TEKNODROME / UGLY BEATS - "Wildboy" Instrumental Sneak Peekk
Sneak preview of rough cut of new instrumental called "Wildboy"Only 3 people have heard it. Support Tha UndergroundUnderground On TopJ-Draztik
Posted by TEKNODROME on Thursday, December 17, 2015
Showing posts with label beatsforemcees. Show all posts
Showing posts with label beatsforemcees. Show all posts
Thursday, December 17, 2015
"Wildboy" Sneak Peek
Wednesday, October 31, 2012
Gory Matters Here Horrorcore Beat Tape Collabos
A collection of Horrorcore beats for this beat tape- besides the Flippin March Madness Vol.1 & Vol.2 its the ONLY DOWNLOADABLE beat tape by TEKNODROME. In the same style of Flippin' March Madness Vol.1--
The beats for download are tagged-- but, if you the artist enjoys a track Email TEK to use a specific beat from the tape as a collabo offer and a way to further each others music careers! I really want to open the floodgates to get work in with the underground scene.
Download Mixtape | Free Mixtapes Powered by DatPiff.com
AT THE MOMENT ONLY "SCANDALOUS" HAS BEEN TAKEN-- BE SURE TO HOP ON THIS COLLABO UNDERGROUND ARTISTS!!!
Monday, October 17, 2011
Scarface ( #NewSchool Instrumental) FREE DOWNLOAD
Monday, September 5, 2011
Be Sure To Follow My New Twitter @UGLYBEATS
Sunday, September 4, 2011
My Twitter has been hacked and stolen!
As I rounded up on 15,000 followers I made the mistake of using a follower site I had never seen and used it twice cause it malfunctioned- and I wanted to be sure. Well sure enough I try to check my account from my phone and it keeps rejecting me. So I try online- nothing. I open my @ThRob_UGLY account and do a search for #followaninja a has tag I created-- and found my account with a new name! When I searched the crew that my account was now promoting I started putting them on blast so I responded with this:
They retaliated with this:
Now I'm no elite hacker but I know my way around the internet, I can figure out things-- like who owns sites that their tweeting that I used just a few days before that 'didnt work' such as:
And to add insult to injury my girlfriend reported him to Federal Government for Phishing across statelines (FEDERAL OFFENSE) and his site to BBB-- which I continually keep issuing as he tries to ignore it! Heres more proof he did it:
 |
| then steals @TEKNODROME this i.p. is in ATL -- I checked! |
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| So you mean to say this account was made the same day as mine? haha |
 |
| As you can see thats my reply with a different name!!! |
Saturday, August 20, 2011
LEGION OF TUNEZ / TEKNODROME UGLY BEATS - DR MINDBENDER FREE DOWNLOAD
The Video sounds different cause at the time I made it, it was just a sample snippet that's why the quality is different not to mention the time length. I didnt know I was gonna make it a free download, then just decided its commercial sounding enough for cats to use for promo use.
Thursday, August 18, 2011
RUN DMC - Peter Piper ( #TEKNODROME / @UGLYBEATS REMIX)
This is a remix I've had laying around my archive that I would occaisionally mess with. Its my way of payin homage to a trio that REALLY inspired me to love hip hop. They knew no boundaries-- which enticed me! Anyways here ya go free download. I know I been slacking on em-- but I got a few comin ya way!
Friday, April 15, 2011
Indaba Music's Saigon - Bring Me Down Remix "TEKNODROME REMIX"
Tuesday, March 8, 2011
Created a back-up Twitter @TEKNODROME01FAN
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| When in fail, sex sells! |
I seen twitter friends getting their accounts suspended or worse stolen! I figured I ought to make a backup now just in case something happens. Still learning about this site everyday- and some of the badass features you can use through it! So please be kind and follow my back-up account here at this handle @TEKNODROME01FAN
Monday, February 21, 2011
The Dirtball mentioned me on Twitter!!!
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| @TEKNODROME shoot me a sample |
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| He followed me!!! I been a fan for a longtime! |
Tuesday, February 15, 2011
I'm Gud @ Maf (with Hook) CONTEST!!!
So if you've followed my career the past few years you can tell I've drastically stepped up my game in making beats. Well now I want to do someone else a major solid. Before I moved to Los Angeles, CA from Toronto, OH I recorded a track with AbandonLandon & Count Juicy. It was definitely meant to be funny, as you may have seen the half assed video on youtube. Well now I'm posting a contest that will last until March 31, 2011. The deal: download the track with hook and spit how "Gud @ MAF" you are. Now you don't have to take the hilarious high road as we did, but it will help. I and two other "guest" judges will vote on the tracks turned in. The prize: A track from my catalog worth a $50 LEASE (does not mean you own full rights) Or if you want get two $20 & a $10 LEASE. We will work it out at the end of the contest. Send finished tracks to mailbombrecords@gmail.com You can download the tracks off: www.reverbnation.com/teknodrome ; www.soundclick.com/teknodrome
Friday, January 7, 2011
3 year wait for ThRob UGLY's "Am I Really Here"
Follow me @ThRob_UGLY
www.reverbnation.com/throbugly
www.reverbnation.com/throbugly
Friday, December 17, 2010
I decided to join the infamous RocBattle.com!
Figured if I'm gonna take this producing and working with other people in the music industry, might as well see what other producers think! I got some hot beats over here lets test em out! Wish me luck guys!
Thursday, June 10, 2010
How To Write a Solid 16-Bar Verse
This article is about developing bars as a technique in writing raps. I have received the question, "What are bars?" on many occasions and have briefly touched on the subject in a previous MC Improvement Article/visitor e-mail. In this article I will expand on the topic as well as describe an effective way of writing a solid 16 bar verse.
First of all…what are bars, exactly?
Well bars are simply a form of dividing a verse into segments. Each segment, or "bar", consists of one line. The following is an example of two bars by Jay-Z:
"And all you other cats takin' shots at Jigga/
You only get half a bar, 'F*ck ya'll ni***s'"
As you can see both "lines" or "bars" rhyme at the end. This is usually the case, but as verses are created more and more organically by artists (read: freestyled) they many times won't end so picture perfect…but don't worry about that for now. In case you're a little confused, you'll get a clearer picture through future articles.
So Why 16 bars?
If you're a hip hop fan, you have undoubtedly heard the term, "16 bars" at some point. Maybe something along the lines of, "Nas dropped a sick 16 bars on that mixtape."
The reason that "16" became the standard is because the music industry strategically determines the most effective duration of a typical song. Usually the shorter the song is, the better for the record's success. The shorter the song is, the more times that it can be played on the radio, the more times that it can be played on the radio, the more popular the song will become, the more popular the song becomes…you get the picture.
Also taken into account was the average amount of time a run-of-the-mill listener would wait between hooks before becoming tired. You have to keep in mind that not all listeners are looking out for the real substance of the song (the verses) but instead merely tune in to listen to the beat and the chorus. A verse that's too short will leave something to be desired (substance) and/or may grow old fast (since the hook/chorus will be played more frequently). A verse that's too long will lose many mainstream listener's attention.
So in time, the typical "16 bar" format was created. About the same time, the typical 8 bar chorus came into popularity in hip hop. This was long ago…dates mean little. Don't get this confused, though…not every song sticks to the 16's and 8's formula. Ghostface Killah came out with the single, "All That I Got Is You" which was one long verse…with one long hook at the end. Therefore, a lot of songs vary from the classic 3 verse and 3 hook layout, and they even vary from the classic 3-minute-a-song set-up. Some songs are 7 minutes long. But if you pay attention, most of these "odd" songs are usually not released as singles and if they are, they are usually released by more well-known artists with a well established fan base. The fact is that most pop or "popular" songs still follow the typical format most preferred by the radio and recording industry…and that is the "16-bar verse" and the "3 verse" format. (Note: Actually, with the increased popularity of catchy "breaks" "bridges" and "hooks", artists are increasingly neglecting the 3rd verse of their songs.)
In case you're wondering, the radio industry prefers shorter songs so that they can vary their playlist in order to reach more listeners. Reaching more listeners and keeping more listeners is important to radio stations so that the advertising spots they offer are attractive to advertisers.
There are even radio stations that have been known to speed up the pace of their songs so as to shorten their length of play…of course these songs tend to sound nothing like they were intended to, but that's the cost they are willing to take.
Writing 16 Bars: Part 1
So how should you go about writing the actual 16 bars? Well, there's two broad methods; to a beat, or without a beat. I recommend you write any verse to a beat. Firstly, because a lot of beats follow very similarly timed or even exactly similar drum patterns, therefore, one of your verses may be able to adapt very smoothly to various beats. Second, and more importantly, when you write to a beat that you're listening to, you can more easily play with your bars. By that I mean you can stretch your words or adjust your flow and say something like:
"Shopping sprees, coppin' three, deuce Beamer IS's/
Fully loaded…ahhhhh yes! (haha)" - Jay-Z
That was from "Can't Knock The Hustle" and when Jay-Z was at the top of his game lyrically (in my humble opinion). But, you can see how his pause during that second bar built up the punch line to that lyric. This is facilitated by listening to a beat while putting together your verse.
You can also choose to just write. Forget the beat, just write. A lot of times we don't have the luxury of having a beat playing when creativity strikes. That's ok…you can make it work anyway. If you are intending to put together a whole verse, however, it is best to at least have a beat in your head if not in your ears. And I don't mean a popular rap beat, necessarily…just a simple drumbeat will do. The idea is to have something in mind that you can bounce to…literally…if you find yourself bopping your head while you're formulating a rhyme…that's good!
Writing 16 Bars: Part 2
When you write lyrics, there is a very important principle which will benefit many of you to understand. It has already been made clear that bars tend to rhyme at the end (mostly). But what about the center? Though rhymes don't necessarily need to rhyme in the middle (meaning the middle of the first bar rhymes with the middle of the second), there does many times seem to be a pattern to the emphasis throughout bars. By this I mean that there are usually two emphasis (or accents) in each bar.
Usually, somewhere during the middle of a bar there is a break, a pause, or an emphasis in a syllable, and then there is another similar emphasis towards the end of the bar. A good example would be 50 Cent's second verse from "In Da Club":
(Note: The "bolded" letters indicate the emphasis I spoke about)
"And you should love it, way more then you hate it
Nigga you mad? I thought that you'd be happy I made it
I'm that cat by the bar toastin' to the good life
You that f*ggot-*ss nigga tryin' to pull me back right?
When my joint get to pumpin' in the club it's on
I wink my eye at ya b*tch, if she smiles she gone
If the roof on fire, let the motherf*cker burn
If you talkin' about money homie, I ain't concerned
I'ma tell you what Banks told me "Cous' go 'head switch the style up
If the n****s hate then let 'em hate then watch the money pile up
Or we go upside your head with a bottle of bub'
They know where we f*ckin' be..."
Hopefully you have a better idea of what I mean by now. If you simply think about each individual bar as having two parts then you can attempt to pause at the beat-break (the drum beat or bass tends to pound twice per bar) present around the middle of each bar and allow your flow to synchronize with the beat. This is CRITICAL. Treat your voice/words like an instrument that like any other instrument must be in tune with the beat.
Don't be afraid to adjust your flow by using emphasis, stretching out your words, shortening words, chopping words in mid sentence and continuing them in the next bar, accenting syllables, (by that I mean accenting certain syllables even when they normally shouldn't be) etc…just to make them fit appropriately to the end of the beat. You might even consider using synonyms to make the bar fit the beat.
Your Lyric Content
There are many ways to start a verse. You can tell a real story, describe an event, narrate a fictional scene, etc. Your approach will vary depending on your style. Let's say you're writing literally about what you're doing at the moment...actually writing a rhyme… (or at least that's how you choose to begin)…you can say something like:
"It cost me more to be free than a life in the Penn/
Makin' money off of cus words, writin' again/
Learn how to think ahead so I fight with my pen/
Late night down Sunset, likin' the sin" - 2pac
Or perhaps you can say it like this…
"F*ck a pad and a pen, I write rhymes on the IBM/
Ebonics is dead and binary language is in" - Canibus
Obviously, both of these approaches are distinct. The hardest part about writing a verse, though, is starting it. Once you begin, and you know your style, it's just a matter of keeping it going.
Now, as far as ending or wrapping up a verse…you can do many things with that as well. You can follow the example from 50 Cent (above) and end your verse half-way (and allow the beginning part of your chorus or "hook" to end the last part of your final bar for you). You can also just complete the bar but on the same vibe as that of your chorus, for example:
"What's the worst they can do to a ****a, got me lost in Hell/
To live and die in L.A., on bail…(and my angels sing)" - 2pac "2 Live and Die in LA"
The idea is to let your verse end on a vibe that easily flows into the mood that your hook provides.
Final Note
Playing around with your voice or tone (intonation) is also a great way to add a bit of flare. Adding something unique to your flow seems more and more necessary in this highly competitive market we call the rap industry. It is not necessary to create a gimmick (there is a fine line between a gimmick and a unique style…but interestingly, most mass consumers of media don't notice or care what that difference is) but it is important to have something distinctive about your flow to help you stand out and be remembered.
First of all…what are bars, exactly?
Well bars are simply a form of dividing a verse into segments. Each segment, or "bar", consists of one line. The following is an example of two bars by Jay-Z:
"And all you other cats takin' shots at Jigga/
You only get half a bar, 'F*ck ya'll ni***s'"
As you can see both "lines" or "bars" rhyme at the end. This is usually the case, but as verses are created more and more organically by artists (read: freestyled) they many times won't end so picture perfect…but don't worry about that for now. In case you're a little confused, you'll get a clearer picture through future articles.
So Why 16 bars?
If you're a hip hop fan, you have undoubtedly heard the term, "16 bars" at some point. Maybe something along the lines of, "Nas dropped a sick 16 bars on that mixtape."
The reason that "16" became the standard is because the music industry strategically determines the most effective duration of a typical song. Usually the shorter the song is, the better for the record's success. The shorter the song is, the more times that it can be played on the radio, the more times that it can be played on the radio, the more popular the song will become, the more popular the song becomes…you get the picture.
Also taken into account was the average amount of time a run-of-the-mill listener would wait between hooks before becoming tired. You have to keep in mind that not all listeners are looking out for the real substance of the song (the verses) but instead merely tune in to listen to the beat and the chorus. A verse that's too short will leave something to be desired (substance) and/or may grow old fast (since the hook/chorus will be played more frequently). A verse that's too long will lose many mainstream listener's attention.
So in time, the typical "16 bar" format was created. About the same time, the typical 8 bar chorus came into popularity in hip hop. This was long ago…dates mean little. Don't get this confused, though…not every song sticks to the 16's and 8's formula. Ghostface Killah came out with the single, "All That I Got Is You" which was one long verse…with one long hook at the end. Therefore, a lot of songs vary from the classic 3 verse and 3 hook layout, and they even vary from the classic 3-minute-a-song set-up. Some songs are 7 minutes long. But if you pay attention, most of these "odd" songs are usually not released as singles and if they are, they are usually released by more well-known artists with a well established fan base. The fact is that most pop or "popular" songs still follow the typical format most preferred by the radio and recording industry…and that is the "16-bar verse" and the "3 verse" format. (Note: Actually, with the increased popularity of catchy "breaks" "bridges" and "hooks", artists are increasingly neglecting the 3rd verse of their songs.)
In case you're wondering, the radio industry prefers shorter songs so that they can vary their playlist in order to reach more listeners. Reaching more listeners and keeping more listeners is important to radio stations so that the advertising spots they offer are attractive to advertisers.
There are even radio stations that have been known to speed up the pace of their songs so as to shorten their length of play…of course these songs tend to sound nothing like they were intended to, but that's the cost they are willing to take.
Writing 16 Bars: Part 1
So how should you go about writing the actual 16 bars? Well, there's two broad methods; to a beat, or without a beat. I recommend you write any verse to a beat. Firstly, because a lot of beats follow very similarly timed or even exactly similar drum patterns, therefore, one of your verses may be able to adapt very smoothly to various beats. Second, and more importantly, when you write to a beat that you're listening to, you can more easily play with your bars. By that I mean you can stretch your words or adjust your flow and say something like:
"Shopping sprees, coppin' three, deuce Beamer IS's/
Fully loaded…ahhhhh yes! (haha)" - Jay-Z
That was from "Can't Knock The Hustle" and when Jay-Z was at the top of his game lyrically (in my humble opinion). But, you can see how his pause during that second bar built up the punch line to that lyric. This is facilitated by listening to a beat while putting together your verse.
You can also choose to just write. Forget the beat, just write. A lot of times we don't have the luxury of having a beat playing when creativity strikes. That's ok…you can make it work anyway. If you are intending to put together a whole verse, however, it is best to at least have a beat in your head if not in your ears. And I don't mean a popular rap beat, necessarily…just a simple drumbeat will do. The idea is to have something in mind that you can bounce to…literally…if you find yourself bopping your head while you're formulating a rhyme…that's good!
Writing 16 Bars: Part 2
When you write lyrics, there is a very important principle which will benefit many of you to understand. It has already been made clear that bars tend to rhyme at the end (mostly). But what about the center? Though rhymes don't necessarily need to rhyme in the middle (meaning the middle of the first bar rhymes with the middle of the second), there does many times seem to be a pattern to the emphasis throughout bars. By this I mean that there are usually two emphasis (or accents) in each bar.
Usually, somewhere during the middle of a bar there is a break, a pause, or an emphasis in a syllable, and then there is another similar emphasis towards the end of the bar. A good example would be 50 Cent's second verse from "In Da Club":
(Note: The "bolded" letters indicate the emphasis I spoke about)
"And you should love it, way more then you hate it
Nigga you mad? I thought that you'd be happy I made it
I'm that cat by the bar toastin' to the good life
You that f*ggot-*ss nigga tryin' to pull me back right?
When my joint get to pumpin' in the club it's on
I wink my eye at ya b*tch, if she smiles she gone
If the roof on fire, let the motherf*cker burn
If you talkin' about money homie, I ain't concerned
I'ma tell you what Banks told me "Cous' go 'head switch the style up
If the n****s hate then let 'em hate then watch the money pile up
Or we go upside your head with a bottle of bub'
They know where we f*ckin' be..."
Hopefully you have a better idea of what I mean by now. If you simply think about each individual bar as having two parts then you can attempt to pause at the beat-break (the drum beat or bass tends to pound twice per bar) present around the middle of each bar and allow your flow to synchronize with the beat. This is CRITICAL. Treat your voice/words like an instrument that like any other instrument must be in tune with the beat.
Don't be afraid to adjust your flow by using emphasis, stretching out your words, shortening words, chopping words in mid sentence and continuing them in the next bar, accenting syllables, (by that I mean accenting certain syllables even when they normally shouldn't be) etc…just to make them fit appropriately to the end of the beat. You might even consider using synonyms to make the bar fit the beat.
Your Lyric Content
There are many ways to start a verse. You can tell a real story, describe an event, narrate a fictional scene, etc. Your approach will vary depending on your style. Let's say you're writing literally about what you're doing at the moment...actually writing a rhyme… (or at least that's how you choose to begin)…you can say something like:
"It cost me more to be free than a life in the Penn/
Makin' money off of cus words, writin' again/
Learn how to think ahead so I fight with my pen/
Late night down Sunset, likin' the sin" - 2pac
Or perhaps you can say it like this…
"F*ck a pad and a pen, I write rhymes on the IBM/
Ebonics is dead and binary language is in" - Canibus
Obviously, both of these approaches are distinct. The hardest part about writing a verse, though, is starting it. Once you begin, and you know your style, it's just a matter of keeping it going.
Now, as far as ending or wrapping up a verse…you can do many things with that as well. You can follow the example from 50 Cent (above) and end your verse half-way (and allow the beginning part of your chorus or "hook" to end the last part of your final bar for you). You can also just complete the bar but on the same vibe as that of your chorus, for example:
"What's the worst they can do to a ****a, got me lost in Hell/
To live and die in L.A., on bail…(and my angels sing)" - 2pac "2 Live and Die in LA"
The idea is to let your verse end on a vibe that easily flows into the mood that your hook provides.
Final Note
Playing around with your voice or tone (intonation) is also a great way to add a bit of flare. Adding something unique to your flow seems more and more necessary in this highly competitive market we call the rap industry. It is not necessary to create a gimmick (there is a fine line between a gimmick and a unique style…but interestingly, most mass consumers of media don't notice or care what that difference is) but it is important to have something distinctive about your flow to help you stand out and be remembered.
Saturday, May 8, 2010
How To Pick A Subject Or Topic To Rap Or Write About
Write a Rap About
Rapping is an art form that a lot people can learn but only a few have mastered. Those that have mastered it have made a good living off of it and have learned how to pick a subject to rap about with relative ease. To pick a subject or top to rap or write about can be easy or it can be difficult depending on how hard you make it. There are an infinite number of things around you for you to write a rap about. You can write a rap about people, a rap about money, a rap about cars, or a rap about anything else. If you are stumped and don't know what to write about then think about the things that interest you. What are your favorite things to do? What is your favorite sport? Whats your favorite car? Your favorite song? There's things that I do to get ideas for a rap song and to brainstorm for songs to write about. One thing that I do that is fun is I will listen to
my favorite rap song and sing along to the lyrics. But what makes it fun and helpful in picking something to write about is I will substitute some of my own funny words in place of the real lyrics to the song. For instance if the song says "I love to get money everyday and every night", I would change the lyrics to "I love to be funny and wear my pants tight." This adds a funny and fun twist to the song and it allows me to brainstorm and get ideas at the same time. Now I know how to write a rap song. Or now I have gotten some ideas of what to rap about.
my favorite rap song and sing along to the lyrics. But what makes it fun and helpful in picking something to write about is I will substitute some of my own funny words in place of the real lyrics to the song. For instance if the song says "I love to get money everyday and every night", I would change the lyrics to "I love to be funny and wear my pants tight." This adds a funny and fun twist to the song and it allows me to brainstorm and get ideas at the same time. Now I know how to write a rap song. Or now I have gotten some ideas of what to rap about.
Look around you for rap subjects
Another way to find a subject to rap about is to look around you. Are you at home, at someone's house, or at work. Any of these places can give you ideas of what to write about. If you are at home then look around the room that you are in. What was the last thing you used in that room? You can rap about that thing you last used. What about the person's house that you are at? Is there someone else there of the opposite x that you find attractive? That can be a good idea for a love rap. You can rap about how that person makes you feel every time you see them. Think about LL Cool J. song "I Need Love." Love raps are a huge part of the rap industry songs today. So you cant go wrong with one of those type of songs. What about work? Are you at work on a break thinking up raps? Think about the a person at work that you may not care much for. Maybe it's a supervisor or boss that is too pushy and assertive. You could write a rap about how you feel about that person. And let's not forget the person at work that is always in your business and not in their own and seems like they would love to get you fired. You could probably think up about 10 raps in a day about that type of person. There are infinite subjects and situations to write about.Monday, March 15, 2010
ThRob UGLY's first album Skelator (Re-Released)!!!
So I found the original mp3s of my self-produced and self-engineered solo album "Skelator" and restored the original intended skits for the release. Please remember I was a 23 year old battle rapper! Who recorded with nothing but Cool Edit Pro 2.0 a computer mic and alot of heart. So yes, I produced my own album-- it's not the greatest either, I lived at home with my parents during recording! So its a little sloppy. But it's part of my history! So I re-released it for the die-hard fans who lost the burnt copies I made for them! I also re-did the artwork for the album! Its being released by Mailbomb Records. Since I don't consider myself a career rapper, more just a producer that likes to vent every once awhile I never bothered getting it all on Itunes. Not until I actually record a real third album! Let alone I'd like to retrieve more of my "lost" tracks!
01 Going Somewhere (4:05)
02 Sum Mufuckin' Raw Shit Ft LBS. (4:17)
03 Im The M.C. (Skit) (0:09)
04 Rent A Rob Ft AbandonLandon (5:59)
05 Boiler Room Rants (4:06)
06 You're Not You're Fuckin' Khakis Ft AbandonLandon (2:55)
07 Ruthless (3:38)
08 Doja Ft MR. UGLY (3:32)
09 Home (4:17)
10 No Love Ft AbandonLandon (3:03)
11 Former Self (5:49)
12 Genuine Freestyles Ft AbandonLandon (3:33)
13 Nicknames (1:15)
14 Thoughts... (Interlude) (0:21)
15 Envy (5:16)
16 The UGLY Life Ft MR. UGLY (4:18)
Friday, February 5, 2010
WHO WANTS TO COLLABORATE????
Im sitting on a mess of instrumentals, a few are flying out the door-- so grab up what you can!!! I'm interested in hearing what other people come up with. I know I've promised ThRob UGLY "Making The Rest Of The World Beautiful"-- (LP). But I've also pushed back the "P.R.O.J.E.C.T.S. MIXTAPE." Simply because of the lack of guest appearances. Of course I moved nearly 2000 miles away from Steubenville, OH.! So anyone who wants to collab message me, call me, text me. Throw me an idea of what sound you're looking for and we can go from there. Peace.
Monday, January 4, 2010
Brand Yourself
100 PERSONAL BRANDING TACTICS USING SOCIAL MEDIA
http://www.chrisbrogan.com/100-personal-branding-tactics-using-soci...
Get personal branding video advice and tips from William atPersonal Branding TV
http://www.williamarruda.com/
Personal Branding - What Color is Your Brand
http://www.youtube.com/watch?v=XDohoPavchc
Personal Branding Lessons | Brand-Yourself.com Blog
http://blog.brand-yourself.com/personal-brand/how-to-personal-brand...
Personal Brand Examples From Oprah, Woods & Richard Branson | Brand-Yourself.com Blog
http://blog.brand-yourself.com/personal-brand/personal-brand-interv...
BRANDING | The Branding Agency : Los Angeles, California : Denver, Colorado : Chicago, Illinois
http://www.thebrandingagency.com
Music Marketing Check-List 101 – Green Buzz Agency Blog Post | ImaginePR
http://imaginepr.net/2010/09/13/music-marketing-check-list-101-gree...
Ultimate List of Top 29 Tools for Competitive Intelligence | Lakeshore Branding
http://www.lakeshorebranding.com/company/blog/ultimate-list-of-top-...
You the Brand
http://www.youtube.com/watch?v=R6FqxxYABvU&feature=related
Branding Yourself Effectively
http://www.youtube.com/watch?v=IsCZ6cdZ1_Q&feature=related
Branding yourself
http://www.youtube.com/watch?v=NEJvpo5X9r4
Start to use these tools and watch the outcome it will amaze you!!!
Rob Clark Jr.
TEKNODROME or ThRob UGLY
Friday, January 1, 2010
Are you on Point? The law regarding music sampling
Sampling is the use of portions of prior recordings which are incorporated into a new composition. Sampling has become an integral part of many genres of music today. When you sample someone's song without permission, it is an instant copyright violation. It is the unauthorized use of copyrighted material owned by another. Sampling without permission violates two copyrights-the sound recording copyright (usually owned by the record company) and the copyright in the song itself (usually owned by the songwriter or the publishing company).
If you want to use a sample legally, you must obtain permission from the copyright owner. The copyright owner is usually a publishing company or record label. Remember that you must obtain permission from both the owner of the sound recording and the copyright owner of the underlying musical work. The fee for a license to use a sample can vary tremendously. The fee will depend on how much of the sample you intend to use (a quarter second is a minor use; five seconds, a major use), the music you intend to sample (a Madonna chorus will cost more than an obscure drum beat), and the intended use of the sample in your song (it is more costly to build your entire song around the sample than to give it only minor attention).
There are two different ways to pay for a license. First, you can pay a flat fee for the usage. A buy-out fee can range from $250 to $10,000 on a major label. Most fees fall between $1,000 and $2,000. The other way to pay for the license is a percentage of the mechanical royalty rate. The mechanical royalty rate is the amount a person pays to the copyright owner to make a mechanical reproduction (copy) of the song. A license which is a percentage of the mechanical royalty rate is generally between ½ ¢ and 3¢ per record pressed. Everything is negotiable and it is not unusual to get a license for free, if you ask.
If all of this sounds confusing, there's hope. There are businesses devoted entirely to securing and negotiating clearances for samples. These firms charge less than an entertainment attorney would charge and are generally more knowledgeable about the going rates for uses.
If you use samples without obtaining the proper clearance licenses, you have to be aware of the penalties. A copyright infringer is liable for "statutory damages" that generally run from $500 to $20,000 for a single act of copyright infringement. If the court determines there has been willful infringement, damages can run as high as $100,000. The copyright owner can also get a court to issue an injunction forcing you to cease violating the copyright owner's rights. The court can also force you to recall all your albums and destroy them.
There is also a rumor going around that you can use four notes of any song under the "fair use" doctrine. There is no "four note" rule in the copyright law. One note from a sound recording is a copyright violation. Saturday Night Live was sued for using the jingle, "I Love New York" which is only four notes. The test for infringement is whether the sample is "substantially similar" to the original.
Remember, a judge or jury is the one who determines this and these people may be much less receptive to your music than your fans. My point is you cannot rely on fair use as a defense.
Sampling can also have tremendous consequences if you have a record contract. Most record contracts have provisions called "Warranties", "Indemnifications" and "Representations". These provisions constitute a promise that you created all the music on your album and an agreement to reimburse the label if it is sued. These same provisions are included in all contracts throughout the entertainment distribution chain. The record company has them with the artist, the distributors with the record company, the record stores with the distributors, and so on. Well, all these warranties point back at the artist who is responsible to everyone else! Therefore, if you violate someone else's copyright, you will be paying all the bills of your record company, distributor and any stores which incur expenses as a result of your infringement. This can run into serious money as you can imagine. You will also be in breach of your record contract. Read your record contract carefully before using any samples.
Michael McCready represents clients in all areas of the music industry including music, radio, television, stage, and book publishing. His music law practice includes representing bands, record labels, production companies, recording studios, promoters, and music publishers. His work includes copyrights, analyzing and drafting contracts, trademarks, publishing, and litigation.
www.copynot.org <--- VERY INFORMATIONAL
Contrary to popular belief and practice, sampling of an original copyrighted song without permission of the copyright’s owner is illegal copyright infringement.
Unauthorized sampling actually violates two potential legal rights. First, the instant you sample a portion of someone’s song (no matter how small), it constitutes a violation of the copyright in song itself - the © symbol - which is owned by the song writer or the music publisher. Second, sampling violates the sound recording copyright - the symbol - which is usually owned by the record company or recording artist. Thus, sampling without prior permission subjects the illegal copier to a copyright infringement in federal court by the original author (or publisher) and by the record company.
If you want to use a sample legally, you must obtain permission from the copyright owner. The copyright owner is usually a publishing company or record label. Remember that you must obtain permission from both the owner of the sound recording and the copyright owner of the underlying musical work. The fee for a license to use a sample can vary tremendously. The fee will depend on how much of the sample you intend to use (a quarter second is a minor use; five seconds, a major use), the music you intend to sample (a Madonna chorus will cost more than an obscure drum beat), and the intended use of the sample in your song (it is more costly to build your entire song around the sample than to give it only minor attention).
There are two different ways to pay for a license. First, you can pay a flat fee for the usage. A buy-out fee can range from $250 to $10,000 on a major label. Most fees fall between $1,000 and $2,000. The other way to pay for the license is a percentage of the mechanical royalty rate. The mechanical royalty rate is the amount a person pays to the copyright owner to make a mechanical reproduction (copy) of the song. A license which is a percentage of the mechanical royalty rate is generally between ½ ¢ and 3¢ per record pressed. Everything is negotiable and it is not unusual to get a license for free, if you ask.
If all of this sounds confusing, there's hope. There are businesses devoted entirely to securing and negotiating clearances for samples. These firms charge less than an entertainment attorney would charge and are generally more knowledgeable about the going rates for uses.
If you use samples without obtaining the proper clearance licenses, you have to be aware of the penalties. A copyright infringer is liable for "statutory damages" that generally run from $500 to $20,000 for a single act of copyright infringement. If the court determines there has been willful infringement, damages can run as high as $100,000. The copyright owner can also get a court to issue an injunction forcing you to cease violating the copyright owner's rights. The court can also force you to recall all your albums and destroy them.
There is also a rumor going around that you can use four notes of any song under the "fair use" doctrine. There is no "four note" rule in the copyright law. One note from a sound recording is a copyright violation. Saturday Night Live was sued for using the jingle, "I Love New York" which is only four notes. The test for infringement is whether the sample is "substantially similar" to the original.
Remember, a judge or jury is the one who determines this and these people may be much less receptive to your music than your fans. My point is you cannot rely on fair use as a defense.
Sampling can also have tremendous consequences if you have a record contract. Most record contracts have provisions called "Warranties", "Indemnifications" and "Representations". These provisions constitute a promise that you created all the music on your album and an agreement to reimburse the label if it is sued. These same provisions are included in all contracts throughout the entertainment distribution chain. The record company has them with the artist, the distributors with the record company, the record stores with the distributors, and so on. Well, all these warranties point back at the artist who is responsible to everyone else! Therefore, if you violate someone else's copyright, you will be paying all the bills of your record company, distributor and any stores which incur expenses as a result of your infringement. This can run into serious money as you can imagine. You will also be in breach of your record contract. Read your record contract carefully before using any samples.
Michael McCready represents clients in all areas of the music industry including music, radio, television, stage, and book publishing. His music law practice includes representing bands, record labels, production companies, recording studios, promoters, and music publishers. His work includes copyrights, analyzing and drafting contracts, trademarks, publishing, and litigation.
www.copynot.org <--- VERY INFORMATIONAL
Contrary to popular belief and practice, sampling of an original copyrighted song without permission of the copyright’s owner is illegal copyright infringement.
Unauthorized sampling actually violates two potential legal rights. First, the instant you sample a portion of someone’s song (no matter how small), it constitutes a violation of the copyright in song itself - the © symbol - which is owned by the song writer or the music publisher. Second, sampling violates the sound recording copyright - the symbol - which is usually owned by the record company or recording artist. Thus, sampling without prior permission subjects the illegal copier to a copyright infringement in federal court by the original author (or publisher) and by the record company.
Monday, June 29, 2009
Why Wouldn't I Sell My Beats Online?
As a music producer in the Los Angeles area I have seen a lot of artists as well as labels and big time studio's come and go. For some people they were just done with the music business and decided to do something new while others were pushed out. I am one of the lucky ones I have been producing since the age of 21 and I am now 32 years young. Things are different from the times when albums sold 8 million copies without even trying, so what happen? I feel that the fans and the artists and in some cases the producers have been neglected.
Major record labels have been getting greedier finding new ways to rape artists and producers. How can you blame the Internet for record sales being down? As of today there are 600 million people on Facebook if only 50 million of them brought albums that is still good money. Major labels do not know how to connect with the people anymore. Let's face it the music on the radio sucks and the labels have lost control and they do not know what to do next.
That is why as a music producer you have to be up on your game right now. Since 2001 I have seen so many producers, be it know or unknown make the transition to selling beats online. For some major producers they looked at it as a smack in the face and this showed me they know nothing about making money they only know how to make beats. It's not their fault the labels kept them busy so they would not figure out how the system works. Now you have these once hot producers stuck with nowhere to go sitting on millions of dollars worth of beats. These once hot music producers, have no idea how much money is online so some choose to bash the whole Internet.
The one thing I have learned in my life is you cannot let pride keep you broke. Some producers feel they have to come online and sell beats for crack head prices. That is up to you and how you want to brand your product online it's all in your marketing. The myths about selling beats online are started by people who never even tried to sell beats at all. This is the best time to get beat sales online and offline like never before. Recording artist, out number music producers online 500 to 1 so you always have new clients. You just have to know how to communicate with them and build trust. The Internet allows you to be everywhere every time twenty-four seven three sixty-five days out the year. Now tell me wouldn't you like to be apart of that?
I have been in the presence of billion dollar Internet marketers from around the world and they say the same thing before you decide to sell any products online have a plan. I agree with that 100% as a music producer that has seen 16 year olds sell beats online and make any where from $8,000 to $15,000 a month they all had one thing in common they had a plan.
In conclusion, like it or not the Internet has changed the music business as we know it. This has to be the best time ever to be a music producer no more working on other people terms and being told what you can and can't create. Remember life is about taking risk and daring to be different nobody remembers the gimmick they remember where the gimmick came from.
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