March 2009 - FREE PRODUCERS Getting Great Bass - Pg. 8 FEATURES Kas Da God Pg. 2 Flauce Pg. 2 Truth Speaks Pg. 4 Front Page Entertainment Pg. 4 Brought to you by Makin’ It Magazine - www.MakinItMag.com
CHARITY CASE ARTISTS Artists Corner Written by J. Johnson They’re practically everywhere. Your Myspace page gets tons of messages and friend requests from them. Facebook has an unconceivable amount of groups created by them. Who am I talking about? Artists that market themselves like charities. I know you, just as I, get friend requests with messages like this: “This ya boy so-and-so. Come support me and check out my music. Leave a comment and tell me what you think.” Charities and non-profit organizations are the only businesses that I can think of offhand that are successful in marketing themselves in this manner. Continue to market your music like this and you’ll soon be
Real Talk
a non-profit business for sure. On the other hand, music marketing doesn’t work that way- well, not the successful marketing plans, anyway. Promoting your music like the aforementioned example is a mistake for several reasons. Let’s discuss why that is so. First, the very word “support” shouldn’t be associated with you or your music. Asking people to support creates the perception that they’re doing you a favor if they agree. If your music is as good as you say it is, listening to it shouldn’t be a favor- it should be a privilege. The best way to receive is to first
give. With everyone and their pet goldfish claiming to be a rapper nowadays, why would anyone give you their time by listening to your music? What incentive can you offer to make it worth their while? In reality, the supply and demand of music is favors the supply end so much that even making your music available for free doesn’t work as well anymore. Why? There’s so much garbage music out there that people aren’t willing to waste the finger strength needed to click on your link just to risk getting a garbage track. Continued on Page 6
HOW G.D.S. IS DESTROYING RAP Written by The Honorable DJ Judgemental
It’s Sunday afternoon and I’m going through a stack of nearly 100 CDs handed to me at an industry networking event. After listening to about 20 of them, I’m angry about the amount of crap I’ve been handed. Besides the fact that that of 20 songs from 20 different artists all had the same subject matter (money, cars, hoes, drugs), my biggest upset was the quality of the recordings. Behind me is a wall of records from various artists ranging from the 70’s to early 2000. Of those records, I guarantee that none of them sound acoustically as bad as any of the ones that I am subjected to listening to today. What do I mean by acoustically
bad? At some point the records behind me were (a) recorded in a studio with quality equipment, (b) mixed by someone with mixing experiences, (c) tweaked by an engineer, and (d) mastered by a professional. The songs that I am critiquing now sound as if they were recorded on the cheapest microphones with no signs of an audio professional assisting with the mix down, engineering, or mastering. Yet somehow, these artists have created music, pressed it and are distributing it to the masses. While technology has done much for the music industry, I’m disappointed that nobody has told artists that it’s not a good Idea to record and distribute music to
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the masses without anyone else’s opinion. Sure you can debate me with a “YouTube/Soulja Boy” story, but even then there was no commercial success until someone stepped in to make the song sound better than it did when he recorded it himself (believe me, I heard the distorted original.) Then again maybe these CDs are just DEMOs? A demo being the best possible recording that a struggling artist could produce in order to give to a label executive that might possibly sign them. If this is the case then I won’t complain about the crappy recording but don’t expect major label treat Continued on Page 6 The Atlanta Grind - March 2009 | Pg. 1
PUBLISHERS NOTE 2009 is off to a wonderful start. I hope everybody is doing as good or better. I know a lot of people are talking about how jacked up the economy is right now but just remember this one thing, Everyday somebody is out there making money and if you aren’t the one making it you need to ask yourself why. Now is the time to go hard or go home(Go Broke… lol). Now is the time to think outside the box and get outside of your comfort zone. The music industry has BEEN in a recession much longer than the rest of the country. I’ve talked with a lot of artists and independent labels that have pretty much given up. I watch a lot of artists pass up cash chasing checks. If some of you guys would just take the time to slow down you would see many profitable opportunities staring you in the face. Many of which you pass up daily chasing a record deal (a deal that you really don’t even want... can anybody say 360). Well that’s all I got to say for this month. The new issue of the magazine will be out next month. If you’re serious about networking and marketing yourself I expect to see you in it. I appreciate all of you who take the time out to read my monthly ramblings... now I’m off to play with my son. Deuces!!!
Kelby F. Cannick
Pg. 2 | The Atlanta Grind - March 2009
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FEATURE STORY KAS “DA GOD” www.KeepItMovingEnt.com | T. Martin (919) 423-4613 Kas Da God is an innovative new artist bursting onto music scene. Born Kasmin Shakir Cooper in Cleveland, Ohio, Kas now resides in The Bull City (Durham, North Carolina). As a child he would listen to his mother play guitar while writing and singing Bahai songs. Being so heavily exposed to music from such a young age it would only make since that he find his passion for it early on. Kas is carving out a unique niche market, combining rap with rock and heavy metal to form a totally unique genre. Though he credits artists like Big Daddy Kane, Lord Finess, K R S
One, Rakim and Kool G Rap as major influences on his style, Kas has very eclectic tastes and draws inspiration from a number of different sources including Black Sabbath and others. Currently Kas is pushing his lead single “Heavy Metal Hip Hop” produced by Mike Blayz AKA Flames Bond. The guitar accompaniment on the record is played by Joe Quinde, Grammy nominated engineer and producer whose credits include artists such as Jay-Z. Kas is also working on his upcoming album, Metal Music, while putting the finishing touches on his mixtape, “Melting Pot”.
Continued on Pg. 7
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FEATURE STORY FLAUCE www.KeepItMovingEnt.com | T. Martin (919) 423-4613 Remember what made rap music good at its beginnings? Catchy hooks, hard lyrics delivered over smooth crowd-moving beats, stories full of style, swagger, and soul—you know, the fundamentals of rap. South Jersey’s own Flauce owns those skills, and hearing him for the first time reminds you of what brought you to rap in the first place.
the Lights,” or the daily noholds-barred grit of player life in “When I Breathe.” Flauce has Continued on Pg. 7
Flauce commands a club with his signature melodic style. Each song is a true story straight from his life and heart, whether it’s the dissection of a relationship gone bad in his new single (featuring Poetic) “What Can I Say,” the rigors of performing and club life with “Living i n
The Atlanta Grind - March 2009 | Pg. 3
TRUTH SPEAKS FEATURE STORY FRONT PAGE ENT FEATURE Myspace.com/TruthSpeaks508 ||TruthSpeaks@gmail.com TruthSpeaks@gmail.com Truth Speaks is a hip hop artist from the small town of Brockton, Massachusetts just outside of Boston. Finding his passion for music at the young age of 9, he grew up playing trumpet and participated in his elementary school chorus. As he got older he began to funnel his attention into hip hop and for the past 7 years he has been perfecting his craft.
looking to connect with a solid manager and any promotions companies that can provide him with genuine opportunities to get the exposure he needs. He is an artist that takes his craft very seriously and excited to network with other serious artists, producers and especially DJs. You can check out his music at www. Myspace.com/Truthspeaks508.
Doing hip hop in an area that isn’t exactly a prime breeding ground for emcees has helped him cultivate a style that appeals to a diverse group of people. While he understands the need to be heard on a national platform, he is also aware of the importance of first carving a niche in his own market. He has been working hard to put together shows that incorporate Rock and R&B in addition to Hip Hop.
www.Myspace.com/TruthSpeaks508 TruthSpeaks@gmail.com Phone (508) 333-1039
He’s been going hard with his online promotions landing songs on Coast 2 Coast Mixetapes Vol. 64 & 66. Instead of using the economy as a crutch he has turned it into an opportunity to build his contacts database by offering free downloads and mixtapes in exchange for joining his mailing list. Truth Speaks makes it a point to write and research every day. Reading up on the successes and tactics that other independent artists have successful used. Truth Speaks is
Pg. 4 | The Atlanta Grind - March 2009
GP at (404) 553-5520 | (678) 913-4080 I recently sat down with GP from Front Page Entertainment to discuss their upcoming project entitled “We Got Everything”, an ambitious album in which he and his younger cousin KS have been working on for the better part of two years. With nearly fifty tracks already completed, this duo is gearing up for an early May release. From our conversation, it sounds that the project will boast an impressive variety of songs ranging from Pop to Hip Hop to Jazz. Their goal was to incorporate something for everybody while displaying their musical versatility. Growing up surrounded by music, GP reflects on his childhood and Memories of singing and rapping at family get-togethers. He reflects on his mother being a member of an R&B group when he was just five years old. It would only make since that the tradition would continue into the next generation. When I asked GP what he ultimately hoped to accomplish in the music industry he answered with a chuckle, “To make a lot of money.” He later went on to explain that he just wants to be able to make a living doing something he loves and to create music that people really connect with.
Growing up in Zone 3 (Carver Homes to be exact), GP experienced his fair share of hardships. Hardships that helped build his character and determination. Hearing him speak on the inspiration he felt seeing Hitman Sammy Sam come up out of those same conditions, I asked GP what one thing would want to help him reach his goals? Normally, when I ask artists this question I get answers such as money, connections, or better equipment, but he gave me a simple answer that spoke true to his personality “Focus.” Instead of looking outward for what was missing he looked within with assuredness that all other things could be achieved and accomplished as long as they were able to stay focused and push forward. Front Page Entertainment is looking to connect with other producers and artists. You can catch them performing at various open mics and showcases around town including Throbacks and Club Miami. Front Page Entertainment is currently seeking an entertainment attorney. You may contact GP at (404) 553-5520
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The Atlanta Grind - March 2009 | Pg. 5
Charity Case Artists! contd from pg 1
GDS Destroying RAP! contd from pg 1
Haven’t you heard the saying “Don’t talk to strangers?” It still holds true. People don’t respond as well to messages from strangers- especially when it’s asking for them to do something. To combat that, your target audience must get to know you. The best way to accomplish that is to build a familiarity with them.
ment (club play, radio play, etc) when you have “demo” quality.
We’ve discussed the Don’t-Do’s of marketing yourself and your music. So what are to lists of things we should do? Which words should artists use? How do artists tilt the supply and demand of music in their favor? How do you build familiarity with your target audience? Part 2 of this discussion provides those answers and is available for free by visiting: RevWorksMusic.com
This all brings me to the sickness that is gripping the rap segment of the music industry; I call it GDS or Gatekeeper Deficiency Syndrome. Artist are jumping the gun and distributing their work to the world without checking with the Gatekeepers that help keep them from distributing unprepared material to the masses. Gatekeepers help you conserve time, money and opportunity by not wasting them on a project that is not ready. I guarantee out of this stack of 100 poorly recorded CDs that 10 of the groups have wrapped promotional vehicles and spent thousands of dollars on promotional material like flyers, CDs, and posters. To further understand the need of the gatekeepers lets let’s take a closer look at what roles they play
Pg. 6 | The Atlanta Grind - March 2009
in the overall scheme of things. Your first line of defense is the producers, mixers and engineers that say whether or not the music “Sounds” right. Then there are the DJs, who have an ear for good music and give honest opinions about bad music. Next are the A&R Execs that filter the best from the good to find then take those and develop them into a complete package both musically and visually. Afterwards are the Executive Producers that make sure that the music has all of the right elements (tracks, writers, quality recording, etc) before presenting it to the public. Of course there will be other Label Execs that cut the checks when and only when all of those before him think that it’s time to “push the go button” on a project. Notice this list does not include, your momma, family, smokin’ partners, home boys, or girlfriend/boyfriend. Trust me; they will lie to you because they care about your feelings
more than your career.
now?
Being a professional DJ/ Producer, I am also a Gatekeeper. I care more about your career more than your feelings. Therefore I am usually labeled as Brutally Honest by my peers. By listening to these CDs today I will let a couple through the gates under my control include FM Radio and Mix CD exposure.
If artist suffering from GDS does manage to earn a career, it is as short as the money they will make. Don’t get me wrong, an artist can luck up and make a hot song, maybe even without a gatekeeper, but even then, he/she won’t luck up and make a hot album. Can we say “ring tone artist” boys and girls?
Artists that suffer from GDS, choose to bypass all Gatekeepers and distribute directly to the public. While that may be your prerogative think about it from a consumer’s point of view. How would you feel if you turned on the an NBA game and got a bunch of high school kids on the court. Or better yet, you go to the doctor and he says “No, I didn’t go to school and no one approved my skills as a doctor, I just got up this morning and decided that I’ve watched enough ER and Scrubs to do what doctors do…so get undressed please.” Do you get it
Artists take your time. Develop your craft. Seek the opinions of true Gatekeepers. We are here for a reason. Consumers, the next time some new artist hands you a CD or a link to their website that has bad music, offer them this information or simply donate to the National GDS Society to save Gatekeeper Deficient musicians. Now I must go. I’ve got 80 more GDS suffers to attend to. Getting Great Bass! contd from page 8 noticing the settings that work best for your favor-
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ite patches. Bass Eq: After compression, the last thing is EQ. A rule of thumb is never add or boost EQ. Ever. If the sound needs to be boosted, it’s better to choose or design a different patch that fits in the pocket of the beat. EQ is used only to cut the frequencies below 40hz. This gives the beat more headroom and dynamic capabilities. Use a low shelf EQ or hi pass filter. There are tons of ways to approach the bass in a mix. Keep an eye on the clock during this process. Time management is essential to making great beats. Indecision is still making a decision. Use this approach to enjoy the process of getting great bass on to your way of finishing your beats. -Edward Unger www.computerproducer.com w w w. g o t c h a n o d d i n . c o m www.bluesoundstudios.com www.ungerrose.com
Kas Da God contd from page 3
Flauce contd from page 3
From my many conversations with Tiffany Martin, Kas’ manager and the head of Keep It Moving Records, I am extremely confident that Kas has a bright future in the music industry. They have been strategically building momentum and covering a ton of ground from TJ’s DJs Conference in Tallahassee, Florida to the Magic Show in Las Vegas, Nevada. Every time we touch bases they’re in a new area code and going hard.
played notable shows like the Southern Entertainment Awards (S.E.A., 2008), Miami’s Ozone Awards (2007), the And 1 Source Mix Tape MC Battle (2004), the BET College Campus Rap Tour (2003), and continues to tour across the country.
Look out for Kas at the upcoming 2009 Southern Entertainment Awards and Ozone Awards. You can check out the movement at www.myspace.com/KasDaGod and www.nworcsradio.com. For more information and booking contact Tiffany Martin of Keep It Moving Records at (919) 423-4613
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Flauce has been performing since 2001 and has played with the likes of Jadakiss and Styles P, Lil’ Jon and the East Side Boyz, Mobb Deep, and Lil’ Scrappy among others. He is represented by Keep It Moving Records and can be booked by calling Tiffany Martin at keepitmovingent@gmail. com or (919) 423-4613.
The Atlanta Grind - March 2009 | Pg. 7
Producers
GETTING GREAT BASS! Written by Ed Unger
This article will help you achieve great bass sound in any situation on any system. The factors that make up great bass is your monitoring system, the mixing room, the bass patch, effects, compression and EQ. Monitoring: Make sure your speakers are flat – meaning there are no eq curves, additional frequencies added so that what you hear is what you get. This makes sure your translation from system to system is accurate. The Mixing Room: Because of technology, the room doesn’t matter anymore. If you are using nearfield or loud speakers, listen to mixes at conversation level. This will keep your ears fresh for longer periods of time and will yield accurate results faster.
30hz to 100hz. Punchy bass can be between 80hz to 120hz. Once you choose which type of bass sound, you can get into the sound design of the patch. Depending on what hardware or software unit you’re using, start with the Attack, Decay, Sustain, Release settings to adjust the tone and depth. Now add the bass in with your beat then further design it in the pocket of the beat. After you have the general setting, now play with the other knobs of modulation, effects, oscillators, filters, etc. – just play your way into a great sound.
chorus, flange, phasers are great effects for bass that help enhance the initial bass patch. Use these sparingly for the final touch of your patch. Bass Compression: Use compression to make the bass stay strong. Start with a ratio of 10:1, fast attack and slow release. Once again, play your way into a great sound. When doing this you’ll start Continued on page 6
Bass Effects: Distortion,
Bass Sounds: Using presets or building your own bass patches doesn’t matter. The important result is that the bass preset goes ‘WOW’ when you hear it. Either the bass will be a sub bass sound or a punchy sound. How do you tell? Frequency range. Sub bass sounds are in the
Pg. 8 | The Atlanta Grind - March 2009
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