stackhouse
New member
is there any one up in here thats made a whole cd .if so whats your procedure.
cd's
- Thread starter stackhouse
- Start date
SPINSTERWUN
Active member
You might want to expound on your question, because it was unclear.stackhouse said:
stackhouse
New member
A SHOT WHATS UP MANG WHERE DID YOU START TO PUT THE CD TOGETHER AND ABOUT HOW MUCH SCRILLA IM I GOING TO NEED
It's very simple in fact!
I did one album for a local crew back in '98, and I did two albums for my group in past 3 years. I also did over 50 individual songs for many local mc's that were (or were not) released on some demos and mixtapes during past 4-5 years.
You just have to be tight with your beats and it'll happen. I have a huge catalogue with over 200 beats and everytime someone wants to do something I give him/her cd with at least 30 beats that I think he'll like. If it's official release, I have to negotiate prices with label, otherwise it's all up to verbal agreement with artist.
I consider myself producer, not just a beat maker, so I'm there in studio from day one. I give suggestions from very early phase, even suggest some vocal overdubs, duplexes and go through tightening back vocals. After that, I take all the vocals to my computer at home. It's very important to know to work in many programs. For instance, if it's Pro Tools session, I'll work directly in Pro Tools at home with no conversion. You can allways have demo versions of software! So when I take dry vocals to my home system, I'll polish the beat, make all the arrangements, breaks and add some samples if needed. Artist gets to hear the final arrangement and makes his suggestions as he feels. After the arrangement is done, I'll go bouncing every individual track in separate file (24-48). It's important to have all the tracks bounced at maximum level to have the deepest bit depth! Tracks are then loaded in studio's system (tape or computer) along with vocals and It's time to mix. It depends on studio we're working in, sometimes I myself prefer to do the mix and sometimes it's in hands of studio's engineer. After the mix is completed I consider my work done. I don't mess with mastering because I don't believe that a person who is involved in a project from the day one can be objective when doing mastering.
When doing something big, like working on an album, it's not about what software/hardware you use at home for making beats, but more how can you professionally handle the project. From negotiating prices to mixing. Remember that you allways have to know what you're doing especially if you're in a studio with a guy who probably thinks that you're some idiot claiming to know his equipment better then himself! Studio owners and engineers can sometimes give you realy hard pain in the ass. Of course, sometimes they are great! But it's not your choice of studio, label picks one, so you just have to manage.
It's all about knowing audio theory in details. If you don't know what is compressor and what's the difference between flange and phaser then your in a big trouble. Of course, that is if you wanna be in charge of your production. If you're just into beat making then it doesn't matter. I personaly want to have complete control in every aspect. If I feel that kick drum should be muddy and strong then I have to roll my sleeves and make it sound exactly like that. It's a complex combination of social and technical skills.
Shot
I did one album for a local crew back in '98, and I did two albums for my group in past 3 years. I also did over 50 individual songs for many local mc's that were (or were not) released on some demos and mixtapes during past 4-5 years.
You just have to be tight with your beats and it'll happen. I have a huge catalogue with over 200 beats and everytime someone wants to do something I give him/her cd with at least 30 beats that I think he'll like. If it's official release, I have to negotiate prices with label, otherwise it's all up to verbal agreement with artist.
I consider myself producer, not just a beat maker, so I'm there in studio from day one. I give suggestions from very early phase, even suggest some vocal overdubs, duplexes and go through tightening back vocals. After that, I take all the vocals to my computer at home. It's very important to know to work in many programs. For instance, if it's Pro Tools session, I'll work directly in Pro Tools at home with no conversion. You can allways have demo versions of software! So when I take dry vocals to my home system, I'll polish the beat, make all the arrangements, breaks and add some samples if needed. Artist gets to hear the final arrangement and makes his suggestions as he feels. After the arrangement is done, I'll go bouncing every individual track in separate file (24-48). It's important to have all the tracks bounced at maximum level to have the deepest bit depth! Tracks are then loaded in studio's system (tape or computer) along with vocals and It's time to mix. It depends on studio we're working in, sometimes I myself prefer to do the mix and sometimes it's in hands of studio's engineer. After the mix is completed I consider my work done. I don't mess with mastering because I don't believe that a person who is involved in a project from the day one can be objective when doing mastering.
When doing something big, like working on an album, it's not about what software/hardware you use at home for making beats, but more how can you professionally handle the project. From negotiating prices to mixing. Remember that you allways have to know what you're doing especially if you're in a studio with a guy who probably thinks that you're some idiot claiming to know his equipment better then himself! Studio owners and engineers can sometimes give you realy hard pain in the ass. Of course, sometimes they are great! But it's not your choice of studio, label picks one, so you just have to manage.
It's all about knowing audio theory in details. If you don't know what is compressor and what's the difference between flange and phaser then your in a big trouble. Of course, that is if you wanna be in charge of your production. If you're just into beat making then it doesn't matter. I personaly want to have complete control in every aspect. If I feel that kick drum should be muddy and strong then I have to roll my sleeves and make it sound exactly like that. It's a complex combination of social and technical skills.
Shot
stackhouse
New member
shot good looking out playa 4 the info thats just what i wanted to know. thanx