Sunday, June 3, 2012

What defines playability?


What defines playability?

Today while sharing an enjoying ride downtown with friends, I happen to turn a station that was foreign to my radio.  An avid proponent to exploring new music, I thought it might be interesting to survey the radio-stations’ musical selections.  After entering my choice for a couple minutes the other individuals in the vehicle strongly suggested changing the station or perhaps even putting on CD (which is a compact disc for those 13 and under).   However, unfazed by the barrage of comments and complaints, I remained steadfast in my decision.  Luckily, this decision was vindicated when a cover song by the Milow - Ayo Technology (originally done by 50 cent & Justin Timberlake) came on.   It was then I baited the others with question…

“If both the content, lyrics and cadence are all transferable, then why isn’t the song”?

Unsatisfied with their answers and slightly intrigued by the altered version, I rushed to Google to get a little more information.  It turns out that this simplified of version was doing just as good if not better than the 50 cent and Timberlake assisted song.  According to a number sources, the Milow version charted respectively just about everywhere except the U.S. including The Netherlands, Sweden, Denmark, Switzerland, Belgium.  It also peaked at number two in Germany, Spain and Austria (not to mention its top ten distinction in France, Italy and Finland).

With a bevy of accolades and a hustle that resembled that of Curtis (50 cent) Jackson’s early days (at least on paper), Milows’ long plight for recognition has finally come to fruition.  However, in an effort to perhaps pacify my self I concocted the following three reasons as rationale for the stations decision to play Milow version over 50 cents. 

3 Potential Answers

Image- Despite Jackson’s recent journey into mainstream America, many still associate him with the persona he carried during his street days and early on his career.  As a result many still hit him with the proverbial black ball.

Comfort- at the time of Ayo’s release Justin Timberlake was still facing backlash from being associated with the nip slip orchestrated by he and Janet Jackson.  While he did fair better then Janet in the situation some still chose to condemn all things Timberlake related.

Format- There is also the distinct possibility that although the lyrics remained the same, and the both cadence and content as well.  Switching the artist provide just enough dissidence from the original to make it acceptable on a whole other platform. 

Saturday, May 19, 2012

Rapper inducted into the Bronx Walk of Fame


 
In the recent years we have been privileged enough to witness a plethora of musicians climb the ranks from musical stars to cultural icons.  Provided with little more than a platform and a microphone, these individuals have found a way to garner fan base like few have before them.  And although their influences travel far beyond what they may have called familiar at one point, they will forever be immortalized by those that identified with them first; their home…  It is within this same vein that we applaud Borough President Ruben Diaz Jr. for his motion to induct rapper Fat Joe into the Brooklyn Walk of Fame. 

Joseph Antonio Cartagena (stage name Fat Joe) was born August 19, 1970.   The Brooklyn native was the co-founder of two very influential hip-hop groups (Terror Squad & D.I.T.C.).  Jose’s repertoire includes:

·      Represent (1993)
·      Jealous Ones Envy  (1995)
·      Don Cartagena (1998)
·      Jealous Ones Still Envy (2001) inducted
·      Loyalty (2002)
·      All Or Noting (2005)
·      Me Myself & I (2006)
·      Elephant In The Room (2008)
·      Jealous Ones Still Envy 2 (2009)
·      The Dark Side Vol. (2010)

It is due in large part to these musical offerings that Diaz Jr. chose Joe.  "He announced that this weekend, he will induct rapper Fat Joe into the Bronx Walk of Fame, for being "an outstanding citizen and a role model to countless Bronxites. He has positively represented the Bronx and throughout his music career has helped keep the Bronx on the 'musical map,' becoming one of our very own homegrown success stories (New York Daily News).

As if his musical contributions weren’t impressive enough, one may also point to his influences in another department as inspiration as well.  “Rapper Fat Joe has lost over 100 pounds in the past year, scaling back from his all-time high of 460, according to a recent article in the New York Daily News. But he isn't just concerned with his own health -- he sees his extreme weight as a symptom of social problems in the community where he comes from” (www.huffingtonpost.com).  In era were obesity is running ramped and fast food has become a staple; Joe jeopardized his established persona to embark upon a more health conscious lifestyle.  And in the process not only transforming his image but also providing hope for others in similar situations. 

While we celebrate this event, know that not everybody shares our excitement.  Below is link to Daily News writer Patrice O'Shaughnessy article which questions the presidents decision… 
Rapper Fat Joe Honored

Talk To You Soon
  

Thursday, May 3, 2012

A Quick Look At Pro Tools 9 & 10



Good afternoon friends,

This time around we here at the Music Casting Network will take a look at the latest release of AVIDS DAW, Pro Tools 10.  As connoisseurs of digital recordings (and the technology that has made it possible), advancements in fields as impressive as this should never go unnoticed. 

In an effort to better understand the programs meaning to the industry, indie artist and music on the digital landscape overall we examine the program against its predecessor Pro tools 9.    Once hailed as the end-all for the DAW’s Pro Tools 9 had relatively short time span as the industry leader.  We’ll also take a look at a couple videos that help illuminate these two vastly different programs. 
 
Pro Tools MP 9 – The Run Down ($819.00)


 

This is strongly considered as an introductory version for ambitious beginners, as well as those on a budget.   AVID also provides multiple ways to purchase the program including stand alone or as part of a Pro Tools MP software/hardware bundle. 

Take a look at some of the programs highlights listed below…

Supported tracks


Maximum simultaneous audio tracks @ 48/96/192 kHz)
48/32/ –
Audio recording (maximum simultaneous tracks)
18
Maximum sample rate supported (hardware dependent)
24-bit, 96 kHz
Supported plug-in formats (virtual instruments, effects, and sound processors)
RTAS, Audio Suite
Beat Detective
Single track only

Pro Tools HD 10 ($999.00 – $2,499.00)



 

With a much heftier price tag, the newest release of the program boasts a variety of upgrades (see the chart below).   However, it also provides users with functions that were never possible before.  Some of which include Surround Mixing, VCA Mixing as well as… “Advanced video editing (multiple video tracks, multiple video playlists, and video editing tools) (http://www.avid.com/US/products/family/pro-tools/compare)”.


Supported tracks


Maximum simultaneous audio tracks @ 48/96/192 kHz)
256/128/64
Audio recording (maximum simultaneous tracks)
256
Maximum sample rate supported (hardware dependent)
32-bit, 192 kHz
Supported plug-in formats (virtual instruments, effects, and sound processors)
AAX DSP (Pro Tools / HDX only), AAX Native, TDM (Pro Tools HD only), RTAS, Audio-Suite
Beat Detective
Multitrack

For a complete side by side comparison visit http://www.avid.com/US/products/family/pro-tools/compare
 
While I, like many of you will be waiting for PT 10’s price to drop a little,  you can check some cool trick and techniques still available to us PT 9 users here… http://artistonly.blogspot.com/b/post-preview?token=2BCdFTcBAAA.Gva_ax0Otb4ZDs-_aN7lWw.-cVXb7EewtvPR5HL0qerFw&postId=3852012867628557141&type=POST

Talk To You Soon…


Thursday, April 19, 2012

Itching To Perform?

Today we are highlighting five burgeoning open Mic venues (in the greater Los Angeles area) that we feel every artist should attend. While most musicians would jump at the opportunity to skip directly to doing stadiums we’ll give you a couple leads on some more realistic locations until that time comes.


Canter's Kibbitz Room 419 N. Fairfax, Los Angeles, CA.


Located in the heart Los Angeles, Ca. Canter Kibbitz boasts an old town feel in a modern setting. The food aside the building itself serves as an obvious attraction magnet for attention (consistently bringing new clientele and potential fans).


Fais Do-Do 5257 Adams Blvd., Los Angeles, CA.


Fais Do-Do is another great venue conveniently located in city of Los Angeles. With open mic sessions held on the third Tuesday of every month, this spot provides a welcoming environment and well promoted showcase. Because the location doubles for a variety of other showcases it often brings out a diverse crowd, which is often a reflection of the performers.


The Gig (Hollywood) 7302 Melrose Avenue, Los Angeles, CA.

The Gig (West L.A) 11637 West Pico Boulevard, Los Angeles, CA.


With two easily accessible locations The Gig is one the few locales dedicated specifically to performing. While the schedule for their open mics were not listed they state that information is available upen request. To acquire more info on their shows, call (323) 936-4440 for Hollywood and (310) 444-9807 west LA.


Hard Rock Cafe (Los Angeles) 8600 Beverly Drive in the Beverly Center, Los Angeles, CA.


The Hard Rock Café, which has been a staple in southern California for years, is but another tool for the aspiring performer. Until recently I myself was unaware that individuals could actual perform at the venue. According to their site they hold a Performance night every Tuesday, with Sign-ups starting at 7:30 p.m. and Shows beginning at 8:30 p.m.

Until next time…

Distribution For The Indie Artist

In this the installment we take a look at two of the most popular distribution companies available to the independent artists. With the help of these companies individuals can begin to level the field in ways few people ever imagined possible previously. Essentially, through these avenues musicians are given the opportunity to eliminate the need for traditional record labels. While these sights do little to actually promote the artist (without additional fees), they do help to minimize the fees normally associated with the process of distribution.


CD Baby (www.cdbaby.com) has solidified itself as a leader in both physical and digital distribution. The company, which was established in Portland, Oregon carries the moniker of “the biggest little record store in the world”. The company, which was established by artists for artists, was established in 1997. However, the company received a massive boost in popularity when it was acquired by Disc-Makers in 2008.


Through use of the site, users can set up an account and customize a profile. Not only does the company provide a dedicated page but it also aids the user the cumbersome process of placing it in others sites digital catalog. This includes but (is not limited to) Rhapsody, Napster and iTunes.


Another emerging force in the field is the company Reverb-Nation. With over 3 million register users, the company has become extremely popular with both males and females between the ages of 25 and 44. According to Quantcast.com (a website devoted to finding statistics of the other websites) Reverb-Nation is also highly favored amongst African Americans.


While both companies provide a similar service there are two distinct differences, their cost and interfaces. With Reverb-Nation, the company serves as its own platform (social network) and is free to sign up and begins distribution of your digital content immediately. However CD Baby allows for both digital and physical distribution with an added 35-dollar start up fee for each CD. Either way, both companies are invaluable tools in the conquest of independency for an artist.

Friday, March 23, 2012

The Importance of Copyright Protection

The Importance of Copyright Protection

Good day friends,

In this installment, we take another look at the business of protection (copyright that it is). We explore the process of how to acquire it and why it is so important. To help facilitate the process we will draw upon other authorities on the topic. As well as provide you with an easy (32-step) guide to copyrighting your material (but don’t worry, its easier than it sounds). However, we will first examine a recent case involving infringement to understand the true worth of the process.

Righthaven v. Democratic Underground

In recent years (or since the emergence of Internet as we know it) blogs and broadcasting sites have been at the forefront of distributing information. Often times even besting many of the established powerhouses in the process. As is the case with any new market, new opportunity emerges for those looking to profit. Which is the issue at core of Righthaven v. Democratic Underground. Take a look at the case summary according to EFF (Electronic Frontier Foundation).

Righthaven has brought over 200 lawsuits in Nevada federal court claiming copyright infringement… they create lawsuits by scouring the Internet for content from Review-Journal stories posted on blogs and online forums, purporting to acquire the copyright to that particular story from Stephens Media LLC (the Review-Journal's publisher), and then suing the poster for infringement (Electronic Frontier Foundation).

As stated best by the people over at Entertainment law update, this process (or the people known for pursuing these cases) are often times referred to as copyright trolls. While the case was ultimately dismissed, creators of the content can protect themselves ahead of time to thwart such attacks.

Provided below is a link to a step-by-step guide on how to copyright your material. I believe this an integral part of the process for any individual looking to produce music. This is especially true in cases like Righthaven v. Democratic Underground have become the norm. http://calliopebb.wordpress.com/2011/02/06/copyright-yo-shit-the-step-by-step-guide/

As always thanks for reading…

Reference:

1. Monkey Around with Copyright Law
http://www.entertainmentlawupdate.com/page/2/

2. Mark Quial - Music Law Publishing Part 1 & 2

http://www.markquail.com/podcast/rss.xml

3. “The Pope and Little Mermaid turn it up”

http://www.entertainmentlawupdate.com/2009/08/episode-4-the-pope-little-mermaid-turn-it-up-to-11/

Friday, March 2, 2012

Three Different Legal Liabilities


In this installment we will explore three fairly recent issues regarding artist (performer rights) that have arisen within the hip hop community. Many of which could have been avoided if the proper steps were taken a head of time.


Recently producer extraordinaire “Bangladesh” and record label Cash Money came to amicable terms. The parties had been on the outs for the past 3 yours due to accusations of fraud and lack of royalty payments. In their dispute the producer claims that he was not properly paid for his services, and was looking to recoup nearly five hundred thousand dollars for his part in the multi platinum album “The Carter II”. However, cooler heads were able to prevail just in time for Lil Wayne to release his 2011 follow up album “The Carter III”. For more on this topic refer too…


The Conflict “… Cash Money Don’t Pay Royalties”

http://gossiponthis.com/2010/05/06/bangladesh-wayne-cash-money-royalties/


The Resolve “Bangladesh On Resolving Issues With Lil Wayne & Cash Money”

http://slumz.boxden.com/f87/bangladesh-resolving-issues-lil-wayne-cash-money-1666941/


In similar but a very different situation all together, new-comer Mac Miller was confronted over production credits at one of his recent shows. The young emcee and his entourage were addressed by a collective group known as “Up North Productions” over something as simple as providing credits on a www.youtube.com video. While both sides claimed that they were in the right, only one provided evidence. For more on this incident refer too...


The Conflict & The Resolve “Mac Miller Gets Confronted By Disgruntled Producers”

http://www.ihiphop.com/?p=67316


Speaking with video personality Jack Thriller, up-and-coming rapper Riz recently expressed his feelings on being stolen from. “Protect your ideas and keep your thoughts to yourself as much as possible cause people will steal your creativity and your thoughts are priceless” (Riz 2012). Review the full allegations at the link below…


The Conflict “Riz Claims Rick Ross Stole "Self Made" …”

http://www.youtube.com/watch?v=3zNdKk__43Y&feature=channel_video_title


The Resolve …Unresolved


Until Next Time…