I agree with most of what's been said here, explaining Scratch's practices. I still think an Eminem cover is rather bugged out (and not in a good way). Dude has ONE fucking style - minor key, plodding beats.
*snoooooore*
I second the previous call: Just Blaze cover!
And a Beatminerz cover? Are you fucking kidding me? Even URB would never have done that, ym?
I agree with most of what's been said here, explaining Scratch's practices. I still think an Eminem cover is rather bugged out (and not in a good way). Dude has ONE fucking style - minor key, plodding beats.
*snoooooore*
I second the previous call: Just Blaze cover!
And a Beatminerz cover? Are you fucking kidding me? Even URB would never have done that, ym?
I've been thinking about this. I'm in no way a fan of Em's production, but I really like to know what his approach is. I haven't picked up the new issue yet, but I'm gonna hit up Borders when I get outta work. Even though I think he's a sub par producer, maybe I can still learn something. I may not like the outcome, but hell, I might like his approach..
I agree with most of what's been said here, explaining Scratch's practices. I still think an Eminem cover is rather bugged out (and not in a good way). Dude has ONE fucking style - minor key, plodding beats.
*snoooooore*
I second the previous call: Just Blaze cover!
And a Beatminerz cover? Are you fucking kidding me? Even URB would never have done that, ym?
I've been thinking about this. I'm in no way a fan of Em's production, but I really like to know what his approach is. I haven't picked up the new issue yet, but I'm gonna hit up Borders when I get outta work. Even though I think he's a sub par producer, maybe I can still learn something. I may not like the outcome, but hell, I might like his approach..
Em's approach:
Hum.
Tell session musician to replay what you just hummed.
Program kick and snare drums.
Tell session musician to program hats and percussion on top.
Hum.
Tell session musician to replay what you just hummed.
Tell the session musicians, "I want this to sound dramatic, like a movie soundtrack. I want strings and horns, a whole orchestra. Dramatic build-ups."
Leave the studio for meetings, come back to claim credit a few days later...
I agree with most of what's been said here, explaining Scratch's practices. I still think an Eminem cover is rather bugged out (and not in a good way). Dude has ONE fucking style - minor key, plodding beats.
*snoooooore*
I second the previous call: Just Blaze cover!
And a Beatminerz cover? Are you fucking kidding me? Even URB would never have done that, ym?
I've been thinking about this. I'm in no way a fan of Em's production, but I really like to know what his approach is. I haven't picked up the new issue yet, but I'm gonna hit up Borders when I get outta work. Even though I think he's a sub par producer, maybe I can still learn something. I may not like the outcome, but hell, I might like his approach..
Em's approach:
Hum.
Tell session musician to replay what you just hummed.
Program kick and snare drums.
Tell session musician to program hats and percussion on top.
Hum.
Tell session musician to replay what you just hummed.
Tell the session musicians, "I want this to sound dramatic, like a movie soundtrack. I want strings and horns, a whole orchestra. Dramatic build-ups."
Leave the studio for meetings, come back to claim credit a few days later...
I think you are missing the point that you have basically already outlined: YOU and other people like YOU will buy the magazine for its content besides the cover story. You will buy this magazine if they put Beyonce on the cover because you know that the content will be worthwhile. There are plenty (and I mean PLENTY) of people, probably young for the most part, who obsess over the hip hop stars of today and will pick up every publication that features them just to read one new quote or whatever about their favorite artist. If the people who buy the magazine for its substance will still buy it no matter who is on the cover, why wouldn't the executive types try to make a buck off of the kids? I know why you are frustrated, but isn't their reasoning fairly apparent?
i think there's always something to be gained from reading about another producers working methods... ESPECIALLY dudes who arent doin the same thing as you.
I'm sayin' though, whether the outcome is completely different the creative process is still similar to someone making either house music, underground hip-hop, pop records, fucking movies, etc.
I bought their first mag and thought it was weak as fuck. I just wasn't impressed and didn't pick up any of the subsequent issues either. I was massively disappointed with the Jrocc interview they had.
I agree with you but it is a Harris publication and must be commercial. I tried since day one to do a column with them about records to check for etc. and they told me "no" that I was way too underground although I am known that it won't be happening. They actually said if "Funkmaster Flex" wanted to do an article about digging, records etc. they would let him do it because they have to sell magazines. This is all real. That's how it is. I've even been in O Dubs ear a few times about hooking me with XXL and it hasn't happened yet. I may be wrong but I don't think Flex gives a fuck about the Soul Expedition!
I agree with you but it is a Harris publication and must be commercial. I tried since day one to do a column with them about records to check for etc. and they told me "no" that I was way too underground although I am known that it won't be happening. They actually said if "Funkmaster Flex" wanted to do an article about digging, records etc. they would let him do it because they have to sell magazines. This is all real. That's how it is. I've even been in O Dubs ear a few times about hooking me with XXL and it hasn't happened yet. I may be wrong but I don't think Flex gives a fuck about the Soul Expedition!
For what it's worth, I don't think most producers care about records at all. They just want the slaps.
i'd just like to say as WACK as Eminem is as a producer....
that beat on 50's album ...I'm supposed to die tonight..... IS [color:red] FIRE [/color] ....
that is all
I fucks with that song too but I'm not sure if its because of the slap. Its kind of 50's version of "hail mary" or something. Alright beat but dope song.
I think Scratch is doin what they can to sell magazines. If they want to stay around they have to put STARS on the cover. They devote space to under recognized folks more than most magzines do. Another problem with gettin certain people in the magazine is ego. A lot of dudes are on some "if I'm not on the cover, I won't be in the magazine".
I bought their first mag and thought it was weak as fuck. I just wasn't impressed and didn't pick up any of the subsequent issues either. I was massively disappointed with the Jrocc interview they had.
Comments
*snoooooore*
I second the previous call: Just Blaze cover!
And a Beatminerz cover? Are you fucking kidding me? Even URB would never have done that, ym?
I've been thinking about this. I'm in no way a fan of Em's production, but I really like to know what his approach is. I haven't picked up the new issue yet, but I'm gonna hit up Borders when I get outta work. Even though I think he's a sub par producer, maybe I can still learn something. I may not like the outcome, but hell, I might like his approach..
Em's approach:
Hum.
Tell session musician to replay what you just hummed.
Program kick and snare drums.
Tell session musician to program hats and percussion on top.
Hum.
Tell session musician to replay what you just hummed.
Tell the session musicians, "I want this to sound dramatic, like a movie soundtrack. I want strings and horns, a whole orchestra. Dramatic build-ups."
Leave the studio for meetings, come back to claim credit a few days later...
classic..
perfect!
you forgot the ALL IMPORTANT
Call to lawyer to get entire hook cleared.
Listen to radio.
Hear Edgar Winter record.
Buy CD at Virgin.
Bring to studio.
Leave with session musicians.
Tell lawyer to talk to session musicians about sample.
Laugh all the way to the bank
YOU and other people like YOU will buy the magazine for its content besides the cover story. You will buy this magazine if they put Beyonce on the cover because you know that the content will be worthwhile. There are plenty (and I mean PLENTY) of people, probably young for the most part, who obsess over the hip hop stars of today and will pick up every publication that features them just to read one new quote or whatever about their favorite artist. If the people who buy the magazine for its substance will still buy it no matter who is on the cover, why wouldn't the executive types try to make a buck off of the kids? I know why you are frustrated, but isn't their reasoning fairly apparent?
I'm sayin' though, whether the outcome is completely different the creative process is still similar to someone making either house music, underground hip-hop, pop records, fucking movies, etc.
that beat on 50's album ...I'm supposed to die tonight..... IS [color:red] FIRE [/color] ....
that is all
I fucks with that song too but I'm not sure if its because of the slap. Its kind of 50's version of "hail mary" or something. Alright beat but dope song.
I think Scratch is doin what they can to sell magazines. If they want to stay around they have to put STARS on the cover. They devote space to under recognized folks more than most magzines do. Another problem with gettin certain people in the magazine is ego. A lot of dudes are on some "if I'm not on the cover, I won't be in the magazine".
Gee, thanks