Archive by Author

Soul Surplus – Port Rich Vol. 1 (Digital Download)

23 Mar

Soul Surplus - Port Rich Vol. 1

Purchase Here: Soul Surplus – Port Rich Vol. 1

Port Rich Volume 1, is the first original sample collection from Soul Surplus. Included in the first collection are 10 original tracks full of soul and ‘vibes’, perfect for producers and creators to utilize as their foundations for new creations.

We offer hassle-free sample clearance, so you’ll never have to worry about jumping through hoops to get your music approved for distribution.  All sounds included are compatible with any DAW or sampler (44.1K).

*With the Stems package, you’ll receive each individual instrument, which will give you even more flexibility for manipulation and sampling.

Instruments used in this collection:

Fender Rhodes // Access Virus // Roland Jupiter // Moog Opus 3 // Moog Minotaur // Yamaha DX7 // Fender Precision Bass // Lakland 55-02 Bass // Notation Ultranova Synth // Fender Stratocaster Guitar // Novation Bass Station II

Lofi Snippets of the Samples:

Become a millionaire LEASING BEATS

18 Mar

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This post is a response to what @illmindPRODUCER was ranting about the last few days on Twitter. While !llmind has some good points, he’s missing some key points and looking at the issue of selling beats to “struggle rappers” from high on the pedestal of someone who has already “made it” in the music industry. For the rest of us, this is our hustle and one that could potentially turn us into millionaires if we play our cards right.

I want to preface this article by stating that the $50 beat you sold last week could definitely turn into $1,000,000 in publishing but it is HIGHLY unlikely and completely improbable. I take that stance that any money made doing something you love is a good thing, whether the end result is a “good thing”or not. I’m of the mindset that you should get every god damn dollar you can and do it TODAY. Chasing placements has never been a winning strategy for MOST people.

I’m also going to do a lot of generalization of math and scenarios to get the fucking wheels turning in your head.

To summarize, you’re probably not going to make a million dollars in publishing revenues off your music. Chasing placements is like playing the lottery for most producers. However, you can definitely become a millionaire by leasing beats to “struggle rappers”. Some of the top charting SoundClick producers are pulling 6 figures off leases and hustling their drum kits annually. Most of the beatmakers that are leasing and selling beats to Internet rappers, cats around the way, and so called “struggle rappers” are probably raking in a few thousand dollars annually. We are talking anywhere between $1,000 to $60,000 for arguments sake.

If you have a job and you’re pulling $1,000 to $60,000 on the side that’s pretty damn good and you’re probably doing better financially than MOST guys that actually have these placements. So what do you do with that extra cash? Invest it.

Conventional wisdom tells us to invest in ourselves and invest in our craft. This generally equates to purchasing some new gear, samples, investing in a website, branding, etc. While all of these investments are necessary, you can get carried away getting “geared up”. Gear is nice, but the gear rabbit hole is deep and gear envy is rampant. Investing in yourself doesn’t only mean buying new equipment or DAW’s or subscribing to the latest cloud based sample source. It means putting that money away for the future or putting it to work for yourself.

Lets face it, most of us don’t have someone funding our retirements or investing in our futures. As self sufficient producers and beatmakers we should be investing our lease and beat sale money into real estate (online and physical), tax deferred investment accounts, taxable investment accounts, etc. If you’ve got student loans or any form of debt, you can pay down the debt and break the chains of debt slavery making and selling beats.

The math is simple and I suggest you research compounding interest and investing for yourself, the Internet is full of great resources. Stashing $5,500 into an Roth IRA every year for 30 years will grow into more than a million dollars. You could open an account with a low cost and automated investment service like Wealthfront with $500 and watch it turn into millions by using your struggle rapper cashflow.

If investing in the stock market isn’t your cup of tea, you could always save a fat chunk of your struggle rapper cash and purchase an online business from a marketplace like Empire Flippers. An online business that cost roughly $30,000 can pay up to $900 to $1,100 dollars a month cashflow. Most of these businesses require very little work and have growth potential. That’s $1,100 a month for a minimal investment using side money.

The investment options for us bedroom producers and online hustlers are more numerous than the few I mentioned here (Wealthfront and Empire Flippers).

The goal then should be not to atain a million dollar publishing deal or chase the improbable dream of producing for the next Drake. The goal should be more manageable and realistic. There is nothing wrong with setting high goals, but lets start with $5,500 a year. It’s attainable with leasing beats and selling exclusives and if invested correctly over a lifetime it will grow into a million plus dollars.

Listen, you make dope fucking beats. There are thousands of us making dope fucking beats. We’re going to invariably sell some of these beats to some shitty rappers and hopefully we sell some to some talented rappers. There are thousands of rappers with the same dreams, ambitions, and musical passion as you and they’re invariably struggling. Connect with these people, make transactions, invest and have fucking fun. Just because your songs won’t be classics doesn’t mean they won’t be relevant. In fact, I see nothing more relevant than paying for your retirement by making music.

Struggle rappers pay bills and they can potentially turn us into millionaires

mixthru-bundle

Mixing Tutorials

14 Mar

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Purchase these Tutorials Here: https://goo.gl/UTkSAV

Mixing instruction by Mixthru is a highly recommended mixing tutorial series featuring Engineer instructor Matt Weiss. Hours of solid mixing courses and instruction. Additional courses include Mixing EDM, Mixing with EQ & Compression, Advanced Mixing, and Mixing 101.

Awesome instruction and well worth the money!

 

Free LoFi Drum Samples

6 Mar

BFD-Free LoFi Drums

Download Here: Free LoFi Drum Samples

Free Lofi Drum Samples by Breaks For Days featuring SP202 Lofi Processing by Bullyfinger

Check out these Drum Collections:

Download is FREE! Enjoy

!llmind – Rhodes to Riches Sample Flip Contest

1 Feb

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Download Here: !llmind – Rhodes to Riches

!llmind x The Drum Broker x KITSOHARD.com have teamed up for another dope sample flip contest!

Prizes include $100 Gift Certificate from The Drum Broker, $50 Gift Certificate from KITSOHARD, and $50 Gift Certificate from BLAPKITS.com

Purchase ‘Rhodes to Riches’ by !llmind, start flipping the samples, and submit entries to illmind@blapkits.com today!

Marco Polo – Pad Thai Beat Contest

9 Jan

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Pad Thai Vol. 4 beat contest begins!!!

ATTENTION PRODUCERS:

Marco Polo x The Drum Broker present the official “Pad Thai Vol. 4” beat making contest.

Rules

1) All entries must own “Pad Thai Vol.4”. Your order # (via www.marcopolobeats.com or www.thedrumbroker.com) grants you entry. (You receive the order# when you purchase it). Please do not enter if you don’t own “Pad Thai Vol. 4”. Bundle purchases including Pad Thai Vol. 4 grant you entry as well. If you don’t own it, no problem, head over to www.marcopolobeats.com or www.thedrumroker.com and cop it!

2) Make a beat using any sounds from “Pad Thai Vol 4.” Of course you can use your own loops, samples, whatever you want just make sure something from “Pad Thai Vol. 4” is used to construct the beat. I’d prefer it to be obvious but even a few sounds is fine.

3) Email 1 beat submission to padthaibeats@gmail.com (only 1 beat please.) * VERY IMPORTANT * Please make sure you include your Pad Thai Vol. 4 order # + all your contact info in the email. Only submit your beat via mp3 attached to the email or a soundcloud link pasted into your submission email. Please do not send any download links or large attachments. The deadline for submissions is Monday January 23rd, 2017. We will announce the winner Monday, January 30th 2017.

PRIZES:

The winner receives the following:

1) Any drum & bass sounds from 2 of my released productions not included in “Pad Thai Vol. 4”. Just tell me the name of the songs and the drums & bass sounds are yours.

2) I will personally email/submit the winning beat to any rapper you want and let them know you got a banger (within reason of course…y’all know who I work with so please don’t ask for anything outlandish haha.) Past 3 winners have submitted beats directly to Pharoahe Monch, Masta Ace and Ed O.G

3) 1 free digital download of any album I’ve released.

4) 30 minutes with me in the studio via skype, phone or messenger (not in person, sorry Mischa don’t like guests). You can play me beats and get feedback or ask any production questions you want.. If you make hot shit I’m happy to help you get your beats to some MC’s. Rappers always need beats.

5) $150 store credit @ www.thedrumbroker.com . The Drum Broker is also offering up a NS-10M USB drive in addition to the generous store credit. $150 will get you a ton of HEAT from The Drum Broker.

Sound good?

Let the beat making begin and if you have any questions please ask them in the comments.

Good luck and most importantly have fun.

peace,

Marco x The Drum Broker

Reason 9 Beatmaking Video – Sickwitit x Shroom Dust Breaks

24 Dec

Watch Sickwitit knock out a banger using Shroom’s Dust Breaks & Propellerhead’s Reason 9

Get Shroom’s Drums Here: Shroom Drum Samples & Breaks

Follow Sickwitit: soundcloud.com/iamsikwitit

The Disruptive Producer

21 Dec

You may be familiar with the idea of disruptive technology or disruptive innovation, but if you’re not well define it quickly using wikipedia:

A disruptive innovation is an innovation that creates a new market and value network and eventually disrupts an existing market and value network, displacing established market leading firms, products and alliances. The term was defined and phenomenon analyzed by Clayton M. Christensen beginning in 1995.

We want to adapt this definition to beatmakers and producers and introduce the idea of the “Disruptive Producer”. So exactly what is a disruptive producer? Just like disruptive innovations, a disruptive producer also creates a new market while displacing established producers, production products, and industry alliances.

You might not realize it yet, but you have already encountered these types of producers and beatmakers in the wild. When presented with their music (production) combined with unique content or experiences (think visuals, stage performance, etc.) they completely challenge your ego, forcing you to question what really constitutes “DOPE”.  You will find yourself immediately reevaluating your own production, gear, techniques, marketing, network, relationships, etc. Disruptive producers always come out of nowhere and are almost always of the “bedroom variety”. You’re completely unfamiliar with their body of work and will quickly find yourself going down the research rabbit hole to find out more. The impulse to add them on social media or to your Spotify playlist will over take you. The Disruptive Producer challenges every belief you had about what a Super Producer actually is.

The Disruptive Producer has the ability to infiltrate tightly held industry positions while cultivating their following and harnessing its unlimited potential. Their come up can only be explained by the fact that they challenged the status quo (including you).

You must strive to become the Disruptive Producer because it the only way anyone will ever give a fuck about you or your craft. It is the ultimate viral marketing meme for beatsmiths in 2017 and beyond.

What are you waiting for? Become disruptive.

 

Interview: M.Simp of MSXII Sound Design

14 Dec

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First off, thanks for doing this interview, it’s been a while since we’ve grilled anyone over at The Drum Broker Blog.

Man, I’m honored bro.  Thank you for reaching out and having me.  Most definitely has been a while!

MSXII has grown over the last few years as a sound design and production team landing some large contract jobs with companies that include Native Instruments. Your product catalog and scope has expanded exponentially since your early projects.

1. How did MSXII make the transition from producing (making beats) to creating sample packs for other beatmakers (sound design)? 

I really think the demand and feedback helped initiate the transition.  I wouldn’t say we’re not producers anymore by any means, but the focus is sound design most days.  The sound design definitely influences the production.  We’ve always liked to create the tools that we were interested in using in our own music production.  I guess thats the reason the catalog expanded…the many musical interests and things we want to explore individually.  Naturally, what you’ll find in our catalog is the stuff we initially had interest in creating for our own use. 

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2.  You guys recently created a Maschine Expansion pack for Native Instruments called Sierra Grove. How did the relationship with Native Instruments come about?

The relationship with our friends there began a while back.  The industry is actually pretty small once you get to know a few people.  Next thing you know, so and so knows so and so, and introductions get made.  The guys at Native are really dope people.  It’s been all love over there from day 1.  I think one of the things I’m most grateful for is the amount of trust they gave us with a project like Sierra Grove.  Being able to dive into Maschine and accent what we feel are it’s strengths was a goal of ours.  It’s such a great platform that can definitely get a lot done with ease once you pop the hood.  Native gave us the autonomy needed to express ourselves in it.  Thats a big deal and we certainly don’t take it lightly.  Looking forward to building some great things for many years to come with them.

3. Does MSXII’ have a sound design philosophy? That is to say, what is your overall approach to creating sample packs? Do you have specific users in mind when you’re creating products?

We don’t really have a ‘philosophy’ so to speak, but we certainly have an approach.  There are a few things that should be in the DNa of every product we offer that answer these questions; Is it dope?  Would you use it? Does is feel authentic? Will it be relevant 3, 5, 10 years from now? 

Subconsciously we all create from this standpoint.  Like I previously stated, being producers first, we’re always looking to create things that meet our own personal standards.  If we’re confident of that, we hope with consistency you’ll dig it too.  So with that said, there isn’t a specific user in mind while creating.  What’s in mind is a vibe, a feeling, an aesthetic.

4. You can’t satisfy everyone’s needs and desires when it comes to creative endeavors and product design. Who are MSXII’s products NOT for? 

Haha, no you most certainly cannot.  However, our products are not for scammers, sharers, pirates, or other designers that would like to use our material as their own.  Unfortunately, thats a large part of the market, but those are losses we’re willing to take!

As The Drum Broker, I field pitches for drum kits and sample packs on a daily basis. They range from terribly unprofessional to exquisite. It seems like everyone wants to do a kit or create a sample pack now. I’m observing “the hustle” shift from selling and leasing beats to exploiting drums and samples to turn a short term profit. This has resulted in the inception of really dope products and brands, but there is also a load of shit seeping from the pipes of the Internet. It’s obvious that not everyone has a long term vision for their product or brand.

5. What’s your take on this phenomenon? Where does MSXII fall within this emerging category of hybrid producer-sound designer?

Man, you said a lot there.  Just like anything else, once people find out something can be profitable, here come the masses.  Some would argue this even happened with rap music very early on.  There are some pioneers that simply aren’t credited properly due to the exploitation of it during it’s infancy.  While I don’t think there is anything wrong with free enterprise, I really wish more would consider everything prior to jumping out into the field.  I see so many doing “drumkits” & “sample packs” with no viable means of fulfillment.  Websites that still have the hosting site’s name in the url. No follow up system or even a means to combat pirating.  These are just a few of the things I can name off top.

While all these things aren’t necessarily needed, I do think it speaks to your thoughts on it being unprofessional and very short term.  So many of us live for “now” so it’s hard to see past next week—much less plan that way.  We really need to create the separation between one-off producer kits & drumkits/sample packs that have been designed for use by music makers. 

While producing, I may have a set of go-to sounds & drums that I’ve pulled from numerous years of collecting, stock libraries, and off vinyl.  Collecting these from my sessions and sharing/selling these means that this is a producer kit, in my opinion.  I don’t think anything is wrong with that.  However, this has been hyped to no end and now you see everyone doing it.  The problem is, eventually, the same stuff begins to circulate and cause issues.  I think we need a BBB of drumkits/sample packs out here!  So much more to say on the subject, but I’ll leave it there.  Haha!

There is a couple cliches and cultural memes perpetuated by beat makers and producers that I disagree with. One of them is that you can “never have too many sounds”. I tend to disagree with this statement because too many tools, features, sounds, and options can be a roadblock to creativity and detracts from the creative process. However, some people disagree and think it lends to endless exponential creativity with no limits.

6. What are your thoughts?

Well, I kind of go back and forth on that.  I do agree that having way too many tools can certainly stifle creativity.  It happens to me personally from time to time.  During those times, I limit myself to creating with only a set of amount of tools.  I may only rock with sounds from 2014, all analog & no vst’s, or even go back into only using Reason etc.  I usually end up finding that I have more than enough to get busy with and stay in creative mode much longer. 

However, as a sound designer, I can also argue that you can never have too many sounds/tools!  We work from the standpoint of you hearing me today is much better than hearing me 3 weeks ago.  My material is always fresh because if I’m working everyday, I’m getting better.  So…you can never have enough sounds because you don’t have my latest sounds!  I hope that makes sense.  I’m a bit biased in this case, but I can definitely speak from experience here.  My advice is to do whatever you think is necessary to fuel your creativity…sounds, gear, tutorial, and information wise. 

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7.  Sampling has always been a critical part of hip hop and electronic music. With most things that change, there is always going to be resistance and pushback . Many people gawk at the idea of paying for compositions and drum samples. These same purists stand on the moral high ground and scream that everyone should create entirely from scratch. If you wanted to change someone’s mind about the benefits of buying samples, what would you tell them?

It’s an interesting subject now…especially with the rise of cats taking their music careers into their own hands and caring less about a label situation.  I’m kind of lost on the notion of being in hip-hop & creating from “scratch.”  Sampling is at the core of what we do…so, from “scratch” in most cases usually involves a starting point or idea of someone else’s work.  Should the original creator not be paid and compensated? I think so.  The worker is worth his wage. 

Exceptional composition creators make the process of finding good instrumentation easier for the budding producer (serious or hobbyist) that maybe works full time, has a family, or simply doesn’t have the time to dig.  Even if you’re outside of those parameters, but you still enjoy making music via sampling, this is great.  That, to me, is a valuable service.  Too many us want to enjoy the services of others for free.  Where’s the value in that?  Where’s the integrity in that?  We wonder why everything gets so watered down and less potent in our niche…that is entirely whats wrong out here. 

Now, to be fair, us sample creators should be legit on our own software and other tools used TO create.  We certainly can’t be hypocrites in the matter.  It definitely goes both ways.

We’ve been flooded with emails from customers who don’t understand why they have to pay for a sample pack and then “clear” the sample down the road. As the distributor we understand this doesn’t apply to every customer, but some clarification would be awesome. 

8. Can you explain MSXII’s position on sampling your compositions? Help our audience understand exactly what “master clearance” guaranteed means and when clearing a sample applies to them specifically. 

My position on sampling MSXII’s compositions is that it’s great!  Seriously, it is.  We’ve worked hard to create a reputation that makes it easier for a producer, label, publisher or anyone else to speak directly to us regarding clearing, rights, usage, publishing, royalties, splits, etc.  Our work is original and it sounds great.  Let me try an outline a hypothetical scenario for you:

First, you, a budding producer, purchase one of our composition packs, from msxaudio.com or one of our distributing partners such as The Drumbroker.  Your payment is simply your price of admission to download the project legally.  You want to hear the work to potentially use it?  You need to pay for it.  Not pirate it or share it.  Especially if you call yourself wanting to go somewhere with your music.  I feel this way about everyone providing these options out here.  Pay these guys the price of admission for their work.  It’s not outrageous by any means!

Secondly, you flip one of the samples (from scratch, haha!) and land it with a dope artist who will do numbers who happens to be backed by say Sony or Universal or some other giant.  Now, because that sample is not your original work, technically it will need to be “cleared” for use.  Here’s where the term “hassle free” comes in on our end.  We’re going to help you get where you want to be in your career regarding this record.  We will clear the sample for you and your use.  However, that does not come without a cost though.  You’ll make money (provided) your paperwork is right on the life of that work.  Without our original sample, would this be the case?  Most likely not if you’re using it in the first place.  This is where a negotiated split of those profits come in. 

Usually, anything serious will be handled by the label.  They would be the party releasing (or publishing) the music so they take on the responsibility of clearing the samples. When your label representatives reach out, we will work with them to make it happen for you. 

Now, why this matters is because not all samples you snatch off these records will clear if you find yourself in a situation of doing some cool things.  Do your homework and you’ll find the stories out there.  I also don’t want to be naive; you can do whatever you want out here.  Put music on soundcloud, youtube, etc and never plan to make money off of it.  This happens. However, if you find yourself in a big situation, but refuse to go about it the right way just know you operate at your own risk. My advice is to cover your bases. 

9. What should we be on the lookout for from MSXII in 2017?

Excellence.  2017 will be an incredible year for us.  More great products & ideas.  Super cool physical items.  Great partnerships to be revealed soon and more building/engaging with those that believe in our brand.  We’re super thankful for those that have given an ear to anything we’ve done.  You’re the reason we can continue to do this.  Big thanks to the Drumbroker team for such an unparalleled service to the music production community.  Thank you for the honor fam. 

Peep our catalog here w/ The Drum Broker: https://hiphopdrumsamples.com/collections/msxii-sound-design

Give us a shout & we’ll follow on Instagram/Twitter: @MSXIISound

Stop by the website: msxaudio.com

Gatekeeping your best distribution channel: Music Software Piracy

10 Dec

I ran across an interesting Reddit post today:

“I sometimes wonder if the reason Reason is getting less popular is because they piracy-protected it so well. I mean, FL is probably partially popular because 90% of its users can just torrent it. They’ve protected it so well that kids can’t download a recent version, therefore are not easily going to pick up on it, not create tutorials, not tell their friends etcetera. Not sure about this theory, just wondering. Wondering what you guys think.”

Why is this interesting? The Reddit poster poses an interesting theory where Propellerhead Software, the developer of Reason has stunted the proliferation of Reason as viable music production tool due to its Draconian licensing practices. This posture seems reasonable if you consider a few things. Not all software users are participating members of the profit driven licensing model. Many FREE tutorial and instructional videos available on YouTube are created by younger users without access to the funds or means to legally purchase (license) software and plugins. The best informational resources may be developed and distributed by these non-paying users.

The idea here is that the non paying, pirating users of Reason would make Propellerhead’s most effective street team and increase the software’s popularity and user base. Of course, this idea isn’t limited to just Propellerhead Software but extends to many types of developers and non-software distribution models (think about your own music). It’s a fact that many of us beatmakers and producers start out using pirated software and eventually purchase it at some point during our careers. This is becoming easier, more affordable, and enticing with subscription based software and plugin licensing.

What are your thoughts? Do you think piracy serves a greater marketing purpose? Are some developers too restrictive and draconian with their licensing?