loving everything about them- their look, conversation, and style. You go out a few times and on the 4th date, this person completely flips the switch. You met them in Timbs, now they wear flip flops, their conversation was professional, now they can't piece together a single sentence. Guys, she had long ever flowing locks, now she can barely create a ponytail. You'd be disappointed wouldn't you?

That's how potential fans feel when you change the game. Ever heard, "If ain't broken, don't fix it?" Consumers become consumers because of repetition. You should want folks mouthing your lyrics with you. Get excited when a certain song continues to get requested. Do you think that The Rolling Stones get tired of singing the same songs over and over and over again for the past 25 years? Not when the millions are following every time. Think about that song you couldn't stand but now love because you hear it 2 times an hour, everyday, on every station. That same phenomena can werk for you as well. (If you let it.)

In the end, that one song can be your ticket in. Many songs that are hot today took at least a year to build up steam. Also, try branching out. Performing in front of the same audiences can help build your comfort onstage, but it can also cripple you by keeping you content. A wise rapper once told me, "you can go all over the world wearing the same outfit and still be considered fresh." I agree.

-Juice

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3 Top Music Debates




1) Can Artists who don’t write their own music be taken seriously?
(What do you think?)

2) Do you support Death of Autotune?
(What do you think?)

3) One Hit Wonder vs True Artist?
(What do you think?)


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Ludacris w/ Leslie Brathwaite and Khao at PatchWerk!
What Needs to Be on Point??



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TeamWERK Invades Underground Atlanta

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The Foggy Future of Radio: HR 848 Performance Rights Act

What's up Music World?

A bill, entitled, HR 848 Performance Rights Act, has the potential to wipe out minority radio as we know it. Basically, the bill will force radio stations to pay a fee, or tax, for EVERY song that plays on the airwaves.

Now, as an independent artist, you're probably like "Helllll Yea!" And that makes sense. But stop and think.... if a program director of your local radio station had to choose between paying a fee for a song from an established artist, (Beyonce, Jeezy, Keyshia Cole, Trey Songz) and you, a fresh new artist yet to be heard of, who do you think is going to win that battle? Aha, I see the wheels turning in your head now.

This IS something you should be concerned about!!

Cathy Hughes, Chairman and CEO of RadioOne, has major concerns with this bill and despite the fact that there is little to no news coverage on this issue, we should all take this as a red flag and do what we can to educate ourselves and ensure the security of an outlet that has created and cultivated so many successful careers! Take a look at the bill summary here and google HR 848 Performance Rights Act to form your own opinion.

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I dO FREESTYLE: Izrael

"I dO MUSIC" brings you another fresh interview with one of the impressive artist who took part in the "I dO FREESTYLE" segment of our monthly mixer. Izarel stopped through Patchwerk Recording Studios to let us know how he makes music WERK!


How long have you been rhyming?
I've been rhyming since I was in the Fourth grade, me and a neighborhood friend John used to always try to freestyle. I remember I used to even have a lil rhyme I memorized and would recite to people. I was talking about music at skating rinks, like goldie glide.


When did you realize this was the career for you?
I always felt it was truly part of who I am. For a lot of artist its money driving, which I don't knock. We all need money but as for me it was therapy then became an obsession. Now its fused and I can't get rid of it. I've been seriously attempting since I was 19 years old and seeking performances at the age of 20. I now perform at different show cases around Atlanta always looking for the next opportunity.

Who are your influences?
Nas and Tupac are my biggest musical influences. In addition to those two it would be every artist from Atlanta! Atliens such as Outkast, Goodie Mob, Kilo, Crime Mob, Young Capone and Gucci Mane. I love the spectrum of music in my city! Each ATL artist has their own style that they made work to get them where they needed to be. This is the definition of Southern Hip Hop!

Do you have any projects currently out? Are you working on anything now? Details & Dates?
I have a 6 song EP currently out named "United States For America" featuring underground favorites such as "Glass Roof(Invisible)" and "She Can Get It." More currently I just finished a project with a extremely talented producer by the name of Simon Illa. Its a 3 song EP that we are probably going to release by the end of July. Also landed a single with John Boi with a song called "Glass House" that I'll be posting soon.

How did you get involved with the "I dO MUSIC" program?
I was featured at Tru skool Tuesdays and one of I dO MUSIC's representatives (Miss Juice) saw me perform "Glass Roof(Invisible)" She really enjoyed it and thought I'd be a good fit for the show. From that point countless artist I know had already been part or affiliated with it from Rellik Rebel, J Wiggs, Lyrical Preacher and MoReilley, which gave me the scoop on how great I dO MUSIC's program was.

What do you most like about the I dO MUSIC program?
I like how I dO MUSIC bridges the gap between the two undergrounds. If you are an artist who is pursuing music in ATL you undoubtedly have realized this duplicity. You have some artist that go to Throwbacks, Club Miami, Figure 8 and Club Crucial. You have other artist who mainly attend MJQ/Drunken Unicorn, Apace Cafe, The Bench, and East Atlanta Icehouse. Other artist I know go to both sides(which I'd recommend), but "I dO MUSIC" bridges the two sides of the underground. I've seen artist I know from Throwbacks, Club Crucial and Apache Cafe' under the same roof at this showcase which is unfortunately rare.

If you could say one thing to the artist, producers, songwriters, and musicians that haven't gotten involved with I dO MUSIC yet , what would it be?
There are a lot of brilliant minds and driven people at these events who can help you be where you need to be. So it would be in your best interest to at least attend the event once and network to your full potential. You never know who may be watching.


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I dO BEATS: Ace Wonder & Ill Gaimez/Hannibal

This month at I dO MUSIC our segment "I dO BEATS" unleashed an awesome tandem on Apache Cafe consisting of Ace Wonder and Ill Gaimez/Hannibal. We took a moment to see how they make music WERK!


How long have you been producing music?
Ace Wonder: Man.....It's been a second now! We started during our first days of college at the University of New Orleans. By my count, I'd say it's been just about 10 years now....

Ill Gaimez/Hannibal: We studied together under Ellis Marsalis (Braford & Wynton's father), then when he stepped down as the head of the music department, we studied under Terrence Blanchard(he scores all of Spike Lee's films & did "Cadillac Records" Love & Basketball", & "Next Friday.")

When did you realize this was the career for you?
Ace Wonder: Personally, I remember the day vividly. I played basketball while we were in college and always had to leave our writing sessions to go to practice. One day while I was walking to practice, it just hit me that I didn't wanna play basketball anymore, in fact, I wanted to make music for a living so I quit the team that day and never looked back. It's been music or bust ever since!

IllGaimez/Hannibal: We wrote our first piece of music on a Monday & by that weekend, we had a dozen records. We didn't know if they were any good, but then we had a chance meeting with some reps at Qwest records & they loved them all! I knew then that this was what I was meant to do for the rest of my life.

Who are your influences?
Ace Wonder: We could literally be naming people all day...but I'll try to keep the list short, LOL! Hmmm...Quincy Jones is always at the top of my list, Jimmy Jam and Terry Lewis, of course, Dianne Warren, Bill Conti(google him...lol) you know? People like that. Wait can't forget Stevie Wonder!! How the hell did I forget him. He might be my biggest influence of all personally.

Ill Gaimez/Hannibal: I'm feeling other beat battle producers b/c I feel like they challenge me to be better. Industry wise, Dr.Dre & The RZA are right at the top of my list. Kanye & Will.I.AM always push hip hop to new limits. Dj Toomp & all the cats at N-Zone keep the south fresh & Organized Noize keep the south respectable but I'm mostly inspired by the people who score movies like Danny Elfman, James Horner, & Hans Zimmer.

Do you have any projects currently out? Are you working on anything now? Details & Dates?
Ace Wonder: We have a couple of big placements in the works for later this year. We are fielding interest from several publishing companies right now as well. We're using this newly garnered attention to push some of our writers and artists too.

IllGaimez/Hannibal: I do wanna say this, there were alot of A&R's that said our stuff was too musical for the mainstream so I'm looking forward to seeing them cats SICK when we're on top!

Ace Wonder: No comment..LOL

How did you get involved with the I dO MUSIC" program?
Ace Wonder: I first got word about I dO MUSIC from a staff member here at Patchwerk, Kervins, that I knew from our days working together at this indie label here in Atlanta. We ran into him at Patchwerk one afternoon and he urged me to get involved with the I dO MUSIC event. Sound advice, indeed...

IllGaimez/Hannibal: I've been running into OZ at beat battles for a minute! I won Dres Tha Beatniks's battle, the Mighty Mighty Beatdown, in March over at Sugarhill & OZ was like "Yo, you gotta come play your beats over at "I dO BEATS". Since the last event, our phones haven't stopped ringing!

What do you most like about the "I dO MUSIC" program?
Ace Wonder: I like the interaction between the panelist and the up and coming artist and producers. Having someone like Wendy Day there giving people the truth about this business is probably the most beneficial thing I see. Because one of the toughest things about breaking into this business is getting the truth about how it runs. The insiders are often really guarded with that info, but "I dO MUSIC" gives people a chance to get that info..which is priceless.

Ill Gaimez/Hannibal: I love any platform that allows underground talent the chance to be heard by people that can push the button on your career. "I dO MUSIC" gives producers, MC's, singers, writers, b-boys, guitar players, etc.. the opportunity to be heard. I met a violinist at "I dO MUSIC!"

Ace: How dope is that? LOL

If you could say one thing to the artists, producers, songwriters, and musicans that haven't gotten involved with "I dO MUSIC yet, what would it be?
Ace Wonder: Simply put..Get involved. To me, the most eye opening thing about working here in Atlanta is the supreme importance of networking. It is just as important as making music these days. "I dO MUSIC" is a great chance to network and get you're name known, so I'd say get involved and watch how quickly things pick up for you.

Ill Gaimez/Hannibal: It ain't about what you know or who you know; it's about WHO KNOWS YOU! "I dO MUSIC" is set up to make the real movers & shakers know WHO YOU ARE.



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TeamWERK @ Atlantic Station

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Who's Werking???

Studio 995

Gucci Mane was at PatchWerk for several days this past May working with PatchWerk engineer Kori Anders. Gucci has a new official mixtape "Guccimania" out with some of his new 2009 singles featured on the mixtape and has recently inked a deal with Warner Bros. Records.

Rapper, singer, songwriter, and producer, Rico Love who has written songs for everyone from Usher, to Marques Houston, to Keri Hilson has also been in PatchWerk working with several artists, and on several tracks including those with Devin Johnson, Ron Browze and for Fat Joe. All Rico’s Session’s were engineered by PatchWerk engineers Mike Wilson or Kori Anders.

Singer-songwriter, musician, and record producer, Teddy Riley, along with Krave were in PatchWerk working on new session and was assisted by Kori Anders and Dee Brown.

In an interview with Plies and according to Slip-n-Slide Records, the rapper announced that he completed a fourth album. Tentatively, he planned to release it in April or May 2009, but stated that the exact date depended on the success of his third album. In May 2009, the album's title was confirmed to be Goon Affiliated, which is scheduled to be released in September 2009. Plies’ session was engineered by PatchWerk’s Mike “Snotty” Miller.

After his debut album, Self-Made, sold nearly 28,000 copies in its first week of release, Rocko Da Don, is back at work on his new hits.Rocko was at PatchWerk having songs tracked by Mike “Snotty” Miller assisted by Tripp Tiller.

Other Sessions in 995 included those for Big Rube (D. Brown), FA (M.Miller), Blake (Luther/D.Brown), Joseph S (K. Anders), Nu World Hustle (K. Anders), Kurtis the Kid (M.Wilson), 3rd (M.Wilson), Lil Ru (M.Wilson), TK &Cash (M. Solis), Polet (M. Wilson), Super Mario (K. Anders), Frank (A. Dickey), Slim (M. Wilson)



Studio 9000



Cee-Lo is collaborating with producer Jazze Pha to release an album called Happy Hour on Jazze’s record label. Although previously shelved, the album is expected to be rescheduled for release after the success of St. Elsewhere by original label Columbia Records. Cee-Lo was in PatchWerk this past May working with producer Salaam Remi and Mix Engineer Leslie Brathwaite assisted by PatchWerk Engineer Michael Pratt.

Playaz Circle highly-anticipated debut album Supply & Demand was released on October 30, 2007, and featured the hit singles "Duffle Bag Boy" with Lil' Wayne, "Betta Knock" and "U Can Believe It" with Ludacris. Now back in the studio, working on their 2009 Release Flight 360, Playas Circle, is having songs mixed by Leslie Brathwaite assisted by M. Pratt at PatchWerk Studios.

Legendary Singer-songwriter, musician, and record producer, Teddy Riley, along with Krave were in PatchWerk working on new session and was assisted by Kori Anders and Dee Brown.

Rapper, singer, songwriter, and producer, Rico Love who has written songs for everyone from Usher, to Marques Houston, to Keri Hilson has also been in PatchWerk working with several artists, and on several tracks including those with Devin Johnson, and for Fat Joe. All Rico’s Session’s were engineered by PatchWerk engineer Mike Wilson.

Gucci Mane was at PatchWerk for several days this past May working with PatchWerk engineer Kori Anders. Gucci has a new official mixtape "Guccimania" out with some of his new 2009 singles featured on the mixtape. and has recently inked a deal with Warner Bros. Records.

Last but certainly not least, PatchWerk held the launch event for its new website and campaign: “Sonically Superior”, featuring the Fusion Band. Several guests were in attendance for this invite-only event.

Other Sessions in 9000 included those for Rick Ross( L.Brathwaite), K Michelle (L.Brathwaite), Tha Bizness, Super Mario (K. Anders), The Obstacles (M.Wilson), Blake (Luther/ D. Brown), Meka Means (L. Brathwaite),

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Remaking A Hit....Legal or Illegal?

We all have songs that we would love to remake. If the opportunity was there how would you go about it. We all understand once a song is released commercially it is for public use. Anyone can record it. As long as it follows the compulsory license.

A compulsory license is a license that a songwriter - once certain conditions are met - must grant to anyone who wishes to use their song For instance, if you want to record a version of “Boom Boom Pow” on your own record, you don’t have to get anyone’s permission to do so. Because of the compulsory license law, you can record anyone’s song that has been commercially released and put it on your record, and the writer (or publisher) of that song must grant you the license to do so.

Before you go running to the studio, compulsory license law also establishes certain guidelines to ensure that songwriters are compensated in a fair and timely manner when their songs are used on other performers’ recordings.

Rules of Compulsory Licenses:

Here’s how it works. You may record someone else’s song on your own record if:

1. It has already been commercially released on a record.

2. You pay the song’s copyright holder (the writer and/or publisher) a fee - a mechanical royalty based on the “statutory rate.” That rate is currently 9.1¢, for songs under five minutes long. It increases periodically.

3. You pay this fee for every recording you manufacture on a fixed medium such as CD, download/mp3, cassette, or vinyl, whether you sell the recordings or give them away for promotion, etc.

4. You pay 9.1¢ per song. So if you use four songs by the same writer, you must pay 36.4¢ per CD made.

5. You pay the copyright holder of this song every month.

If these rules sound a bit harsh, put the shoe on the other foot. When someone uses one of your songs on their album, think of how it benefits you to have them held to the above standards.
The only way around these compulsory license laws is to negotiate a rate with the copyright holder to change some of the above terms. Should the copyright holder not want to negotiate with you, you must adhere to the rules.

So, while no one can stop you from recording their song once the song has been commercially released, it doesn't mean that you don't have to pay the piper...so to speak.

One note, you can NOT substantially change the song you are recording - neither the lyrics nor the melody. Doing so creates what is called a "derivative work," and only the copyright holder can do this. Similarly, you can not record a snippet of someone else's song (sort of like recording a sample.)


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Catch Us @ The Indie Fest!!

Catch Us @ The Indie Festival in Atlanta on June 21st!!!

When: June 21, 2009

Where: The Bench, 602 Marietta Street

What: Time: 2p-11p

Why: Because WEEE dO Music!!!!!! See you There...!

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"Empowering Musicians Worldwide"

Investors For Your Music

I attended the I dO Music event last month and their panel discussion dealt with “Financing Your Career”. I remember someone in the audience asking about sponsorships and investors and the reply from the panel was clear, “What is your worth?” Does your product have quality? How extensive and impressive is your track record? How is your credit? Those were some of the things the panelist touched in reply to the question. With the state of the record industry and the economy; what does the future hold for funding music? I stumbled upon a video from MIDEM, the world largest industry trade fair that provides a forum for business talks, discussing political and legal issues, and showcasing new artists, musical trends, and music-related products, where they brought together venture capitalists and investors to discuss what it really means to invest in music today.

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Photos From I dO MUSIC June 2009



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Video Recap- "I dO MUSIC" June

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Converting Music

Converting Music



Ever have the trouble of submitting music because it is not in the correct format, and you need to convert it but you don't know how?! Check out this help on how to convert music into digital format so next time you won't have that problem!

To convert music into a digital format, you can either start with raw music that you rip from a CD you own or another source, such as the analog line-in on your sound card, if you want to convert music from another source, such as a tape, record or microphone. You can then take this raw audio and convert it using conversion software into a compressed format. Some of the more common conversion and compression tools include iTunes, Windows Media, CD-DA X-Tractor, a free open source converter or LAME, which is a freeware standalone converter normally coupled with a graphical user interface to make conversions easier.

As most converted music will be compressed, you will need to have a basic idea of how compression works in order to choose the right settings when converting digital audio. The most commonly tweaked setting is the bit rate of the resulting audio - for better quality in the resulting track, use less compression and a higher sampling rate. The most common sampling rate is 44.1 kHz and is considered "CD quality" audio - it represents the amount of the audio frequency spectrum that each audio snapshot collects. Audio recording and audio file applications will often use higher sampling rates, from 48 kHz to 96 kHz, and the fact that humans can't hear much above 25 kHz doesn't stop purest audiophiles from arguing the quality of upper-end harmonics in the music tracks. The bit rate represents the amount of audio data recorded per second, with 128 kbps, 128,000 bits per second, being a good balance between file size and audio quality - 256 kbps will provide much higher quality and be closer to CD quality, but will take about twice as much space per song track.

Before you start converting music, you will need to take into account of where you will be listening to that music - will you be listening to it on your home computer, your stereo system, or on your portable music player? Will you be listening to it only on one platform, or are you planning on bringing it with you and playing it with multiple players or computer systems? Based on that, you can then select the most appropriate format. If you will be primarily listening to music on an iPod, than the AAC format is your best choice, as it gives the best quality tracks for that platform. If you plan on burning these tracks to a CD to listen at work, in your car, and then at a friend's place, than the MP3 format is your best option for maximum compatibility.

Keep in mind that once you have compressed the audio, it is no longer identical to the original, so you should only convert music from the source to a compressed format once. Each time you convert and compress data, you will suffer a generation loss of audio quality, so converting a music track to MP3, and then to AAC will give you two generation losses of quality, with audible audio artifacts or defects in the music. Some online music sources only provide audio in specific proprietary formats - if the format doesn't match your music player or device, a common remedy is to burn the music tracks to an audio CD, and then rip the contents of the CD into the proper format, which, while not being the preferred path, may be the only way to get the music in the format you need.

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Insightful Interview: Kawan Prather

Kawan Prather is currently A&R at Def Jam Records and Founder of Ghett-o-Vision. He was intrumental in seeing acts such as Outkast, Usher and Pink through their first successes.

HitQ: How did you get started in the music business and how did you become an A&R?

As a DJ for a group called Parental Advisory. We were introduced to Pebbles ( mastermind behind TLC – Ed. ) through a friend, Tionne "T-Boz" Watkins of TLC, who in time also introduced me to Antonio "LA" Reid ( Executive Producer for TLC and founder of La Face together with partner Kenneth "Babyface" Edmonds – Ed. ). And through just conversations and the sharing of opinions, we found a common ground and he asked me if I was interested in coming to work for him. This was in 1992. Since then, the group I was in signed to Pebbles’ label, Savvy Records, who had a deal with MCA Records ( one album released, "Ghetto Street Funk", in 1993 – Ed. ), it didn’t last ( a second album was released in 1998 though, "Straight No Chase", and a third in 2000, "My Life, Your Entertainment", on Dreamworks – Ed. ), but luckily I had the relationship with LA Reid. He told me he saw something in me, and he put me to work on the Usher project in 1994, and that record came out and it was very successful. It had to do with trust, in my opinion, and with the relationships I had with the artists whom I grew up with: Outkast and GooDie Mob.

HitQ: And you have your own label Ghet-O-Vison?

Yes, it came about because with La Face there’s a certain image; there’s the Toni Braxtons, the TLCs, etc. I don’t want to call it Pop, but it’s just more polished, more sophisticated music. I wanted to be able to put out records that were more street-based, more urban, so me and LA came up with the idea of having another imprint, Ghet-O-Vision, for that kind of music. I started it in 1999 and since then I’ve put out a group called YoungBloodz, and the Shaft soundtrack. I also have a new artist, T.I.P., who’s about to come out on that label.

HitQ: What experiences have been important to you in developing your skills as an A&R?

Simply being around artists who have clear ideas and a vision of what they want to do. And the influences of LA Reid, Pebbles and the many people I have come into contact with, who enabled me to make creative and business decisions. We, a lot of the time, as creative people, can be very personal about our music, and we get upset when people have things to say about our music. The music business has helped me to take a step back and look at it from the point of view of the consumer or the fan. And it’s helped a lot, because in my involvement with my artists, they understand that I’m not just trying to make them something that they’re not, that I’m only trying to get them to fulfill their true potential.

HitQ: Which qualities, in your opinion, are needed to be a successful A&R?

You have to be open and not think that your opinion is the law. A lot of A&R people think they make the artist, but it ain’t really like that: you should be there to assist the artist, A&R people work for the artist, helping them to get their vision across. But a lot of them really believe that they’re the reason why the artists are there.

HitQ: What are you currently working on?

I’m about to start working on the new Pink album, the new YoungBloodz album, finishing Usher’s 3rd album, and possibly the 1Life2Live album ( Jan 2001 - ED ).

HitQ: How did your involvement with Outkast, Usher and Youngbloodz come about?

I grew up with Outkast; we slept on the same floors together, we kind of found each other. And in my dealings with LA Reid, it was just easy to bring them to him, I just introduced them, and that was before I actually started working at LaFace. It was kind of like in my trial period when I was just bringing favour, and he was like, "ok, that works". This was in Atlanta.

Usher was actually elevated before I got there: he was signed through LA Reid, but at the label they hadn’t actually found Usher’s place yet. So when I got on the project I was able to listen to him and figure out where he wanted to go, I just assisted LA and helped Usher get his direction together.

YoungBloodz actually just walked up to me in a studio ( Patchwork ). They didn’t have a demo or any record, but I just thought they had a look about themselves, and an energy that came with it, so we went into the studio and it actually panned out, it worked. But it really was a chance thing; it was just because I thought they had good energy.

HitQ: As La Face merges with Arista/BMG, how does the future look for LaFace?

Basically, the merger will help the artists and us employees get our vision across. When LaFace was an independent, we had to constantly prove that we knew what we were doing or what we were going for, but now we’re in a position to make the decisions and roll with it. So it helps creatively. We will still have an office in Atlanta, but the main office will be in New York.

HitQ: How do you find songs and producers for your acts?

Just by being places where the producers are, like in the studio, at parties, clubs. A lot of the time it’s not that they play me something for me to buy it, it’s just that we respect each other’s opinions, so they just want to get an opinion on it. And then I hook them up, like for example, with Pink and the record ‘There U Go’, obviously She’kspere had just been successful with ‘No Scrubs’, and he had records and he had ideas; he had a very hungry, eager energy, and Pink had that same energy, she just wanted to win, so we decided to put them together to see what would happen. That record they wrote together with Kandi Burruss ( see weekly success story March 5th - ED ), they sat in the studio one night and came out with it. Pink had an idea of a situation that she went through, and it was one of these situations that was so universal that everybody in the world could just flow with it.

HitQ: What proportion of your time is spent looking for new acts to sign?

Every waking minute. I’m always the one who’s called on to listen to new stuff. Luckily the new artists that I have don’t want anything that could discredit their family, because right now we have a family of superstars, incredible superstars. It’s almost like I’m a kind of gatekeeper, I sit down with the family to see if the newcomers fit. We all respect each other’s opinion; if I find something new, I play it for Outkast, if I find a new song, I play it for Pink, I play it for Usher, to get their opinions, because I value their opinions as much as they value mine. We’re a very close unit.

HitQ: How do you find new talent ?

It usually finds me. I really do believe I’ve been blessed and put in places, in situations where the right artists are. I can’t say that I go out a lot looking, or that I wake up and go to the clubs and say, "I’m going to find the next artist". I’m usually put in positions where I can hear stuff and I’m not expected to be there in a signing capacity; I’m usually just there in a chill-out cool capacity, and it works itself out. If you think you have a specific source, you’re probably more prone to burn out. You have to look at every option; you have to look at each situation as one in which you can find something new.

It’s also about the respect for each other, like the new act T.I.P.; he approached me because he knew of my association with Outkast. So it’s almost like being around cool artists makes me cool, and if I understood Outkast that means I’m not just the average-everyday-trying-to-make-a-commercial-record A&R. He could see that I like interesting, new, innovative things, and he wants to be new and innovative, so he approached me.

HitQ: What do you look for in an artist?

The star energy, the desire to win. It’s just that intangible thing that you can’t quite put your finger on, but you know you want to be around that artist, and you know that people would want to be like that artist. I just like good music and great talent, and I don’t limit myself to Rap or Pop or R&B music.

HitQ: Do you pay attention to things like who the manager is, who the attorney is, who the team is, when considering signing a new act?

No, because honestly that’s the artist’s decision. They make the decision on who their managers and who their lawyers are, because they have to work for them.

HitQ: What do you think unsigned acts should be aware of when approaching the music business?

Just put your heart, your all into it. As a new artist, your most important asset is that you haven’t yet been judged, you can do anything you want to. It’s the best time to be innovative, because after you get in, people will start to pigeonhole you a lot of the time and then it can become very hard to reinvent yourself.

HitQ: Do you, or would you, work with acts from outside the US?

I haven’t had that pleasure yet. Producers yes, because we worked with Max Martin ( Swedish producer for, amongst others, Backstreet Boys and Britney Spears – Ed. ), and others from outside the US. We have relationships with a lot of outside producers, it doesn’t really matter, because music is universal and finds its way in all kinds of different places.

HitQ: Do your acts have a common feature?

All the acts I work with are different. The common feature would be that they are interesting and talented people.

HitQ: Do you accept unsolicited material?

No, not unsolicited. It has to come to me through someone I know, because if something comes to you unsolicited and you listen to it, later on if they hear something that they want to say sounds like their music, it brings all kinds of legal problems. I haven’t found anything through demos, at least not yet.

HitQ: How much input do you usually have on the productions?

As much as is needed, although I like to spend most of my time in the studio with an artist when they’re recording.

HitQ: Where do you see Urban music going in the future?

Right now I see a lot of innovation, it seems that a lot of people are tired of commercial music. It’s probably going to go a little more organic and more soulful. Even in Pop music I think things are going to get a little more soulful, more from the heart – there’s going to be more of that type of record.

HitQ: What are the key tools you use in order to break a new artist?

Just getting them to the young people. On the Internet, wherever the cool tapemakers are, you just go where they are, a lot of times you have people on the Internet trying to find something new. Street promotion, anything, getting them to the high schools. It’s always tough, because there are a lot of acts out trying to do the same thing.

HitQ: If you could dramatically change some aspect of the music industry, what would you do?

Just make it more focused on the artist and on music as art.

Read the rest on HitQuarters.com

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The Art of Diversity

I know you dO music. But what else do you do? I’m constantly coming across artists who only focus on their craft and depend on album sales and touring to make ends meet. In today’s saturated market, competing with a million and one other artists and bands, declining record sales and opportunities to tour becoming slim, where does that leave you in the overall scheme of things? As I mentioned in my previous post, “Changing the Economics of How the Game Is Played”, as artists, you should find creative ways to be distinct and be considered “the only ones who do what you do”. That’s one solution to climbing up the music ladder towards success. What are some other solutions? There are numerous ways that are creative to set yourself apart from the masses. Being diverse is and has always been the key to success in all walks of life. So what is it that you do? Do you rap and sing? Do you rap, sing, and produce? Taking it a step further, what genres of music do you do? Have you considered mixing Hip Hop, Brazilian, Nu Jazz and Alternative? Better yet, outside of music, do you blog, have a podcast or vidcast? If so, what do you talk about? Are you an expert in another field outside of music? I say all of that to say, if you are diverse in areas within and without music, not only will this allow you to stand out among your peers, but this would be a great way to gain a great amount of publicity and allow you to promote on multiple platforms. Look at 50 Cent. When you think of 50 Cent, you don’t think of him as another Hip Hop artist. 50 Cent is a brand that includes film/tv, video games, fashion, vitamin water, and cologne. Look at Kanye West and his musical experience. He mixes Soul, Alternative, Electronica, and 80’s Euro Pop music. That’s the main reason why he’s in a class by himself. Whether you’re multifaceted within or without music, the point is very clear when building your brand and creatively setting yourself apart from your peer – learn and master the art of diversity and you will climb to heights unfathomable as you journey up the music ladder towards success.

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I dO Music Out & About...

You Can Catch "I dO Music" at This Concert by our Friend Fadia Kader This Friday!!!

(Click HERE for more info)

Fadia Kader will also be speaking on "How to Build a Team That WERKS" THIS THURSDAY at "I dO Music" Don't MISS it!

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I dO FREESTYLE: Sashay

Every month at I dO MUSIC we have a segment titled "I dO Freestyle" where various emcees step to the stage and let loose 16 from the beats Dj Teknology chooses to play. The crowd decides who handled the impromptu performance the best and receives an One on One interview at Patchwerk Recording Studios.

"I dO MUSIC" May brought us Sashay who will also be performing this Thursday at Apache Cafe.

How long have you been writing music?

I’ve been writing music since the age of 12. Production came later on. So around 7 yrs for just the area of producing..

When did you realize this was the career for you?

I realized how deep my love for music was at 12. I’ve been striving to make it happen ever since.

Who are your influences?

My influences are my older brother Sed, Jay-Z, India Arie, Yolanda Adams, of course MC Lyte, Anthony Sims aka T-Cap, and Leon Timbo

Do you have any projects currently out? Are you working on anything now? Details & dates?

Yes..I do have an independent album out titled “Open Archives”..found on ITunes, cdbaby.com, and several other Internet sites. I’m currently working on a few R&B projects..and a new mixtape ..”Breath of da ‘ Streets..vol 2”

How did you get involved with the "IdOMusic" program?

A few of my people kept telling me that they heard about it and they felt it would be beneficial for me, so I decided to fall thru back in February and I’ve been coming ever since.

What do you most like about the "IdOMusic" program?

I love the fact that they give indie artist an opportunity to shine through performances and interviews..I don’t know of any other music hustles that involve that.

If you could say one thing to the artists, producers, songwriters, and musicians that haven't gotten involved with "IdOMusic yet, what would it be?

Why not fall through..you have nothing to loose and plenty to gain..





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I dO Music!
"Empowering Musicians Worldwide"

Details - I dO Music Event / June 4th

When: June 4th, 2009

Where: Apache Cafe, 64 Third Street, Atlanta

Time: 8pm

Featured Panel: Building a Team That Werks! (Finding the Right Manager, A&R, Producers, Etc)

Feature Panelist - Wendy Day (Rap Coalition), Hannah Kang (Grand Hustle Entertainment), Fadia Kader (B$B)

Feature Performers - LISTEN!!!!

Mums FP

There U Go ( Bounce) by Mums FP by I dO Music Community

Sashay

Lyrikal Assasin by kalonjiisjournee

- I.L.

Celebrity (Dirty) by I.L. by I dO Music Community

- Johnny Bravo

Patron by Johnny Bravo by I dO Music Community

- Fervor

Drone by Fervor by I dO Music Community

- Rich Graham

Looking for You by Rich Graham by I dO Music Community

- Prynce (*Feature Performance*) Def Jam/Konvict Musik

Sweet Georgia by Prynce - by I dO Music Community

And More...See You There!!!




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