Sunday, June 3, 2012
What defines playability?
Saturday, May 19, 2012
Rapper inducted into the Bronx Walk of Fame
Rapper Fat Joe Honored
Thursday, May 3, 2012
A Quick Look At Pro Tools 9 & 10
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
|
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
|
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…

