Really cool article on Diane Warren, arguably one of the most succesful songwriters ever. Shes written so many smash records its ridiculous. She even touches on the importance of having a publisher and getting started on your own.
Yes another post in the same month by the same mixer, but the guys seems to be everywhere as he should be. Hes putting out some of the best mixes all year. Heres an in depth article about his awesome mix on Low By Flo Rida. It just came out via my online subscription to sound on sound. your welcome.
I love vids like this ever since travis started remixing popular rap songs like 2 years ago. this kid is equally ill with his version of the CRS track Us Placers. Check him out and subscribe to his youtube page.
this is still my shit, but why is soulja boy swagga jacking the shit outta gucci mane? Ole i idolize my fav rapper face ass nigga lol.
Heres a cool vid I found on The Fader website. Ive heard a couple of joints so far and his album will fuck around and be the best hip hop album this year. Yeah I said it lol!
finally the video comes out like 2 years later lol, but on the real hottest song out, been waiting on this one for a sec.
Ive been posting more Mixing and recording stuff lately and Ive been getting really good responses. So here's another joint that I uploaded myself from the Waves site. Awesome 5 part series with him breaking down mixing and how hes done some huge mixes like Alicia's "No One" and John Mayer's " I dont trust myself".
BEATS BY DR. DRE
Im pretty intrested to hear what these are gonna sound like. I would love to get a pair of headphones that actually show detail and clarity. And are actually honest lol, any way they are gonna go for 350 so save up kids!
Very cool article about the man who mixed most of the Carter 3, and actually almost everything Cash Money does. Fabe is definately one of my favorites and has been str8 killing it lately across the board. From side effects from Mariah to Cash Flow by Ace. Not to mention Lollipop being the best mixed hip hop joint all year, i love that mix. Ive also had the pleasure of assisting him on plenty of sessions when he came down to atlanta to mix, one of the coolest guys in the biz, easily. His low end is crazy, no homo lol.
Tha Carter III is finally here, leaked online and now in stores, too. The overall reception has been favorable, though there’s been some rumblings over whether Lil Wayne properly delivered considering the sizable buzz he built. According to his engineer, however, Young Money/Terror Squad family Fabian Marasciullo, TC3 is even better than intended.
Plenty of songs leaked to the Internet that could have made the cut. New songs were added literally days before the product was shipped. But the end result, he says, is a quality album.
Here, Marasciullo, who rode shotgun for the entire making of the album, speaks to XXLmag.com about the records that didn’t make the album, mixing and mastering the album, and the pesky leaks that slowed down the project in the first place.
On meeting Lil Wayne…
I’ve been working with Wayne since the 500 Degreez stuff. I was working with Rodney Jerkins and we were doing shit like Michael Jackson and stuff like that. I was Rodney’s exclusive engineer and I met the Cash Money guys including Lil Wayne and we hit it off well. I didn’t really start working with them until Tha Carter, the first one. The first record I mixed was “Go DJ.” So I been with Lil Wayne as an artist for a while now.
When we started with Tha Carter III and seeing all the leaks, there was frustration because we had been working on this for years. When it came time to mix, the first record that we mixed was “Lollipop.” In the past, Wayne was never involved in the technical process before this album. He just gave us the songs and we mixed it, compiled the album, and put it out. We, meaning Slim, Baby, and me.He would give us the songs he wanted, and Baby and Slim had more input on the original albums. But Wayne always gave us the records. And then we would mix, put the spacing and do all that shit. But this album was really more hands on for Wayne. The first record we mixed was “Lollipop” and it was kind of a weird situation. It was Wayne’s first time really being involved in the mix process and at the time there also was a couple different version of the record, so there was confusion getting started. We might have mixed that record three times before you guys even heard the final product; there were three different versions of where we were going. From that point, me and Wayne had a meeting about the vibe he had and what he wanted it to be. We kind of pushed the envelope as far as rap stuff goes. He kind of did it a little funkier, wild, and far out for rap shit, as opposed to the typical straight up, rap album. His manager left me with Tha Carter III drive and they left overseas to do some shows. They were gone like a month and while they were gone I just started mixing stuff.
On getting started on Tha Carter III…
When it comes to Wayne it’s always been more of a family thing so I always go in a little bit different for him than for anybody else. So they left me with that and we started going in. We did “La La,” the David Banner record. I mix records every day, but then you get someone like Wayne and just because you know it’s a more anticipated thing, not to mention it’s my brother, so you have to go in a little bit more different and you got to think about things differently. When we were working with Michael Jackson, it was like, it’s Michael, we got to go in. So we’re looking at Wayne in the same light nowadays, really, because he’s who everyone is looking to. So to go in on that means to just give things a 10th listen instead of 9. We go in with more passion and more heart, just because it’s a family thing. And we knew this was the most important one so we had to make it perfect. So we did “Lollipop then we did “La La,” then we did the Alchemist record. From there, I did a record called “Phone Home,” which was produced by Cool and Dre. And it was dope, because I kind of took Wayne’s lead on that. In the first verse he said, “We are not the same, I am a Martian.” And he sounds crazy, like a Martian when he says that word. So in the intro, the record didn’t have any of that computer shit, the space and all that stuff. So I listened to the record and I was like, We need to take this up to the next level. I got a bunch of sound effects, I created the countdown at the beginning, the spaceship taking off, that’s what I mean by going in. The next step. So I went in and added all those sound effect and Wayne heard it and was like, ‘You’re retarded.’It was great.
The whole time it was just so stressful. We had a safe in the studio. Because I knew I was the only person that had a copy of these records at the time. So it was so stressful we literally had a safe. I locked everything up every night, leave. No one had the combination. Nobody had access to this thing, not even Baby and Slim. In fact, I got married in the middle of the process and went on my honeymoon; I was in Italy for two weeks. They were calling because they needed a record to send over for clearance. And they couldn’t even get it, because I had the key on me. It was funny. This shit was literally under lock and key. They were like, ‘Damn, we can’t even get to it.’ From there, we mixed a couple of really dope records that didn’t make the album. I’m sure they’ll be out on mixtapes or on the Internet in the next month or so, you know how that shit goes?
Fabian Marascuillo mixes records for Young Money and Terror Squad.
On leaked records…
The way I look at it, everything happens for a reason. As far as the stuff leaking, I was always Cash Money’s mix engineer. And Andrews Correa was the tracking engineer. There was always two guys that they could always go to. Baby and them were still in old-school world and Wayne was never too into the technical process before. They would have to come to us to burn a disc, do this. It was always more of a pain in the ass for us, but it was good because no one had access to things and you didn’t have to worry about much. So now Wayne blew up, he goes all over the world, he goes here, he goes there. So of course now there’s more margin for error. As opposed to being in the studio in New Orleans, we record here, or we’re in Atlanta, you send it to me and we mix it in Miami, then it goes to mastering. But now he’s all over the world, so there’s 10 engineers doing 10 different things. So of course there’s more of a margin for the shit to get leaked. But anybody that hears this stuff can tell you that the records that got leaked were always super dope. But the final album…it’s like, thank God for the leaks. Because the final album is killing what would have been the final album, in my opinion.
On what made the album and what didn’t…
The “Playing with Fire” joint, the Streetrunner record. That originally was a Rolling Stones sample that they used and there wasn’t no way it was gonna get cleared and everyone was tripping about it. Streetrunner went back in, unbeknownst to Wayne, got Betty Wright, replayed the guitars on the record. Up until the day before mastering it wasn’t on the album. We were in New York paying the album and I was like, What about “Playing with Fire?” It was one of the records I really enjoyed listening to the whole thing. Wayne was like, ‘We can’t get it cleared, We can’t use it.’ I told him he re-did it and Wayne was so excited. It cost Universal so much money because the artwork was done already; they printed almost 2 million copies of the album to ship out. And Wayne was like, ‘No, make it happen.’ I was watching people from the label scrambling to put the shit on there. But that was another thing that people probably don’t know about. Literally we were mastering and adding songs. Like Jay-Z, I didn’t get that verse until the day we were mastering. So I mixed that record. I was in New York and I had to go over to Quad and mix Jay-Z’s vocals into the record literally within minutes of completing mastering.
There was this record that Develop produced, and it was called “American Dream.” It had a Mike Tyson sample on there, when he was going crazy that one time talking about I’ll eat your children. They couldn’t get the sample cleared but it was crazy hearing Mike, and then Wayne talking about he’s the baddest and on that level, that eat your children type of shit. It was dope, it was extreme, it was really hard, but obviously they couldn’t get it cleared, they had to call HBO, they had to call Don King, it was like 10 different clearances that needed to be done. So it wasn’t worth putting it on there.
On his favorites…
Definitely my favorite record on the album, there’s two, “Mr. Carter” and “Tie My Hands” is just such a dope record. The ending is so legendary [on “Mr. Carter”]. But it’s kind of like a milestone where we are in the rap community. There was always Biggie and Pac, you got Nas…then you have Jay-Z. That’s the king, but I think people are starting to, if they haven’t already, obviously compare Wayne and Jay, so to hear them together is just so legendary. And to hear Jay give Wayne his props and say, ‘Go ‘head, go get it.’ Just the whole presentation was legendry. And Drew and Infamous killed that beat, it was retarded. “Tie My Hands,” that’s like a movie, its theatrical. He could be talking about the soldiers, the hardships, people trying to make it, and your hands are still tied. So I know we’ve all been there, we all could be doing better but something is holding us back. And the collaboration between them two, that’s something you’ll continue to see. Robin Thicke is an incredible artist and Wayne already respected that. I think that’s a collaboration that you’ll always see from here on out whenever anyone of them puts an album out.
Found this on rhapsody.com
If 2006 was the year that Nate “Danja” Hills became the hottest co-producer in the game, 2007 was the year he established himself as a force to be reckoned with on his own. The 27-year-old Virginia native made his name sharing board duties with Timbaland on Nelly Furtado’s Loose and Justin Timberlake’s Futuresex/Lovesounds, racking up platinum stats, number one hits and Grammy Awards. However, when you break in with one of the most influential producers in pop history, people tend to be skeptical of your contributions. Thankfully, the music industry is not short on opportunities to prove oneself: Danja did so by producing Britney Spears’ comeback single (“Gimme More”), DJ Khaled’s heavyweight anthem (the futuristic, electronic “We Takin’ Over”) and a handful of songs by Canadian emo-popsters Simple Plan (on their new self-titled album). While he continues to work closely with Timbaland on upcoming Missy Elliott and Madonna projects, it’s clear that Danja is far from a sidekick.
Rhapsody: You have previously spoken about the desire to do a full project by yourself. How was it producing most of Duran Duran’s new album, Red Carpet Massacre?
Danja: I’ve learned that you hit a wall trying to do the whole project yourself unless you're working with a team of people. That’s why me and Tim were able to do a whole album, because it was two brains working at the same time. The good thing is, if you hit that wall, it’ll trigger you into going somewhere else. But it may not be for this particular album. During the Duran Duran project, toward the very end, I started feeling like, "Ah, what can we do?" But by that time, we already had so many songs, we didn’t have to keep going back in to create something new.
When you hit that wall, is that discouraging?
That’s the most frustrating [thing]. I’m surrounded by 12 keyboards and I’m looking at every one of them like, "Nothing is gonna come out." It can just be depressing. Especially when, for years, you just sit and create non-stop. Not saying that I haven’t experienced writer’s block before it [lifted], but it’s definitely different now [having done] music that was ground-breaking.
Explain how you test your melodies as ringtones to see if they’re catchy?
I call it “ringtone” because it’s a silly little melody that catches you. I do those melodies and loop them and build songs around that melody, whether the artist is singing it or [an instrument] in the track is playing it. I’ll pull a random person into the room and say, "Listen to this." They listen to it and I come back [in 10 minutes] and say, "Sing what I just played for you." If I know they can remember it from hearing it one time, then I know we have a potentially good record.
How did the collaboration with Simple Plan come about?
I was in London working with Duran Duran. [Atlantic Records] hit me about who was on their roster and who I’d want to work with. I picked Simple Plan. We was all on the phone; they just told me what they wanted to do. We finally got in the studio in Miami and fully collaborated. I’m doing beats and they playing on the beats. At that time, I wanted to venture out and challenge myself. I was working with Duran Duran, but it wasn’t so much rock. Simple Plan was similar to Duran Duran because we would come up with the basic idea, and then they would take it and record on their own with the drums, guitars and vocals. But the basic bed was laid down.
They were talking about how the night before you did “The End,” you guys all went out to a club where DJ Tiesto was spinning.
We went to dinner and we went to Mansion. So we just vibing out to Tiesto. We all was thinking, if we could just take something like this, and flip it. “The End” has a techno feel in the beginning, but they replay it with guitars. By the time we got to the hook, it’s just a smash pop-rock record. But that’s usually what we do. Go out and grab inspiration from the clubs.
When I was hearing the stuff you were doing with Simple Plan, it reminded me of TV on the Radio and Radiohead, of how the rock and electronic elements are melded. Are you a fan of those groups?
Definitely. I brought a TV on the Radio [album] one time and just rolled to Virginia from Miami. That’s like a 12- 13-hour drive. I’ve been listening to a lot of Foo Fighters lately. I was listening to a lot of Coldplay before that. I like listening to Nirvana. If I can figure out how to capture that “Teen Sprit” energy, I know I’m gonna have something monstrous on my hands. I listen to the weirdest things, like Massive Attack sometimes and find myself doing it subliminally in my music. It’s things inside of that music, whether it be a little weird sound that you put inside yours, that just turns your track into something totally different. I’ll ride around to this French group called Air.
Have you been working on T.I.’s upcoming album, Paper Trail?
I did. I sent him a few tracks. He wrote to one. From what I hear, it’s incredible. I’m not allowed to go in his crib. But I’ll be in the studio completely focused on T.I., sending him tracks and we’ll be communicating. I hate emailing beats. It’s the worst thing you could do, because it’s a magic that has to happen in the studio. I can see and feel when you don’t like something. When I worked with Tip on the last album, I ended up with three [songs]. But it’s another six records that he started, where he at least got a verse and a hook on, that we were just doing so fast -- just from being in the studio [together]. So I’m gonna try to recreate that magic even though there’s going to be a distance. The difference is he’s writing everything now. The last [album] he just went in the booth. So now he’s thinking about what he’s saying. It’s gonna take a little bit longer. But the quality of the work is gonna be phenomenal.
What’s going on with the Clipse?
We haven’t got in. I really want to get in them just for the sake of Virginia. Pusha, pound-for-pound, a lot of people ain’t touching him with the spitting. I wanna do at least six or seven joints and make that album a classic like a Dre with a Snoop, or Primo with Big and Nas. There hasn’t been any more conversations [recently], but we gonna make that happen for sure.
Keri Hilson was saying because Britney wouldn’t open up about her own personal experiences, it made it tougher to write for her. Did you find that it made it harder for you as well?
It wasn’t hard for me in the creative process with Britney because I was totally left to do pretty much whatever I wanted to. If she felt it, she was gonna ride with it. If she didn’t, you’d see it in her face. I don’t think she needed to open up. She did have one record where she’s mentioning certain things, but it’s in a clever kind of way, not necessarily pouring her heart out. We’ve known Britney for entertaining, dancing and giving you a sexy record, getting you moving. And that’s what we did. Unfortunately, she’s in the state that she’s in, but the music speaks for itself. In the studio she was dancing, laughing in the booth. She gave the right type of energy. That’s all that matters.
Did it disappoint you that the public didn’t respond as well to her VMA performance as they did to the actual “Gimme More” song?
It didn’t bother me until nine months down the line. I was like, "I wish she could’ve really nailed that performance ‘cause that really would have set it off." It was still top five [on the Billboard] Hot 100. I didn’t think the performance was really that big of a deal. She looked a little spaced-out. To me it looked like she was completely nervous. She hadn’t been on stage in I don’t know how long. During the performance, I was watching like, "Just give me that one pop to let me know you back." And it never happened. I was rooting for her regardless.
At the end of “Gimme More,” you were talking on the record. What prompted that?
[Laughs.] I just felt like I needed to say something. People haven’t really seen me or heard my voice, and that was one of my first solo productions. So I definitely had to stake my claim. There's a lot riding on my future, because people think I’m around because of Tim and they don’t really know what I’m capable of. After we mixed that record, I just knew that record was crazy. Period. We got all these hit records and I haven’t got any on my own. Well, here’s one.
Has all the drama overshadowing Britney’s project and Duran Duran's lackluster sales had any affect on you?
It definitely weighed on me. At one particular point last year, I felt like, "Man, I did all this work, and it ain’t pop like it’s supposed to pop." I was down for a little bit. It wasn’t that I wasn’t proud of my work. It’s just things with the business that sometimes happen that affect your music. You could put your all into the music, and it’s some executive decision that ruined it. I don’t count it as a failure. It’s just a lesson learned. In the Britney case, every producer, songwriter or arranger on that record did their thing. The record label did their thing. That was just something uncontrollable on her part. Duran Duran [is] an old group, [and] a lot of people are not familiar with them. Not saying that it’s over for them. It’s just a matter of reintroducing them.
Are you still working on Madonna's album?
Actually Madonna is finished. Me and Tim did four or five [songs] together. He also did three more with a new producer, Hannon, out of Virginia. Then Pharrell did the rest. So it’s like a Virginia-produced album. I’m actually kind of proud of that. Even though me and Tim and Pharrell didn’t work together, just for us to completely conquer an artist such as Madonna ... I’m good. Either way, whether we got a single or [Pharrell] got a single, Virginia got a [Madonna] single.
What was the vibe like?
She was cool. She had a dark sense of humor that I can’t explain. She might just say something crazy that you might feel is out of line. But it’s not. It’s just her sense of humor. She was in the studio chilling with us, being open and the whole nine. With any session when you don’t know somebody, the first session is the hardest. You gotta break the ice, but after that initial session, it was all good. Another person that I worked with, Mariah, was really cool and so down to earth. [I did] her new single that’s coming out with T-Pain, “Migrate.”
So, right now, who are your top five producers in the game?
Danja. [Laughs.] I’m playing. Of course, Tim would be number one. I love the Runners, Pharrell, Dr. Dre, Swizz Beatz. I don’t put myself in the top five. Not right now. I need more classic joints under my belt. I’m working on that.
Posted by Toshitaka Kondo on 13 February 2008
Heres another mix article with Jack Joseph Puig and his mix on Fergie's smash 3rd single "Big Girls Dont Cry". Now I love this record, awesome production with a great vocal performance by Ms Fergie Ferg. Im not into the autotune'd sound vocal, especially since I dont believe she needed it, kinda like how keish coles vocal always has the tune cranked on her leads that it reacts crazy with her vibrato. Melodyne is 10 times better but either way both of those girls mixes sound awesome. To me this is easily one of my fav. mixes to date. JJP has always been on top of his shit. Awesome producer and enginner this guy is in my top 5 all time. Hes really known for his use of compression, in his words its the most musical piece of gear we have, and he uses every bit of that. Theres some real cool stuff in here that he uses and if you got to waves.com he has presets on there that he uses regulary. Check em out! Also check out the gear in his room at ocean way. he has tons of vintage gear worth thousands of dollars in there. hes a collector of some of the coolest gear ever. 
I havent made any post regarding engineering fo a sec. Honestly its hard to come across vids and stuff that i think is worthy of posting. Some of the stuff I see during the week is kinda noobie and corny so I usually dont give it much attention. I have an online subscription to Sound On Sound thats really good. I love rading the articles on Mix Engineers and stuff cause thats what I hope to be doing sooner than later. So sense most of you guys dont have a sub. I'll post some of y fav's from Manny Marroquin, Marcella Araica, Demo Castellon, and Jack Joseph Piug. All awesome engineers with tons of mixing and tracking experience. This first one will be the interview with Marcella. Shes awesome one of the best. I always check out her stuff and have hd the chance to work with her a couple of times and shes definately on top of her game. Awesome mix.
so i posted the vid for the making of this joint, heres the video, i just got done watching it and I like it alot, very cool.
Hip Hop DX recently interviewed Killer Mike and he said some pretty interesting things about Atlanta. I always wondered how the people who are FROM ATLANTA felt about the influx of TRANSPLANTS who REP ATLANTA.
DX: [Laughs] Alright, let’s get back to Grind II. I know you don’t wanna keep talking about this kinda stuff, but you know I gotta ask about “2 Sides.” You’re on a track with the infamous Shawty Lo line talking about those that lie about their location. So are you in any way joining Shawty Lo in his condemnation of T.I.?
KM: Let me tell you something, brother, Michael Render, Carlos Walker, and Clifford Harris are all from the Westside of Atlanta. That’s what that is. So I’m not taking no sides [in their battle]. I’m from Martin Luther King [Street]. If two Bankhead niggas wanna argue, two Bankhead niggas can argue the rest of they life ‘cause I’m arguing with some Martin Luther King niggas over here. That’s what we do on the Westside. The Westside [of Atlanta] is [like] Watts if you from L.A. The Westside is Southside Chicago if you from Chicago. The Westside is Brooklyn if you from New York. It’s a bunch of muthafuckin’ grimey, gritty, hungry [people]. [So] what’s going on with Shawty Lo and Tip, it’s as normal as me arguing with my cousin last week. So no, this [song] is in no way a campaign against the king. I love the king. This ain’t a campaign against the “King of the South” or the “King of Bankhead,” or whichever kings either of them are. I love both them brothers.
This is a campaign against people coming in and reshaping my city. This is a campaign against muthafuckas coming in talking about, “I’m from Atlanta,” but they talking about they a fuckin’ Atlanta Blood or an Atlanta Crip. Or, “I’m from Atlanta” and niggas on that gotdamn fagged-out Midtown shit. That’s not Atlanta, homie. My town is not black Hollywood. My town is a rich, black, cultural diverse center of many black people with different kind of money, different kind of social experiences, different kind of everything. But what we are not is New York part 2. We are not L.A. part 2. We are not San Francisco part 2. We are not any of those other cities part 2. So I’m not gonna accept those labels.
So when I go to a club in Atlanta and a muthafucka tells me that I gotta be dressed like your favorite rapper to get in that club, I’ma tell that muthafucka the club’ll be burnt down if he don’t get his mind correct. Because this is my city for real. And that’s all I’m saying [in “2 Sides”], brother. So it ain’t against no other rapper. I am bigger than every rapper you name. And I’m not talking about, “Oh, I’ve made the most money.” You know how many retarded muthafuckas done hit the lottery? That means nothing to me. What I mean is I have seen the same shit that your Jay-Z’s have seen, that your 50’s have seen, not because I had the money [but] because I paid attention. When I went to Paris with Outkast, I went to the Louvre muthafucka. You know what I mean? I used rap to get me to Africa. [But] I’m not where these [local] niggas at [mentally]. I’m not worried about block supremacy. Get the fuck outta here. I’m worried about people from the hood realizing that the world is bigger than that, and we can accomplish anything. I wanna see more Master P’s, man. I wanna see more Jay-Z’s, more 50 Cent’s. I wanna inspire that outta people. I don’t wanna constantly be in the muthafuckin’ position of trying to down a muthafucka to make me look better.
I Pledge Allegiance to the Grind II Tracklist
1. Intro (Produced by Brandon Bailey & Brandon “Tec Beatz” Sewell)
2. 10 G's (Produced by Young Sears)
3. Can You Hear Me (Produced by CKP)
4. 2 Sides feat. Shawty Lo (Produced by Wonder Aillo)
5. Pressure feat Ice Cube (Produced by Tha Bizness)
6. Big Money, Big Cars feat. Chamillionaire & Messy Marv (Produced by Cutmaster Swiff)
7. God in The Building (Produced by The Cancer & Kidz With Machine Gunz) co-Produced by NO I.D.
8. Super Clean/ Super Hard feat. 8Ball & MJG (Produced by Tyrice Jones)
9. Woke Up This Mornin' (Produced by Chris Crak)
10. Bang! (Produced by CKP)
11. Grandma's House (Produced by X. P.)
12. If I Can't Eat Right feat. Gangsta Pill & Rochelle Fox (Produced by Young Sears)
13. I Gotcha (Produced by Smiff & Cash)
14. I'm The Shit!!! (Produced by B Don)
15. Can You Buy That feat Rock D (Produced by Drugs)
16. You See It feat. S.L. Jones (Produced by Brandon “Tec Beatz” Sewell)
17. Good-Bye (City Of Dope) (Produced by Malay)
[edit] References
everyones doing it seems like which is cool, but heres the vi for keri's new joint called energy. Pretty excited to see the actual vid.
so im a dodge fan right. the new challenger's poppin up everywhere now and Im really liking what i see. i need some checks lol. i dont really like 2 door joints now, maybe cause im getting older or something but I love my charger minus the gas it drinks, my shit has a 5.7 the new challenger is a 6.1! damn i know that shits crazy on gas but its raw as hell. heres young splashy splash stuntin wit his new jawn.
The 2 most outspoken people in hip hop get together to do a record about everything and then some. The stills are absolutely crazy and the intro and outro by malcom x is absolutely insane. check it out.
so this has become my new best friend this year, I mean my blog's named after a map on a game i play all the time. If your ever on Live my gamer tag is MIXTHIS
So like 2 weeks ago I had a post called " If I could record like this" which is basically albums i love, if i could record like how they were made, kinda like a dream gig so to speak. I might get shit for this but if not my fav album of all time its gotta be really close, top 3 definately, is Justin Timberlakes " Justified ". The vibe and the whole sound behind this albums awesome. i love every song on here from start to finish. One of my fav sounding albums engineering wise too, I A/B mixes to these songs all the time. The recording process seemed so dope on this album. Justin flew out to Va to work with The neptunes ( fav producers all time) and Timbaland in their studios. Theres even vids of the whole making of the album since it was his first solo joint coming of the huge success of nsync and what not so they taped everything in hopes of an MTV special. I love watching how they came up with some of my fav songs. I know miles is gonna agree this is the shit lol. Had to be the best job ever. Also check out the dre and vidal vids, those guys are dope, better than most the guys out there working now. super talented, and the song they mix in the vid should be released just cause its so dope.
The big homie didint sign him cause he didnt think dude could write ful songs, I like how he put in one line of the song "when did a jigga decision go gold?" hardest jab at J in months lol. Dude is sick, he aint really from the A, but he moved here to make it happen and I dig that cause so did I. Check him out
Im feeling the album title, hope it lives up to the hype and he says some real shit about whats going on out here.
cool as series that had a chicago and miami and also houston if i remember correctly. the premise of the show was basically detailing the history of a certain areas music, meeting with the legends and what not and also the up and coming stars who are continuing the history. Cool show i think i was interning when this came out, still was into it, specially the part with JD's and Dallas's studios since i have never been in either.
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