ALL SUBS - REASON 4 REFILL (FREE DOWNLOAD)
NEED THAT BASS? THIS REFILL IS WHAT YOU NEED! FOR REASON 4. PEACE YAW. . .
Monday, December 28, 2009
ALL SUBS - REASON 4 REFILL (FREE DOWNLOAD)
ALL SUBS - REASON 4 REFILL (FREE DOWNLOAD)
NEED THAT BASS? THIS REFILL IS WHAT YOU NEED! FOR REASON 4. PEACE YAW. . .
NIGHT CLUB LEADS - REASON REFILL (FREE DOWNLOAD)
NIGHT CLUB LEADS - REASON REFILL (FREE DOWNLOAD)
A HOT REFILL FOR REASON 4 USERS. ENJOY!
Friday, December 18, 2009
DOWNLOAD ANY YOUTUBE VIDEO FOR FREE!
DOWNLOAD ANY YOUTUBE VIDEO FOR FREE!
This is a video tutorial I made for those who want to download videos off youtube. This is for mac and pc users. So dont say i never gave yaw nothing! All I ask for is your support and come back to my blog and to tell ya friends about me. All you gotta do is click on the video and listen.
- WASSANAME OUT!
Thursday, December 17, 2009
FUNKY 70'S DRUM KIT WITH BATTERY TEMPLATE (FREE DOWNLOAD)
ENJOY THIS KIT! I KNOW I DID! OR STILL DO. . . ITS FUNKY MY MAN! CAN YOU DIG IT?
- WASSANAME OUT!
Wednesday, December 16, 2009
WEIRD MALE SCREAMS (FREE DOWNLOAD)
WEIRD MALE SCREAMS (FREE DOWNLOAD)
WHO KNOWS WHAT YOU CAN USE THIS KIT FOR BUT THEY AT LEAST SOUND GOOD. . . JUST USE YOUR IMAGINATION!
Tuesday, December 15, 2009
Video explains the world's most important 6-sec drum loop
This fascinating, brilliant 20-minute video narrates the history of the "Amen Break," a six-second drum sample from the b-side of a chart-topping single from 1969. This sample was used extensively in early hiphop and sample-based music, and became the basis for drum-and-bass and jungle music -- a six-second clip that spawned several entire subcultures. Nate Harrison's 2004 video is a meditation on the ownership of culture, the nature of art and creativity, and the history of a remarkable music clip.
- WASSANAME OUT!
Monday, December 14, 2009
VOICES OF THE AZTECS PT.2 (FREE DOWNLOAD)
VOICES OF THE AZTECS PT.2 (FREE DOWNLOAD)
PART 2 OF THIS ETHNIC DRUM AND SAMPLE KIT. MAY REQUIRE SOME CHOPPING BUT HELLA GOOD SAMPLES AND DRUM SOUNDS.
- WASSANAME OUT!
Sunday, December 13, 2009
9 Ways to Diversify Your Mix
1. Experiment with unmatched reverbs
Don't try to match your reverbs so that all the instruments in the mix sound like they've been recorded in the same room. Play with using different, and even contradicting, reverbs on different instruments.
2. Experiment with melodic contrasts
Slap some subtle auto-tune on the backing vocals. This creates a nice contrast when you're recording a fairly plain singer, or perhaps a hard rock album, and the vocals get repetitive and need some melodic polish. Don't tell the band, most of them will have your head for this!
Or, on an overly melodic track, have the backing vocalists in the room minimize the number of notes they sing to give the lead melodies more of a solid foundation.
3. Dirty up your polished vocals
When you start layering up vocals and harmonies, the lead vocal can start to sound overly polished. In pop, this might be desirable, but sometimes it means you lose the grittier side of the human voice. Try sending some to a distortion plug-in and lower the send volume so it's just loud enough to give the main some grit and raw energy, but not quite detectable to the average listener with untrained ears.
4. Start somewhere crazy
Change the order that you usually follow when mixing instruments. It’s wise advice to begin with the bass and drums so as to give yourself some headroom, but once in a while tell the rules where to go and try using something crazy as your mix foundation.
It’s always possible that it won’t turn out sounding good anyway, but it’ll make you think about the elements of the song and new ways to showcase them in the process.
5. Don’t be constrained by genre-based techniques
Use recording and mixing techniques from a totally unrelated genre on an instrument and see if it fits. Differentiate from your direct competitors--other artists in the same genre as you.
It doesn’t even have to be a recording technique. Try musical techniques from other genres. On a heavy song, throw an acoustic guitar rhythm track in and mix it behind the distorted guitars.
6. Resist the urge to find the perfect middle ground
There’s too much “perfect middle ground” music out there. If the track sounds sparse, don't add more instrumentation--try and work with the space. If it sounds full and crammed, try cutting frequencies instead of cutting entire tracks completely out of the mix.
As always, don't let experimentation get in the way of a good mix--delete excess tracks if you need to.
7. Roll your own
Using synthesized drums? Try rolling your own instead of using your favorite patches. Need a saw for your industrial track? Fiddle with the knobs and get your own sound going.
Everyone else is using the popular patches of the day, so this is an easy way to differentiate your sound and you might find that your synth serves the song in a way no preset could.
8. Use new dogs for old tricks
Got an old method for creating a certain sound or effect? Toss your method out and find another way to go about it. Instead of automatically reaching for reverb to make vocals sound more natural and spacious, try a short and slappy delay.
9. It’s okay to clip once in a while
I don’t advocate being careless with your mix and letting things clip, but once in a while it’s alright to let something be if it doesn’t sound bad, or even sounds better, when the lights go red.
This doesn’t apply to your master fader, though, and it shouldn’t be a common occurrence in your session, but being relaxed about your mix to a certain extent can imbue a more relaxed, natural vibe on the recording, too.
- WASSANAME OUT!
VOICES OF THE AZTECS PT.1 (FREE DOWNLOAD)
VOICES OF THE AZTECS PT. 1 (FREE DOWNLOAD)
MAY REQUIRE SOME CHOPPING BUT HELLA GOOD SAMPLES AND DRUM SOUNDS.
- WASSANAME OUT!
JAMES BROWN CUTS (FREE DOWNLOAD)
JAMES BROWN CUTS (FREE DOWNLOAD)
IF YOUR WORTH YOUR MPC YOU HAVE HAD TO SAMPLE JAMES BROWN AT LEAST ONE TIME IN YA LIFE! LET ME HELP YOU OUT WITH A FEW CHOICE CUTS. . .
- WASSANAME OUT!
Saturday, December 12, 2009
SWIPER DRUM KIT (FREE DOWNLOAD)
SWIPER DRUM KIT (FREE DOWNLOAD)
This kit I got from another site. I really like the drums and wanted to share with you guys. He he he! (in swiper voice)
- WASSANAME OUT!
Friday, December 11, 2009
STEP UP YOUR DRUM GAME
I know its winter break but imgoing to take you back to school! There are many ways to produce a drum track – programming, playing and loops can all be involved but however you do it, you can almost certainly do it better. Your rhythm tracks are vitally important, so it's always worth taking time out to think about how they can be improved. I have posted 6 ways to imporve your drums. Break out your notebooks and lets get to work!1. Be versatile
Learn the benefits of working with both loops and programmed parts, and don't make lazy decisions. It's all too easy to drag in a pattern and think, 'that'll do'; loops can add authenticity and a pleasing weight, but unless they provide precisely the combination of pattern and sounds you're after, consider combining them with your own hits.
2. Don't overdo the sub-bass
Beware of sub-bass in your kicks! Remember, a speaker is a physical instrument - while trying to spit out your flabby kick drum full of dominant sub-bass frequencies, your monitors are simultaneously trying to play your fizzy hi-hats and crunchy snare parts. The quality of the top end will suffer if the bass end is overloaded, so tread very carefully.
3. Be yourself
Most importantly, strive for your own sound. If you're simply trying to replicate the drum sounds of the rich and famous, you'll be nothing but disappointed. Don't dismiss loops that are potentially great just because they don't sound like Timbaland. Start the other way round by aiming to create a loop like nothing anyone's ever heard before.
4. Keep it real
If it's acoustic authenticity you're after, there are lots of considerations – it's not just about the timing of your hits. Programs like BFD2 are great as they let you construct 'real' bespoke kits, but if you're working with individual samples, good things can still be achieved. Remember that adding some artificial ambience to each drum will be crucial.
5. Ignore everyone
Dynamics processing is riddled with myths and potential traps for producers of drum parts. Artists constantly talk about how crucial EQ and compression are to their sonic arsenal, but does this mean treatment of individual hits, the composite loops, or the whole output signal? Or all three?! Again, rather than worrying about what everyone else is doing, experiment with your own settings to achieve unique results.
6. Know the time
The timing of the drum hits in your loops and programmed parts is crucial. Remember, real drummers aren't machines and don't play 100 percent in time. Similarly, no hip-hop groove is completely quantised. If you're working with loops, it's likely that your choices will be made in part by the 'feel' of a particular groove – make sure this matches the rest of your production.
Now I hope this helps. Now go threw the rest of my blog and get some free drums so you can get to work!
- WASSANAME OUT!
Thursday, December 10, 2009
C&S DRUMS - (FREE DOWNLOAD)
C&S DRUM KIT
THIS IS A KIT THAT WAS PUT TOGETHER WITH SOME CRUNK AND SNAPS. THEY PRETTY GOOD AND THE BASS HITS NICE! THE SNARES ARE DEFIANTLY ALONG THE DIRTY SOUTH TYPE. BUT I CAN GO ON FOR DAYS. JUST TRY THE KIT OUT!
-WASSANAME OUT!
Monday, December 7, 2009
HAND BREAK 0.9.3
HANDBRAKE 0.9.3
HandBrake is a program designed to convert MPEG video (including DVD - Video) into an MPEG - 4 video file in .mp4 or .mkv containers.
As much as i know this is only for mac and have not tried it for pc.
I do know they mke hadbrake for pc but am un shure if this is the same version.
I am posting 0.9.3 even tho they just came out with an upgrade to 0.9.4 but for some reason the newer version does not work AT ALL!
Here is a video tutorial on how to use it i found on youtube.
TIP: Use the ipod setting cuz you can use it for damn near every situation you can think of.
-WASSANAME OUT!
Saturday, November 28, 2009
Thursday, November 12, 2009
Monday, October 26, 2009
How Do I Choose the Best Studio Microphone?
Perhaps the most popular type of studio microphone is the condenser microphone. A condenser mic uses capacitance to capture sound and requires a power source. It tends to be more sensitive than other types of microphones, making the condenser mic a good studio microphone for softer instruments and vocals. It is not necessarily a choice for amplified or extremely loud instruments, because it may distort.
A condenser mic is a good choice for capturing sound from a bass drum, but it may distort when used to mic cymbals. When using a condenser mic as a vocal studio microphone, keep in mind there are two types: a large diaphragm, good for producing a warm tone on vocals, and a small diaphragm, good for capturing stringed instruments. When using a condenser mic for vocals, be sure to add a pop filter — a thin screen that prevents harsh rushes of air from pronounced "p" and "t" sounds from reaching the extremely sensitive microphone.
Dynamic microphones are another type commonly found in studios. This type of microphone does not require a power source, and tends to be more versatile than condenser mics. They also tend to have less accurate sound quality, which makes them better suited to louder instruments with high sound pressure.
Another popular choice of studio microphone is the directional mic. A directional mic only picks up sound from a particular direction, and therefore is effective for eliminating ambient noise from recording. A cardioid microphone is especially good for this purpose; a directional mic is a good choice for capturing sounds from louder or amplified instruments. They are generally less expensive than condenser mics and can be used for live sound as well.
- WASSANAME OUT
5 SIMPLE STEPS TO RECORD AT HOME
Step 1.) Install baffle, or sound cushioning on walls and windows. Cushion recording areas to prevent sound from bouncing off walls. Buy absorbent acoustical panels made of mineral wood, fiberglass or foam.
Step 2.) Determine the best level for your vocals. Set the levels before the session, and use a compressor if the vocalist gets too loud. Place the microphone 4 to 6 inches away from the vocalist; you can adjust the distance for softer voices.
Step 3.) Choose the best recording location for vocals. If you live in a house, try turning your garage or basement into a home studio and build an isolation booth in a corner. Invest in a long microphone cord and set up the vocalist in a bathroom or closet.
Step 4.) Test the singer's headphones during setup. Adjust as necessary while recording. It's imperative that the vocalists hear themselves properly to minimize recording time. Use a pop screen or filter over the microphone to eliminate vocal sibilance.
Step 5.) Buy a good preamp. This processor amplifies the initial weak signals from a microphone and strengthens them enough for recording. Mixers and consoles contain preamps, though external preamps provide a cleaner vocal sound.
- WASSANAME OUT
Sunday, October 25, 2009
Saturday, October 24, 2009
5 Tips For Better Vocals
Virtually everyone can sing, but some are naturally talented at it. Talent isn’t everything, though. However much talent you have or don’t have, you can learn to sing better. Here are 5 concepts you need to understand to make your vocals more expressive.
1. Vocal Range
A singer’s range is the set of notes between the highest and lowest pitch they can sing. Vocal ranges vary widely between individuals, and in general women can sing higher than men. A related concept is tessitura, which refers to the pitch the singer is most comfortable singing in.Some singers have great vocal range. The woman with the greatest recorded vocal range is Georgia Brown, who can sing eight octaves from G2 to G10. The man with the greatest vocal range is Tim Storms, who can sing six octaves. Your vocal range is probably much more limited, and you need to be aware of that.
A set of standard (2-octave) vocal ranges have been defined as follows:
- Soprano: C4 – C6
- Mezzo-soprano: A3 – A5
- Contralto: F3 – F5
- Tenor: C3 – C5
- Baritone: F2 – F4
- Bass: E2 – E4
Most singers can also sing in two registers: the lower (chest) voice, and the higher (head) voice. Men singing in their head voice is known as ‘falsetto’. Some singers have made falsetto a trade mark of their singing, including the Bee Gees and Smokey Robinson. With practice, you can smoothly change between your chest and head voice.
It is important to know your vocal range so that you can choose (or transpose) songs in a key you can actually sing. Nothing sounds worse than trying to sing outside of your range. Your tone will be uneven, weak or squeaky, and you may eventually do damage to your voice.
It is possible to extend your range through regular practice. Most singing books and teachers can teach you voice exercises and techniques to hit higher and lower notes. Try not to hit too high a note until your voice has warmed up. Before your voice has warmed up you will have a narrower range anyway.
2. Phrasing
The way we phrase a line of music conveys the meaning and mood of a song to the listeners. Phrasing is strongly influenced by where we pause and breathe as we sing the lyrics, which words we think are important and emphasize, and how we relate emotionally to the words.Don’t underestimate the importance of phrasing. Singers without superb voices can become successful through the use of good phrasing, and great singers develop their own distinct style of phrasing. It is phrasing that turns a melody into a memorable performance.
Incorporate the following devices where appropriate into your singing to improve your phrasing:
- Linger over a long note.
- Change the inflection on certain words.
- Staccato interjections.
- Use of grunts, screams, whispers and other emotive sounds.
- Use vibrato on long notes.
- Incorporate falsetto into your singing.
- Use a throaty huskiness for appropriate phrases.
When you are learning a new song, try different ways of phrasing the lyrics to see what works. Reading the lyrics out loud in your speaking voice can help you determine the natural phrasing.
3. Interpretation
Singing in tune is important, but it is not entertainment. The ability to inject emotion and excitement into a song is what moves the listener.Interpretation is how a singer expresses their individuality through the meaning of a song, and is closely related to phrasing. Simply showing off your vocal ability is not interpretation, and will usually distract the listener from the song. Engage the audience with your emotions and energy. Learn to emote through your voice, your face, and your body language.
The most successful interpretations of songs are sung by those who believe and feel the words they are singing. It is usually a mistake to force yourself to sing a song you don’t like or don’t believe in. Singing a style of music that you don’t relate to also makes it difficult to express yourself effectively.
A great way to learn about interpretation is to listen to how different singers perform the same song. Pay attention to the musical arrangement, the tempo, the phrasing and the body language of the singer.
4. Harmony
Vocal harmony requires at least two voices singing different parts that are designed to sound good together. Adding harmony to your vocals can lift a song to a new level. And effective harmony can make even a mediocre voice sparkle.Singing in harmony is more difficult than most people realize, and becomes increasingly difficult with the number of other singers you need to harmonize with. Careful planning, experience and rehearsal are required for consistent results. You may be able to learn a harmony part more easily if you can read music. But learning your part is just the start - blending your voice with the other singers is the important thing. And it is not just the pitch of the note that needs to harmonize - your tone and feeling must also blend.
Harmony parts normally complement the melody part being sung by the lead singer. Listening carefully to the other singers is essential, or your pitch, timing or phrasing may drift. When singing harmony as a backup singer, learn to put more breathe into your voice so that the lead singer’s sound is more dominant.
5. Vocal Health
Today’s vocal styles incorporate a wide range of sounds, from sensuous rasps to screams to whines to screaming falsettos. It is important not to push yourself and your voice, or you may damage your vocal cords. Singing with a strained voice does not sound good, and my have long-term consequences. Looking after your voice is an investment in your future.Here are some hints for good vocal health:
- Look after yourself in general. Get plenty of sleep, sufficient exercise, eat sensibly, avoid smokey or dusty locations, and drink plenty of water and much less alcohol. That doesn’t sound like most singers I know!
- Warm up your voice gently for several minutes before singing.
- Rest your voice as much as possible. This doesn’t mean whispering!
- Avoid raising your voice in conversation - learn to speak clearly instead. This will also improve your diction.
- Go easy on your voice if you have a cold. Don’t expect the same range, and don’t push it. If possible, use a steam inhalant.
- Don’t drink with ice before singing - it constricts your vocal cords.
- WASSANAME OUT
Basic Production Tips
1. Use mixer groups.If your sequencer allows, create a separate group bus for both the Beat and the Vocals. All the instrumental tracks should feed into the Beat Group. All the Vocal tracks should feed into the Vocal Group. Doing this allows for a more accurate setting of the important balance between the vocal and the beat. In HH, the vocal must always stay clearly on top of the beat, unlike rock, where it often blends into the mix.
2. Track Isolation
If you isolate elements on their own track, things will sound better and allow you a more creative range of effects, For example, if all the drums are on one track, if you add an effect, all the drums will sound out the effect, often leaving you with junk. But if you put all the snares on one track you can apply a more lavish effect, tailored just to the snare. A slap back echo might sound good on a snare track but on the whole kit, its going to be too busy.
3. Tempo Considerations
Hip Hop music is typically done at slow tempos. Of course there is often variation, but a good tempo as one begins to build tracks is around 80-90. Set the tempo according to your mood. One advantage to using MIDI samplers is that tempo is infinitely adjustable until you add the vocals. You could write the drum patterns at 50 BPM which is slow enough that anyone's hands can make beats of great intricacy. Once done, speed it up to the project tempo.
4. Groove considerations
Unless the elements of your song fit into a sonically pleasing groove, your stuff is not going to "hit" properly. Masters of hip hop beats are masters of groove, and can lay down a drum pattern with no correction. Most of us have not perfected this skill, so we use quantize templates to achieve the right amount of groove and apply it to our tracks. You might note that your sequencer already has built in grooves that can be applied to any midi track. Grooves that work well with hip hop are based on 16th notes with a swing value in the range of 57-83%. 50% is straight 16th notes. 100% pushes the 16th note to the next 8th note. 0% pushes the 16th note the the previous 8th note. As you pass 57% you will hear the groove start to relax and as you reach around 70% you are in classic hip hop/rap territory.
Another method of getting a hip hop groove: Quantize the kick drums on a 24th note quantize divisor and the rest on 4th, 8th and 16th notes. Why 24ths? There are 6 values between quarter notes on a 24th note grid. They all groove in a nice way when offset against claps on 2 and 4. Try to avoid putting a kick on 2 or 4.
Try this groovy tip.
Start a drum pattern with claps on 2 and 4 and a kick at 1 and 3. That is standard 4/4.
Now, set the grid to 24 and add 1 more kick on the grid, anywhere!
Press play and listen. Move it till you like what you hear.
Then add a 4th kick and move that around. In the process you will hear many different hip hop groove possibilities.
5. Microscopic editing.
a. MIDI. Your sequencer has an offset parameter. This moves all the notes you highlight by midi ticks, the smallest possible note division the sequencer is capable of. If you tried the above tip, now grab all the kick drums except the ones on 1 and 3 and offset them by a few ticks in either direction. Listen carefully for a head nodding groove. Copy the drum sequencer to a groove template (read the manual). Apply it to the bass. Mind over groove. You are there.
b. Audio If you put a common audio loop on an audio track in the sequencer and slice it into parts, you can apply destructive editing to each part in an audio editor. You can move these "regions" around, delete some, stutter others, and if the sequencer allows, re-groove the hits and save to a new audio file. For those who are into making esoteric beats, you can borrow elements from one audio loop and precisely place it in another with simple copy and paste commands.
- WASSANAME OUT
Friday, October 23, 2009
JUST BLAZE - 5 TRACK COMMANDMENTS
HERE ARE 5 TIPS THAT JUST BLAZE HAS FOR ASPIRING PRODUCERS
- taken from complex magazine
1.) SIGNATURE SOUND -"Come up with a signature so people know it’s your beat. Then you can annoy people as much as I have, but they never forget your name."
2.) GET YA MONEY - "Always get money before you track the beat or hand over the ProTools disk. If you don’t you’ll probably hear your joint on a mixtape and get no money when it flops (most do)."
3.) BEST TRACKS FIRST - "If you get the opportunity to play beats for an artist, play your best 10 and that’s it! Otherwise your might as well pass them a 40oz. of NyQuil."
4.) BE SEEN - "If you land a single, make sure you’re there when they shoot the video, even if you have to fly out yourself. You think Kanye paid for my 2.5 second cameo in "Touch the Sky"?
5.) GO TO EVENTS - "Go to every industry events. You wouldn’t believe how many washed-up, non-talent folks revive their careers by connin’ some fool on their fifth Hennessy and Coke."
- WASSANAME OUT
Friday, October 9, 2009
Man.. . Making beats is a hard job but some one gotta do it. Let me get the job done for you. Check me out at WWW.WASSANAME.COM and leave the work to me.
Friday, October 2, 2009
Thursday, October 1, 2009
NEW PAGE!
Just launched my new website. WWW.WASSANAME.COM Come check me out. Ima music producer and desgin web pages. Holla at cha boi!
-WASSANAME OUT!
-WASSANAME OUT!
Monday, September 28, 2009
MY FIRST BLOG.
Ok. Im finally got a blog. Lets see how far i go and what i do on this blog. I make hella beats and now I wanna share them with the world! Ima keep this short so check back later when i put up free downloads and usefull information for artist, fans, rappers and other fellow producers.
- WASSANAME OUT!
- WASSANAME OUT!
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