BANGIN-TABLES

young folkes makes a beat on the mpc renaissance #2 smackshackbeats one9ent

2013-06-18T05:52:00.001-07:00

Marco Polo Breaks Down "PA2: The Director's Cut" - The Mixdown

2013-06-18T05:51:00.001-07:00

E-mu SP-12 Bedroom Beats

2013-06-18T05:50:00.001-07:00

How to Create Reversed Reverb Tails: Paul Simmans | Pyramind Training

2013-06-18T05:49:00.001-07:00

Weekly Homework Podcast #9 | Beats | Computer Music Academy

2013-06-18T05:48:00.001-07:00

Richard Devine Studio tour

2013-06-18T05:47:00.000-07:00

HHS1987 presents Behind The Beats with Metro Boomin

2013-06-18T05:46:00.001-07:00

Jay-Z x Rick Rubin x Timbaland x Pharrell x Swizz Beats Studio Session (Samsung)

2013-06-17T10:18:00.001-07:00

Jay just broke the news during Game 5, he will release a new album on July 4th.

Titled "Magna Carta Holy Grail", the album will be released via an Android appavailable for download exclusively at the Google Play store.

Be among the first million to download the app on June 24th and get the album free July 4th, three days before the rest of the world, promise the YouTube clip below.

The 3-minute ad announced the project during Game 5 of the NBA Finals.
"We don't have any rules. Everyone is trying to figure it out. That's why the Internet is like the wild west ... the wild wild west," Jay-Z says in the commercial. "We need to write the new rules."

According to the WSJ, Samsung has purchased 1 million copies of Jay-Z’s album, slated for release July 4, and plans to give them to Samsung Galaxy smartphone users for free – 72 hours ahead of the release. The users are to receive the music through an app they’ll receive later this month - June 24th. (Recipients won’t be able to share it until the official release date.)

Samsung paid $5 apiece for the albums, according to a person familiar with the matter. It wasn’t immediately clear if Nielsen SoundScan will count Samsung’s purchases in its sales tallies.

For more info visit www.magnacartaholygrail.com

Mad Zach's Top 5 Free VST Plugins for Electronic Producers

2013-06-17T10:17:00.003-07:00

Thor Polysonic Synthesizer - Micro Tutorial

2013-06-17T10:17:00.001-07:00

T-RackS Custom Shop Tape Echo Vintage Tape Delay Tutorial

2013-06-17T10:16:00.003-07:00

Overlor's Thumb Drives 2013

2013-06-17T10:16:00.001-07:00

Korg DDD-1 with TR-808 + TR-909 eproms

2013-06-16T14:35:00.001-07:00

Akai MFC42 Analog filter & Filters with Arturia Minibrute

2013-06-16T09:11:00.001-07:00

Saturday beat knockout #Feelin'it

2013-06-16T08:59:00.001-07:00

Rick Rubin On Producing Kanye West’s Yeezus

2013-06-15T09:36:00.000-07:00

When and why did you join the “Yeezus” project?

Kanye came over to play me what I assumed was going to be the finished album at three weeks before the last possible delivery date. We ended up listening to three hours of partially finished pieces. The raw material was very strong but hadn’t yet come into focus. Many of the vocals hadn’t been recorded yet, and many of those still didn’t have lyrics. From what he played me, it sounded like several months more work had to be done. I joined the project because after discussing what he had played for me, he asked if I would be open to taking all of the raw material on and help him finish it.

How would you describe the new sound he was driving for, and how you did you help him arrive there?

He wanted the music to take a stripped-down minimal direction. He was always examining what we could take out instead of put in. A good example would be the song that became “Bound.” When he first played it for me, it was a more middle of the road R&B song, done in an adult contemporary style. Kanye had the idea of combining that track with a cool sample he had found and liked – I removed all of the R&B elements leaving only a single note baseline in the hook which we processed to have a punk edge in the Suicide tradition.

Can you recall a scene from the sessions that might help people understand his method in the studio?

We were working on a Sunday [the same day West attended a baby shower for girlfriend Kim [Kardashian] and the album was to be turned in two days later. Kanye was planning to go to Milan that night. Five songs still needed vocals and two or three of them still needed lyrics. He said, “Don’t worry, I will score 40 points for you in the fourth quarter.” In the two hours before had to run out to catch the plane, he did exactly that: finished all lyrics and performed them with gusto. A remarkable feat. He had total confidence in his ability to get the job done when push came to shove.

Quick Beat Friday | MPC 60 + S900 | MAARTN Beats

2013-06-15T06:00:00.001-07:00

Former Roots Member Malik B Plans First Solo LP, Produced Entirely By Mr. Green

2013-06-15T05:58:00.001-07:00

Now a member of The Beard Gang, Malik B teams up with Mr. Green to release his first full-length in a 20-plus year career of rapping.

In a 20-plus year career, longtime member of The Roots, Malik B has one released one solo project, 2006's EP,Psychological. Not currently with the group, the Philadelphia, Pennsylvania emcee announced this week his plans to unveil his full-length debut. The LP will be produced entirely by New Jersey native Mr. Green, who confirmed to HipHopDX this week that the album's title and release date are still to be provided by the label.

Earlier this week, the pair released the video single to"Devil."

Previously, Green has produced full-length albums by Outsidaz members Pacewon (The Only Color That Matters Is Green) and Young Zee (One Crazy Weekend). On each effort, the sampling musician shared billing. Although not a full-time member of The Roots at present, Malik appeared on 2006'sGame Theory and 2008's Rising Down albums.

He was a full-time member of the Grammy Award-winning group from their 1993 Organix debut until shortly after Things Fall Apart. Malik would later inspire the song "Water," which appeared on the band's first album recorded without him, 2002's Phrenology.

In recent years, Malik has formed The Beard Gang with fellow Philly emcees Freeway and Jakk Frost.

AraabMuzik on Getting Shot & Slaughterhouse Collab Album - Bonnaroo 2013

2013-06-14T11:46:00.001-07:00

@ILLMINDPRODUCER "NOTHING MORE than beats that I made with intentions to show KANYE"

2013-06-14T05:56:00.002-07:00

*Disclaimer: This project is in no way directly affiliated with Def Jam, Kanye West, or any of its affiliates, respectively.

!.B.F.K.W.

!llmind Beats For Kanye West EP

STREAM HERE

DOWNLOAD HERE

!.B.F.K.W. “!llmind Beats For Kanye West” EP

“Kanye West is undoubtedly one of the most exciting producer/artists to emerge in the last decade. His music is one of the few I can safely say I whole-heartedly admire (next to the late great J. Dilla). I had the pleasure of producing “The Morning” off of 2012’s highly anticipated “Kanye West Presents: G.O.O.D. Music Cruel Summer” LP. During the creation of that song, and between the months of July 2012 - March 2013, I created a handful of tracks with Kanye West in mind. This is a collection of some of that music. It features collaborations and co-production from my long time friend Symbolyc One (Produced Kanye West’s “Power”, “Murder 2 Excellence” on Watch The Throne & part of Kanye’s “Very G.O.O.D. Beats” entity), Dr. Know Jr., M31RK, Hippie Sabotage, Kailiin Yong &The Frontrunnerz. I had so much fun creating this stuff, and I hope you enjoy it just as much as I do.” - !llmind

*Disclaimer: This project is in no way directly affiliated with Def Jam, Kanye West, or any of its affiliates, respectively.

www.illmind.biz

www.blapkits.com

@illmindPRODUCER

Artwork by @TheRealNaturel

Follow his work:

www.instagram.com/naturel

www.naturelbydesign.com

www.allburgundy.com

*Disclaimer: This project is in no way directly affiliated with Def Jam, Kanye West, or any of its affiliates, respectively.

@SOUNDSANDGEAR Sample Logic Thunder Springs review

2013-06-14T05:52:00.002-07:00

Ableton Live 9: Tasherre Risay Makes a Beat | Computer Music Academy

2013-06-14T05:51:00.001-07:00

Rich Kidd Talks Toronto's Hip Hop & Submitting Beats To Kanye West & Jay-Z

2013-06-14T05:48:00.001-07:00

DX: How do you separate Rich Kidd the emcee from Rich Kidd the producer when it comes to making beats and beat selection? How do you know which beat is for you and which beat is better suited for someone else?

Rich Kidd: I don’t know if they’re any different. I was talking to a couple people yesterday, and while some people say my flow sounds great on my beats because I know what I’m doing, some people feel I’m competing too much with my beats. Some people feel like, I rap nice, and my beats are nice, but it seems like we’re clashing too hard. I’m trying to one-up the beat and the beat is trying to one-up me. Frankly, I don’t really understand that, because it’s all me. I can’t be fighting myself. At the same time, I try to find the beats that I feel are going to fit what I’m going to say. I can’t jump on every grimy beat. I can, but it may not fit the exact mood or where I’m trying to take the project. It’s all project-depending. I feel like I can jump on any one of my beats, and I feel like every one of my beats fit my Rap style because I want to be diverse. I don’t want to be just one type of emcee that raps about one thing.

DX: How does it differ when you’re actually working with a producer? Like DJ Dahi was on the last ‘tape.

Rich Kidd: With Dahi, he just sent me the beat, so I probably met Dahi once in my life. It was throughPac Div. He’s been cool, sending me and Smash Brovaz a shitload of beats. That “I’d Be Lying” joint stood out to me. I think it’s called the 120th session or something. That beat stood out. I’d tell him, “Yo, I got this track to it. Can I write to it?” He said, “Cool.” I wrote the track, sent it to him, and he’s like, “Yo, this shit is crazy.” That was pretty much how it was from there. It was very mechanical and a digital process, but hopefully when I go back to LA, we can work in the studio together. We have a mutual respect for each other’s sounds.

With me working with other producers, it’s never really hard, because I’m coming from the mind of a producer myself. I’m never going to do the shitty shit that rappers do and steal beats and put them out or switch up a beat without letting a producer know. I understand where a producer is coming from or where a beat maker is coming from, and I always try to keep in contact.

@HarryFraud Gives A Track-By-Track Breakdown Of Action Bronson’s ‘Saaab Stories’ EP

2013-06-14T05:29:00.003-07:00

It’s been almost two years since Action Bronson and Harry Fraud first began working together and this Tuesday, they released their first collaborative body of work. “I don’t know how the actual title happened, but I just know that we were kind of talking about how I grew up and my mother drove a Saab,” said Fraud. “This is probably like an ’87 900-S old school joint. And [Action Bronson]’s father had a Saab. Somehow that title came up and then we just ran with it.” The result is a brief yet engrossing EP, which sees the two New York natives bringing out the best in one another. With Bronsolino currently performing a string of dates overseas, we caught up with Fraud to get the scoop on how “Strictly 4 My Jeeps” came together as well as how Prodigy and Raekwon came to be on the NYC powerhouse cut “Seven Series Triplets.” Saaab Stories’ stories, if you will. Enjoy.

“72 Virgins” feat. Big Body Bes

It’s “72 Virgins.” I don’t know what’s going on with that “2 Virgins” but they’re fixing it. I definitely hemorrhaged on that. Because that makes it sound like Body and Action or me and Action are virgins [Laughs]. Seventy-two virgins is like the reward for the martyr, you know. That was actually the last song that we recorded for the project. What ended up happening was that we had another record that was the intro and the sample got denied. Like, the artist would not clear the sample for us. So [Bronson] was already down in Florida, and we already had the album done, we just needed that first piece. Because, you know, we had 40 songs at least, so we were really trying to piece something together. We thought all the songs were incredible, so we just wanted it to be like a variation, you know what I’m saying, and just not monotonous, and move through like a little feeling.

So that beat was done with me, and I wrote it with my guys Red Walrus and Rusty. There’s no samples on there, that’s all live instrumentation. And we had [written] the piece of music, and then I played the piece of music for Bam Bam not looped or anything like that. And he couldn’t believe—he was like, “that’s not a sample?” Like, “stop lying!” He couldn’t believe it. And so what I did was I took it and just chopped it a little bit on the spot, and he wrote the rap right there. We laid it right there. And Body is always with us, Body is family you know? He was right there to come through and do what he does.

“Triple Backflip”

We were just in the studio with the beat that was from a sample that I had found, and I was like, “Ooh, this is so feel good,” you know what I’m saying? And it just felt so airy, and then when [Bronson] came in and put the shit on he said something like, “Yo this is some Kurt Russell shit.” You know he loves his references and his Nick Nolte and Kurt Russell shit? He was like, “This is Big Trouble In Little China,” you know what I’m saying. And then boom, he goes off. We’re very stream of consciousness in that way where we’re just bouncing ideas and whatever comes, comes.

“No Time”

That was probably one of the songs that I’ve worked the hardest on. It started as just drums and a bass line. I wrote it with my friend Matt who’s this like crazy Yogi, hippie dude that I do beats with a lot. We had the drums and he was just playing some other bass line and I was like, “Yo, just catch that one part and get super funky with it and vary it up through the whole beat.” If you listen to that beat, there’s big chunks of him just playing live, and a lot of people don’t even do that shit when they have live people come in. They just take the 4 bar loop. Then I brought in my keyboard player Judd, who’s like a fucking virtuoso on the electric keys and the organs and shit. And once we had it all put together, I called in the trombone player. What we did was we had him stand outside the booth and literally mic’d it with the shittiest mic we could find and shot the trombone into the booth. It came out super thin and distant. That’s what we wanted, for it to sound

grimy.

As soon as I played this beat for Bam Bam he was like, “Oh, this is just fucking disgusting.” He loves it when I mix his style of sample with my style of drums. That’s his favorite shit, when I start doing the hi-hats and getting all crazy with the shit. When we were going around and playing people stuff, that was one of the ones where you play it and there wasn’t one person who wasn’t like, “Wow.” We knew that was a good one. What’s so genius with Bronson about the hooks, is that he’ll pick the thing for the hook that you would pick for the rap, but he’s just gonna make that one line so significant. He makes the choices that other people aren’t going to make, and that’s what sets him apart. That’s what makes him unique and important and significant as an artist. When motherfucking Dalí started making all the clocks drip and shit, it wasn’t like everybody was making the clocks drip. They were like, “What the fuck is wrong with this guy?” That’s Bronson, you know?

“Strictly 4 My Jeeps”

I was at Alchemist’s house with Bronson and we were just kicking it. I think him and Al were finishing up some shit in one room for their shit. He’s got two studio rooms in his crib so he lets me go crazy in the other one. And I was cooking it with just that loop. Bronson said something like, “You’ve done the ‘Shot Caller’ record, you’ve done ‘I’ma Coke Boy,’ you’ve gotta just do one of those for me.” I’m not just a dude that flips old school samples, but people definitely know me for that shit and asked me for beats like that, and I don’t do it just because I don’t want to be that guy, you know?

But anyway, at first I thought the beat was so simple, nobody would like it. But then I did the drums to it, was looping the horn and it started smacking, but it was just too monotonous. So I went into my drive and I had all these keyboard stems that me and my dude Rustie and Walrus had been working on back home. And I pulled up this one, and it just magically worked. It was in the right key, the right tempo. And that’s the line you hear, that little breakdown line where the claps are coming in and stuff. So I scrapped the whole other thing, took that line, put it in and it started to build. We didn’t get back to it for a while back in New York and I was like “Listen, let’s just do that fucking joint we had and go hard with it.”

“Alligator”

Everybody’s fucking with that man. It’s weird that people are hitting me about that. That was the second to last song we recorded. The second piece we recorded a long time ago but the first piece we just recorded. It was the last thing. [RiFF RAFF]’s supposed to be on the first part. He’s gonna be. We’re just gonna do like a deluxe version or a remix, because we also have a piece that AG Da Coroner did over the second part.

“Seven Series Triplets” feat. Prodigy and Raekwon

I had this beat, and when I did it I knew it was for Bronson, 100%, so I tucked it. I had been working with P on some music which will come to fruition when it’s time. Bronson recorded his verse and it was nuts, and Prodigy came in and when played it for him he loved it and wrote his shit, and we all just hung out all day in the studio. And then [Bronson] and I had talked about who else are we gonna put on this and what are we going to do for the hook. I don’t remember who came up with it, but someone said “Yo, if we can get Raekwon on this, it’ll be over.” But dudes like Raekwon, they don’t just do shit to do it and they take their time and they’re rockin’ how they’re rocking. Sometimes you got the perfect record for somebody and they
don’t do it, and then you feel attacked or angry or whatever.

But Bronson reached out—he and Rae’s brother are close—and I think what sealed it for Rae was when I was at Daddy’s House for a session with Frenchy [Montana] and they were finishing up their shit for Excuse My French. Rae didn’t know who I was. He knew my name but he didn’t know who I was. I sat in the room for 20 minutes and there were mad people and I didn’t want to go over to him and be a weirdo. [Laughs] Then French was like, “Yo, you know Harry Fraud?” and he was like “Yeah.” French was like, “That’s him,” and Rae said, “Awww, you’re a murderer,” and just showed me so much love. So I told him about the record we had sent him and that it would just be special. And he was like, “I love that record, I just need to write the right thing.” Then one night right before Bam Bam went to Sundance or some shit, he hit me up like, “Yo!” and sent me the joint, and it was just so perfect. It was just perfect. That was the hip-hop gods saying, “You guys work hard. This is your reward.”

Big K.R.I.T - What You Know About It (Prod). @bcorderbeats and @ForeignAllegnce

2013-06-14T05:22:00.000-07:00

Congratulations Foreign Allegiance - winners of The BIG MIX producer challenge!

VIBE & McDonald's scouted the most sonically impressive beats from up-and-coming hip-hop producers and brought on guest judge Big K.R.I.T. to select the creme of the crop!

Hailing from Flint, Michigan, Big K.R.I.T. selected Foreign Allegiance to collaborate with on this track, now available for free download!

Visit vibe.com/bigmix to check out the videos of their in studio session and interviews with Foreign Allegiance and Big K.R.I.T. as they worked on the exclusive track “What You Know About It.”