LOS ANGELES RECORD LABEL CONTACTS

143 Records
530 Wilshire Blvd., Suite 101
Santa Monica, CA 90401
Phone: 310-899-0143
Fax: 310-899-0133

A&M Records
1416 North Lebrea Ave.
Hollywood, CA 90028

Aftermath Records
2220 Colorado Blvd.
Santa Monica, CA 90404
Phone: 310-865-7642
Fax:310-865-7068

American Recordings
3500 West Olive Ave.
Suite 1550
Burbank, CA 91505

Capital Records
A&R Dept
1750 North Vine & Hollywood
Hollywood, CA 90028
Phone: 323-462-6552

Cash Money Records
P.O. Box 547
St. Rose, LA 70087

Chrysalis Music
Valerie L. Patton
8500 Melrose Ave., Suite 207
Los Angeles, CA 90069-5145
Phone: 310-967-0303
Fax: 310-652-2024

Geffen Record Co.
9130 Sunset Blvd., Suite 1230
Los Angeles, CA 90069

Gramophone
P.O. Box 910
Beverly Hills, CA 90213

Interscope Records
10900 Wilshire Blvd., Suite 1230
Los Angeles, CA 90024

Maverick Music Co.
8000 Beverly Blvd.
Los Angeles, CA 90048

MCA Records
70 Universal City Plaza
University, CA 91608

Motown Records
5750 Wilshite Blvd., Suite 300
Los Angeles, CA 90026

Quincy Jones Music
3800 Barham Blvd 503
Los Angeles, CA 90068
Phone: 323-882-1337
Fax: 323-874-4236

Reprise Records
3300 Warner Blvd.
Burbank, CA 91510

Revolution Records
8900 Wilshire Blvd.
Beverly Hills, CA 90211

Rhino Entertainment
10635 Santa Monica Blvd., 2nd floor
Los Angeles, CA 90025

Virgin Records
338 N. Foothill Rd.
Beverly Hills, CA 90210

Warner Bros. Records
3300 Warner Blvd.
Burbank, CA 91505

Windham Hill Records
75 Willow Rd.
Menlo Park, CA 94025

NEW YORK RECORD LABEL CONTACTS

Angel/Virgin Classics Records
810 Seventh Ave.
New York, NY 10019

Arista Records
6 W. 57th St.
New York, NY 10019

Atlanta Records
75 Rockefeller Plaza
New York, NY 10019

Bad Boy Entertainment
1540 Broadway
30th Floor
New York, NY 10036

Blackground Records
49 West 27th St.
New York, NY 10001
Phone: 212-684-1975
Fax: 212-684-1624

Blue Note Records
1290 Sixth Ave.
New York, NY 10019

BMG/RCA Records
1540 Broadway, 9th floor
New York, NY 10036

Columbia Records
550 Madison Ave.
New York, NY 10022

DAS Communications
83 Riverside Dr.
New York, NY 10024
Phone: 212-877-0400
Fax: 212-595-0176

East/West Records
75 Rockefeller Plaza
New York, NY 10019

Ebony Son Management
c/o Chaka Zulu
1867 7th Ave., Suite 4C
New York, NY 10026
Phone: 917-449-2619
Fax: 212-665-9634
jdixon914@aol.com

EMI Music Publishing NY
c/o Paul Morgan
1290 Avenue of the Americas
New York, NY 10104
Phone: 212-492-1200
Fax: 212-492-1865
pmorgan@emimusicpub.com

Island Records (Polygram)
825 Eighth Ave.
New York, NY 10019

LaFace Records
Flent Coleman
6 West 57th St.
New York, NY 10019

Matador Records
676 Broadway
New York, NY 10012

Mercury Records
825 Eighth Ave.
New York, NY 10019

Nonesuch Records
590 Fifth Ave., 16th floor
New York, NY 10036

Rockwilder Entertainment
Ellis Entertainment
900 South Ave., Suite 300
Staten Island, NY 10314
Phone: 718-568-3655
Fax: 718-568-3643
ellisentertain@aol.com

Sire Records
75 Reckefeller Plaza
New York, NY 10019

Tommy Boy Records
Ian Stemmans 902 Broadway, 13th floor
New York, NY 10010
Phone: 212-777-0281

Trackmasters Entertainment
550 Madison Ave.
New York, NY 10022
Phone: 212-833-7962
Fax: 212-833-4797

TVT Records
Rell Lefarg
23 East 45th St.
New York, NY 10003
Phone: 212-979-6410

Verve Records
825 Eighth Ave.
New York, NY 10019

Warlock Records, Inc.
126 Fifth Ave., 2nd floor
New York, NY 10011
Phone: 212-206-0800
Fax: 212-206-1949

Zomba / Jive Records
Jimmy Mays
137-139 West 25th St.
New York, NY 10001
Phone: 212-727-0016

OTHER U.S. RECORD LABEL CONTACTS

ASCAP
Moe Rodriquez, Regional Rep
P.O. Box 14189
Gainesville, FL 32604
Phone: 352-377-1003
Fax: 352-377-0590
promoe@gator.net

A Touch of Jazz
444N. Third St.
Philadelphia, PA 19123
Phone: 215-928-9192
Fax: 215-928-9487

Cash Money Records
P.O. Box 547
St. Rose, LA 70087
Phone: 504-466-5115
Fax: 504-466-7575

Darkchild Entertainment
503 Doughty Rd.
Pleasantville, NJ 08232
Phone: 609-652-7906
Fax: 609-407-0596

Flyte Tyme Productions
4100 West 76th St.
St. Edina, MN 55435
Phone: 612-897-3901
Fax: 612-897-1942
www.flytetyme.com

Freeworld Entertainment
576 A Trabert Ave.
NW Atlanta, GA 30309
Phone: 404-351-6680
Fax: 404-351-1354

Jee Juh Productions
340 Summit Rd.
Watsonville, CA 95076
Email: beats@jeejuh.com

Hardball Records
Pablo Casals
350 Lincoln Rd., Suite 316
Miami Beach, FL 33139
Phone: 305-674-7044
Fax: 305-674-7501

Keep Close Entertainment
Tony Rudd
2700 SF Charles Rd
Bellwood, IL 60104
Phone: 708-701-9491

LaFace Records
3350 Peachtree Rd., Suite 1500
Atlanta, Ga 30326
Phone: 404-848-8050
Fax: 404-848-8051

Luke Records
Julian Boothe
Miami, FL
Phone: 305-532-7696

Mammoth Records
101 B St.
Carrboro, NC 27510

Miles Ahead Entertainment
Sheila Eldridge
380 Piermont Ave.
Hillsdale, NJ 07642
Phone: 201-722-1500
Fax: 201-722-1119

Rap-A-Lot Records
P.O. Box 924190
Houston, TX 77292
Phone: 713-335-1600

Rounder Records
1 Camp St.
Cambridge, MA 02140

Slip-N-Slide Records
Keith Hamilton
99 Miami Gardens Dr., Suite 128
Miami, FL 33169
Phone: 305-770-077

So So Def Recordings
685 Lambert Dr.
Atlanta, GA 30324
Phone: 404-888-9900
Fax: 404-888-9901

Soundbwoy Entertainment
Lancelot 2221 N.E. 164th, Suite 255
North Miami Beach, FL 33160
Phone: 305-769-9700
Fax: 305-769-6990

T-Luv Management
3018 Gary Drive St. Louis, MO 63121
Phone: 314-385-1848
Fax: 314-383-2393

Untouchables Entertainment Group
100 Piermont Rd.
Closter, NJ 07624
Phone: 201-767-6924
Fax: 201-784-3879

Warner/Chappell Music
Latin Division
763 Collins Ave., Suite 301
Miami, FL 33139
Phone: 305-534-1010
Fax: 305-534-1082

Wish Recordings
Ian Burke
PMB 145, 541 10th St.
Atlanta, GA 33018
Phone: 404-627-8329

Wright Stuff Records
Donna Wright
P.O. Box 2600
Windmere, LF 34786
Phone: 407-291-8333 ext 1
Fax: 407-291-6946
Voice: 800-222-6000
wrightstuffmanagement.com

Worldwide Entertainment
Kevin Wales
Atlanta, GA
404-760-0599

Resources: Sahpreem A. King, Gotta Get Signed

The producer/beat maker/rapper/political activist named Kanye Omari West was born on June 8, 1977 in Atlanta, GA. Kanye West then made it to Chicago at age three. Kanye West’s early production and beat making was mostly for small time artists in chicago and his hometown area. After dibble dabbling around for a while, kanye west made his first big collaboration called “Turn It Up” with Jermaine Dupri and Nas, this was a breakthrough for him and it featured on JD’s Life… In 1472 movie soundtrack. The song unlike most of his other beats relied on a sample-free style, basically the opposite of Kanye West’s diced drum-programming and sample-heavy tunes. Kanye honed and perfected his production skills under the training of Derrick “D-Dot” Angeletti.

Kanye West is often credited with revitalizing Jay-Z’s career because of his contributions on the rapper’s 2001 masterpiece The Blueprint. Not only did West lace the beats to Jay-Z’s ubiquitous anthem “Izzo (H.O.V.A.)” and the introspective “Never Change,” Kanye was also responsible for the now legendary lyrical shots fired at Nas and Prodigy (of Mobb Deep), “Takeover.” As an in-house producer for Jay-Z’s Roc-A-Fella records, West also crafted beats for other ROC artists including Beanie Sigel. Though, Kanye West had also picked up some emceeing skills around the same time he began producing, it was a struggle for him to be taken seriously as a rapper. Record companies were not ready for a rapper whose past did not reek of dirty drug-dealing stories and bullet holes. After a series of meetings with Capitol Records, Kanye West was denied an artist deal. In a desperate attempt to keep their gifted producer from defecting to another label, Roc-A-Fella reluctantly signed Kanye West. Everything changed on October 22, 2003 when Kanye West was involved in a life-threatening auto accident. Due to the severe damage from that crash, his mouth was wired shut, presumably closing the chapter on Kanye’s emceeing dreams. Two weeks later, however, he sneaked out of his hospital bed and recorded “Through The Wire,” where he rapped with his mouth still wired shut. The song would later become the first single from The College Dropout, West’s critically acclaimed debut album. That debut album, The College Dropout (2004), was continually delayed while West continued to churn out big hits for the likes of Talib Kweli (”Get By”), Ludacris (”Stand Up”), Jay-Z (”‘03 Bonnie & Clyde”), and Alicia Keys (”You Don’t Know My Name”). Then, just as “Through the Wire” was breaking big-time at the tail end of 2003, another West song caught fire, a collaboration with Twista and comedian/actor Jamie Foxx called “Slow Jamz” that gave the rapper/producer two simultaneously ubiquitous singles and a much-anticipated debut album. As with so many of West’s songs, these two were driven by somewhat recognizable sample-based hooks — Chaka Khan’s “Through the Fire” in the case of “Through the Wire,” and Luther Vandross’ “A House Is Not a Home” in the case of “Slow Jamz.”

In late 2005, West followed up his well-received debut with Late Registration, which was co-produced by Jon Brion. While Brion helped add dense layers of instrumentation and adept musicianship to the album’s soundscape, Kanye’s social commentary and witty lyricism made the album an enjoyable musical ride. “George Bush Does Not Care About Black People”
Following the hurricane Katrina debacle, West deviated from a scripted teleprompt to announce on NBC that “George Bush does not care about Black people.” Touted by a mix of praise and controversy, West would go on to win three awards at the 2006 Grammy’s, a repeat of his 2005 feat and a confirmation of his undeniable talent and determination.

Albums
2004 – The College Dropout (Roc-A-Fella/Def Jam)

Released: February 10, 2004
Chart positions: #2 US
U.S. Sales: 3 Million
Last RIAA certification: 3x Platinum
Singles: “Slow Jamz”, “All Falls Down”, “Jesus Walks”, “Through the Wire”, “The New Workout Plan”

2005 – Late Registration (Roc-A-Fella/Def Jam)

Released: August 30, 2005
Chart positions: #1 US (2 Weeks)
U.S. Sales: 3.6 Million
Last RIAA certification: 3x Platinum
Singles: “Diamonds From Sierra Leone”, “Gold Digger” (with Jamie Foxx), “Heard ‘Em Say”, “Touch the Sky Remix”, “Drive Slow”

Guest appearances
Kanye has collaborated with numerous artists, including Twista on songs such as “Overnight Celebrity” and “Slow Jamz” (also featuring Jamie Foxx) ? the latter would reach number one on the Billboard Hot 100 Singles Chart, becoming the first number one hit for all artists involved. Other songs Kanye has featured on include:

“Welcome 2 Chicago” by Abstract Mindstate feat. Kanye West (2001)
“The Good, The Bad and The Ugly” by Consequence feat. Kanye West (2003)
“Higher” by Do or Die feat. Kanye West (2003)
“Oh Oh” by Melbeatz feat. Kanye West (2004)
“So Soulful” by Consequence feat. Kanye West, Khayree, & John Legend (2004)
“03′ Til Infinity” by Consequence feat. Kanye West (2004)
“Take It As A Loss” by Consequence feat. Kanye West (2004)
“I See Now” by Consequence feat. Kanye West, & Little Brother (2004)
“Where You At” by Kanye West feat. The Game & Ludacris (2004)
“Getting Out The Game” by Consequence feat. Kanye West (2004)
“Gettin’ It In” by Jadakiss feat. Kanye West (2004)
“Turn Yourself In” by Consequence feat. Kanye West (2004)
“Get By (Remix)” Talib Kweli feat. Mos Def, Jay Z, Kanye West, and Busta Rhymes (2004)
“Overnight Celebrity” by Twista feat. Kanye West (2004)
“This Way” by Dilated Peoples feat. Kanye West (2004)
“Changing Lanes” by CHOPS feat. Kanye West (2004)
“Down And Out” by Cam’ron feat. Kanye West and Syleena Johnson (2004)
“The Food” by Common feat. Kanye West (2004)
“Talk About Our Love” by Brandy feat. Kanye West (2004)
“Confessions Part 2 (Remix)” by Usher feat. Kanye West, Shyne and Twista (2004)
“I Got A Love” by Jin feat. Kanye West (October 2004)
“Selfish” by Slum Village feat. Kanye West and John Legend (2004)
“Pusha Man” by Bump J feat. Kanye West, & Rick James (2004)
“Pusha Man Remix” by Bump J feat. Kanye West, Keyshia Cole, & Rhymefest (2004)
“I Change My Mind” by Keyshia Cole feat. Kanye West (2004)
“The Way That U Do” by Carl Thomas feat. Kanye West (2004)
“Talk About Our Love” by Brandy feat. Kanye West (2004)
“Crazy” by Aura feat. Kanye West, & Malice (2004 or 05)
“Fly Away” by Miri Ben-Ari feat. Fabolous, Kanye West, & Musiq Soulchild (2005)
“Number One” by John Legend feat. Kanye West (2005)
“Go” by Common feat. Kanye West (2005)
“Stay the Night” by Mariah Carey (produced by Kanye West) (2005)
“Extravaganza” by Jamie Foxx feat. Kanye West (2005)
“Brand New” by Rhymefest feat. Kanye West (February 2006)
“Tell Me When To Go (Remix)” by E-40 feat. Kanye West, The Game, and Ice Cube (2006)
“Back Like That (Remix)” by Ghostface feat. Kanye West and Ne-Yo (2006)
“Side 2 Side” by Three 6 Mafia feat. Kanye West and Bow Wow (2006)
“More” by Rhymefest feat. Kanye West (2006)
“Number One” by Pharrell feat. Kanye West (2006)
“Grammy Family” by DJ Khaled & Consequence feat. Kanye West, & John Legend (2006)
“Oh Drama Chamillionaire & Stat Quo feat. Kanye West (2006)
“Wouldn’t Get Far” The Game feat. Kanye West (2006)
“Tooth Pick” Talib Kweli feat. Kanye West (2006)
“Like This” DJ Clue & Fabolous feat. Kanye West (2006)
“In My Heart” Solange Knowles feat. Kanye West, & Jay-Z (2007)

References

Jones, Steve. Kanye West, hip-hop’s writer-in-residence. USA Today.
Davis, Kimberly. “Kanye West hip-hop’s new big shot”, Ebony, April 2005.
Black History – Biographies – Kanye West. Newsmakers, Thomson Gale.
Artist: Kanye West Album: The College Dropout Song: Last Call. ohhla.com.
Kanye West calls for end to gay bashing. USA Today.
Rae, Kelly (2005-09-09). Stuff Style Icon of the Year. Stuff Magazine.
Kanye West’s karate busking. FemaleFirst.co.uk.
Kanye West knows karate. The Superficial.
http://www.answers.com/topic/kanye-west
http://www.who2.com/kanyewest.html
http://www.emimusicpub.com/worldwide/artist_profile/kanye-west_profile.html
http://rap.about.com/od/profiles/p/KanyeWest.htm

Kanye West Links

Biography
Kanye West – AskMen.com
Kanye West profile from the online men’s magazine.

Rocafella
Great bio of Kayne.

AMG – Kayne West
Short profile from the All Music Guide.

Kanye World
Great biography of the singer.

Rap News Direct
Personal profile of the hip hop artist.

Sing 365
Excellent biography of the hip hop star.

News
Kanye West
Get all the latest news about Kanye at his homepage.

Rocafella
All the latest news about what’s happening with Kayne.

Google News
Searches thousands of news sources for the latest articles on West.

Kon Vuitton Don
All the latest on Kanye.

Kanye Talk
News related to the star.

MTV News
Current and archived news stories from MTV.

Kanye World
The latest news about Kanye.

All Hip Hop
The latest news from the hip hop site.

Pictures
Kanye West
Live photos and press photos.

Rocafella
Great photo slideshow of Kayne West.

Kanye World
Nice image gallery of Kanye.

MTV Photos
Flick through photo flipbooks.

Kanye Talk
Live performances, photoshoots, and more.

SuperiorPics.com: Kanye West
Find rare images of Kanye West at SuperiorPics.com

Articles
Hip Hop Elements
Article about Kayne’s upcoming debut lp.

Manhunt
Article about Kanye’s debut album.

Rolling Stone
Brief biographical article on the up and coming star.

Pop Matters
Review of a couple of Kanye’s hard to find discs.

Fan Mail
Contact Any Celebrity
Get accurate contact information for over 16,000 movie, television, music, sports stars, and other popular public figures.

Lyrics
My Lyrics Central.com
Lyrics to all your favorite artists at My Lyrics Central.

MetroLyrics: Kanye West Lyrics
Get FREE Lyrics from MetroLyrics.com.

Get Some Noise.com
GSN has a great selection of lyrics in a nice clean site.

Kanye West Lyrics
Lyrics to Kanye West songs.

Lyred.com
Lyred has a nice site with a great selection of lyrics.

Absolute Lyric.com
Absolute Lyric has a great selection of lyrics.

HotLyrics.net – Kanye West
Find lyrics to your favorite songs at HotLyrics.net.

Lyrics Search Engine
Lyrics organized by album from the LSE.

Mp3 Lyrics: Kanye West
Mp3 Lyrics Organized has a searchable collection of more than 200000 song lyrics.

Kanye World
Lyrics to a select few of Kanye’s songs.

Music Made Me Do It
Terrific lyrics site, nice design.

Song Lyrics
Lyrics to a great selection of song lyrics.

Song Lyrics.com
Song Lyrics has a great selection of Kanye West lyrics.

Sounds
Kanye West
Song samples from Kanye’s debut disc.

Tabs
911 Tabs.com
Kanye West at 911 Tabs.com.

UltimateGuitar.com
Get tablature from this comprehensive tab site.

Tour Dates
Rocafella
Find out where Kane will be performing on tour.

Videos
Kanye West
Watch Kanye perform in videos.

Rocafella
Watch a couple of Kayne’s videos here.

MTV – Kanye West
Watch full length Kanye West music videos from MTV.

Wallpapers
Kanye West
Six great Kanye West wallpapers.

Sony C800G – $5,500
Capsule type: Condenser
Frequency response: 20Hz – 18kHz
Directivity: Uni/Omni
Microphone Connector: CNR-01 type (7 pin)
Stand screw/Mic Holder screw: PF 1/2 inch thread
Remarks: Vacuum Tube
Output impedance at 1kHz (balanced) (1/2 +- 20%): 100W
Induction noise from ext. magnetic field: 0
Max. input sound pressure level : 131dB (Uni), 134dB (Omni)
Inherent noise: 18 (Uni), 21 (Omni) (dB SPL)
Wind noise (0dB=20 Pa.): less than or equal to 50(dB SPL)
Supplied Stand Adapter: NS 5/8 inch thread, W 3/8 inch thread
Effective output level at 1kHz: -28.0 (Uni), -31.0 (Omni) (dBm)
Sensitivity: -32.0 dB +- 2.0 (Uni), -35.0 dB +- 2.0 (Omni)
Dynamic range: 113dB
Signal-to-noise ratio: 76dB (Uni), 73dB (Omni)

Neumann U87 Ai – $2,650
Acoustical operating principle: Pressure gradient transducer
Directional pattern: Omnidirectional, cardioid, figure-8 plus
Frequency range: 20 Hz – 20 kHz
Sensitivity at 1 kHz into 1 kohm: 20/28/22 mV/Pa
Rated impedance: 200 ohms
Rated load impedance: 1000 ohms
Equivalent SPL CCIR 468-3: 26/23/25 dB
Equivalent SPL DIN/IEC 651: 15/12/14 dB-A
S/N ratio CCIR 468-3: 68/71/69 dB
S/N ratio DIN/IEC 651: 79/82/80 dB
Maximum SPL for THD 0.5%: 117 dB (cardioid)
Maximum SPL for THD 0.5% with preattenuation: 127 dB
Maximum output voltage: 390 mV
Dynamic range of the microphone amplifier cardioid DIN/IEC 651: 105 dB
Supply voltage: 48 V +- 4 V
Current consumption: 0.8 mA
Matching connectors: XLR3F
Weight: 500 g
Diameter: 56 mm
Length: 200 mm

Rode K2 – $700
Acoustic Principle: Externally polarized 25 mm (1″) condenser
Active Electronics: Thermionic impedance converter with bipolar output buffer
Pickup Pattern: Multi-pattern
Frequency Response: 20 Hz ~ 20 kHz
Output Impedance: 200 ohms
Sensitivity: -36 dB re 1 Volt/Pascal (16 mV @ 94dB SPL) +/- 2 dB
Equivalent Noise: 10 dBA SPL (per IEC651, IEC268-15)
Maximum Output: > + 30 dBu (@ 1% THD into 1kOhms)
Dynamic Range: 150dB (per IEC651, IEC268-15)
Maximum SPL: 162 dB (@ 1% THD into 1kOhms)
Signal/Noise: > 81 dB (1kHz rel 1 Pa; per IEC651, IEC268-15)
Power Requirements: Dedicated Power Supply (110 ~ 120V/220 ~ 240V, 50/60Hz)

Audio-Technica AT4040 – $280
Element: Externally-polarized (DC bias) condenser
Polar Pattern: Cardioid
Frequency Response: 20-20,000 Hz
Low Frequency Roll-Off: 80 Hz, 12 dB/octave
Open Cicuit Sensitivity: -32 dB (25.1 mV) re 1V at 1 Pa
Impedance: 100 ohms
Maximum Input Sound Level: 145 dB SPL, 1 kHz at 1% T.H.D.; 155 dB SPL, with 10 dB pad (nominal)
Noise: 12 dB SPL
Dynamic Range (typical): 133 dB, 1 kHz at Max SPL
Signal-to-Noise Ratio: 82 dB, 1 kHz at 1 Pa
Phantom Power Requirements: 48V DC, 4.2 mA typical
Switches: Flat, roll-off; 10 dB pad (nominal)
Weight (less accessories): 12.7 oz (360 g)
Dimensions: 6.69″ (170.0 mm) long, 2.10″ (53.4 mm) maximum body diameter
Output Connector: Integral 3-pin XLRM-type

MXL 990 – $60
Type: Condenser pressure gradient mic with large 20mm gold diaphragm capsule
Frequency Range: 30Hz – 20kHz
Polar Pattern: Cardioid
Sensitivity: 15mV/Pa
Impedance: 200W
S/N Ratio: 80dB (Ref. 1Pa A-weighted)
Equivalent Noise Level: 20dB(A weighted IEC 268-4)
Max SPL for 0.5% THD: 130dB
Max SPL with -10dB cut: 130dB
Power Requirements: 48V Phantom Power (+- 4V)
Current Consumption: <3.0ma
Size: 60mm x 130mm
Weight: 1.2 lbs
Metal Finish: Champagne

A graph of microphones and their different sound qualities…

Many A&Rs won’t even listen to demo CDs unless they are given to them from someone already in the music business. And it is very rare that an artist goes from nothing to a big record deal. Artists that get signed to big record labels almost always already have some sort of fan base and a buzz about them. A&Rs are looking for artists that are the easiest road to success. And if you’ve already made it half way their on your own, and shown that you have the stamina, drive, and focus to continue all the way to the top, then the A&Rs will be dying to pick you up and step on the gas.

So if you are not signed to a big record label, and this is one of your goals, then it is time to start getting halfway there on your own. To do this you are first going to want to record songs that you can sell and perform. This takes two things, instrumentals that can showcase your talents, and a place to record your vocals. For beats you have US! Jee Juh! Of course we think we are the best, but there are also other websites that provide instrumentals for sale. Also if you have any personal friends that can make hot beats, you could work with them. For recording your vocals, if you do not have a home recording studio then find a friend who does, or work with an independent record label, or save up enough money so that you can pay for studio time. Once you have songs it’s time to start building your fan base. You can either self promote over the internet, hand out flyers or CDs, or you can work with an independent record label that already has some form of promotion infrastructure in place. Next you are going to want to do live performances and perhaps release a mixtape or album. Then once you have gotten this far it’s time to start going for the big record labels.

But how do you get hired by the independent record labels, by the performance coordinators at the clubs, and eventually by the big record labels? Really, there are millions of ways, and you should work any angle you can get, but a standard music industry tool that can only help is the artist’s equivalent to a resume, the Press Kit. A Press Kit will usually consists of a booklet of information about you and a demo CD. If the Press Kit is for a gig, it will also provide performance information, such as if you are providing or need provided a sound system, mixing engineer, or light show. Also sometimes used in these Press Kits are DVDs for a full visual experience. However sometimes CDs are more convenient and you will have to decide this on your own. None the less, CD or DVD, the process is generally the same – a disk and a booklet. Starting off, your Press Kit may be weak, but with time and experience it will slowly grow into a masterpiece. So be aggressive, be passionate, and enjoy the entire ride to the top.

Now how to make a Press Kit…

There are no rules on how the Press Kit is made, and creativity is highly encouraged, but here are some general ideas to help guide you.

First, for you visual learners, here is a picture of a press kit:

View full size.

The Press Kit Cover:
The cover should introduce you or your group, usually with a picture, your stage name or group name, and possibly a trademark or logo. The cover should imply what kind of music you perform and reflect you or your groups uniqueness. Although this is an advertisement for yourself, sincerity and authenticity are far more powerful than empty hype. Also, contact information on the cover will give that extra incentive for someone to get a hold of you, so provide as much as you think necessary – your name, stage name or group name, a phone number, address, email addres, webpage.

The indroduction:
Next comes your introduction/Bio/self advertisement. This is going to be about a couple paragraphs long and should be concise and to the point. The one I provided in the link above shows a much longer introduction but I really think that the shorter, more in your face, BAM BAM, it can be the better. Do Not Write Any Fluff Or Filler!

Information that could be provided…

• Basic info about you or your group and the type of music you perform.
• The names of places where you have previously performed.
• (If applying for a gig) Does your act have a sound guy or will the venue need to provide one?
• (If applying for a gig) Does your act have lights or a light show?
• Describe your fan base. (If you have one)
• Describe how you are going to promote for the event and get people to come to the show. (you could also send a promotional flyer with your PressKit)
• What makes your group original? What makes your band something that people will enjoy and want to enjoy again?…harness your genius writing skills and make it interesting and authentic.

Pictures:
Next you could provide pictures of yourself or your group. These could be of you performing, recording in a studio, or more of the photo shoot type. Pictures could be used throughout the Press Kit, and perhaps the best one on the cover, but a certain section after the introduction could be devoted to a collage of smaller pictures and/or large 8×10’s. You can either have these pictures taken by yourself, a friend, or a hired professional. Also there are many semi-pro photographers looking to expand their portfolios and willing to take your pictures for free. These photo shoots are called TFP (trade for prints) or TFCD (trade for CDs). You give the photographer material they can advertise themselves with and you get free prints or CDs of the pictures. You can find many of these types of photographers at ModelMayhem.com or sometimes on Craig’s List. labeling some of your pictures in your press kit may also be a good idea.

An Equipment Page: (optional)
If you are applying for a gig and planning on bringing equipment then this is where you would want to list details. Don’t repeat yourself too much if you discussed your equipment in the introduction, but information that a vendor would want to know is:

• The types of equipment your band will bring to the venue.
• Brand names and wattage of amps.
• Whether you have a PA system and/and or mics.
• If you have lights, and if you have a guy to run them.

Booking Information:
It is good to have contact information throughout your press package, but also have one place where you provide all of the contact information you have.

Demo CD:
Your demo CD should have no more than 3 songs and make sure the best one comes first. Make the sound quality of the songs and the CD’s label as professional as possible. On the label also include the track titles and your contact information in case the booklet is lost or gets separated. I suggest using ink jet printable CDs you can run through your printer for that affordable yet professional look.

Song List: (usually just for gigs)
Make a list of the best material your band would be ready to perform. Also include any cover songs or other material you would want to add to your act.

Gigs, Newspaper Clippings and Reviews:
Include a list of the best gigs you have performed at and and future gigs you already have booked. Also include positive feedback from newspaper articles or reviews written about your shows. If you do not have any articles or reviews yet, invite your municipal paper, college paper, or city paper to come review your show, and let them know you will put them on your guest list. Yes, they actually might come, especially if they are a small time newspaper looking for new material.

Business Cards:
You can also provide your business card in your press kit. These are pretty easy to make; some simple computer software, and some business card paper. Figure it out or get your computer friend to help you. Provide as much contact information as you feel necessary and make it look good. These are also great to hand out at shows or anywhere else.

Envelope:
Providing the press kit in an envelope will help keep it all together and clean, and if you are mailing it to record labels it is necessary. Even the envelope can have your personal touch to it that will catch someones eyes. Bold colors, stickers, or whatever else you come up with.

So go make your press kit, make your demo CD, and then work to make it better and better until it just might have a chance at the record label of your choice, and then never give up. You will succeed. Jee Juh believes in you.

Key new Auto-Tune 5 features include:

Improved pitch detection algorithm: Improvements in performance with marginal quality (noisy, poorly isolated, etc.) audio.

A sleek new interface: A complete graphic redesign both easy on the eyes and logically group related controls for intuitive functionality.

Consolidated Pitch Tracking control: The previously separate Automatic and Graphical Mode Tracking controls have been consolidated into a single control and relocated to the Options dialog for simplicity.

Automatic Mode Features

Humanize function: For those concerned about pitch correction that is “too perfect,” the Humanize function allows you to set a fast retune speed for short notes, while still allowing natural variation in held notes, for results that are even more natural and realistic.

Realtime natural vibrato adjustment: The new realtime Natural Vibrato function allows you to modify (either increasing or decreasing) the depth of any vibrato that is present in the original performance.

Graphical Mode Features

Larger Pitch Edit Display: The Pitch Edit Display is now bigger. Lots bigger.

Sync to host transport (host dependent): For hosts that provide valid time information, Auto-Tune 5 will now maintain sync with the host program. Once you have tracked audio and created correction curves, you can move around in your track at will. No more having to always start playback at exactly the same location.

Selectable Clock Source: For hosts that do not provide valid time information, Auto-Tune 5’s clock display and selection functions let you use an internal time reference for Auto-Tune 4 style operation.

Realtime pitch tracking display: During the Track Pitch process, the graphic representation of the pitch and envelope will be displayed in realtime as the audio plays.

Full-time correction mode (host dependent): Whenever Auto-Tune 5 is not specifically tracking audio, Auto-Tune 5 will be operating in correction mode. There is no longer any need to press a “Correct Pitch” button. Besides being convenient, that makes possible the following feature:

Multiple simultaneous Graphical Mode instances (host dependent): You can now have multiple instances of Auto-Tune Graphical Mode operating on different tracks simultaneously, even if their windows are not open. In previous versions, since you had to have plug-in windows open to engage Correct Pitch mode, only open instances could be active. No longer.

Editing functions no longer modal: You can now use all of the graphical editing features while Auto-Tune 5 is either tracking or correcting pitch.

Enhanced Envelope Display functionality: We’ve made changes to the Envelope Display to make it much more useful for quick and easy navigation around your audio:

Realtime graphical vibrato depth adjustment: The Adjust Vibrato control allows you to modify the depth of vibrato in your audio while preserving the contour of the original vibrato. Moving this control results in a real-time graphical representation of the resulting vibrato contour.

Dedicated Snap To Note button: When using the Line Tool, clicking this button constrains the tool to exact scale notes.

Dedicated Clear All Data function: Provides a convenient method to instantly clear all saved tracked audio and correction curve data.

Compatibility with Pen Tablet Input: With a pen tablet, you can control Auto-Tune 5’s graphical tools (as well as all the other controls) using a familiar pen-style input device. A pen tablet can offer increased drawing accuracy with less wrist stress in long sessions.

If you’re rollin in the dough I’d go with Digidesign’s HD setup, but if you’re still up-and-comin I’d go with the Mini. Especially if you have only one stereo instrument (an MPC, or a keyboard) and/or a Mic. If I had to do it over again I’d have started with this. And with it hitting stores in December you can put it on your Christmas list… or Hanukkah list… or Kwanzaa list.

Digidesign has recently released the MBox 2 Pro ($799), an upgraded version of the MBox 2 ($495). Here’s what an extra $304 can get you:

• Being able to use sample rates up to 96 kHz compared to 48 kHz. Working at 96 kHz as opposed to 44.1 or 48 kHz allows for more accuracy when using digital processing (EQs, compressors, etc.). Also the low-pass filter required to rid digital audio of aliasing can occur at a much higher frequency causing less ripple and and phase shift in the upper audible frequencies. In layman’s terms you get a clearer sound.
• Two additional unbalanced 1/4″ jacks (making a total of 4 compared to 2). Great for setups with more than two analog inputs, meaning you’ll no longer have to unplug your keyboard connections when I want to use your mic. Don’t worry about the jacks being unbalanced, if you’re working in a small space with short cords unbalanced connections will often have less noise.
• Two additional analog outputs (making a total of 4 compared to 2). Some might have an interest in this if they have dual monitoring systems, however I prefer to use just one pair of monitors that I am very familiar with.
• An additional headphone jack (making a total of 2 compared to 1). This might be useful when working with another artist where headphones are needed (when recording vocals in an open space, or when it’s late and the neighbors are light sleepers).
• Connections for use of an external word clock. Useful when working with more than one interface, such as when syncing with a tape machine or with video, however for most studio purposes I would suggest using the MBox 2 Pro’s internal clock.
• A FireWire connection instead of USB. Probably just necessary for the 96 kHz sample rates.

For less then double the price you can double your sample rates as well as your analog inputs. Depending on the size of your setup and the necessities of your projects the MBox 2 Pro may very well be worth it.

TWO OF MUSIC’S FAVORITE PRODUCERS SLIP INTO THE SPOTLIGHT

“I grew up around all types of music,” says Chad Hugo, who along with his partner, Pharrell Williams, comprises the red-hot hip-hop production team the Neptunes. “I used to listen to Rush, the Who, classic rock. But also hip-hop when it hit the scene. So everything that we do now is influenced by all that music.”

Having produced Mystikal’s “Shake Ya Ass,” and Jay-Z’s “I Just Wanna Love U [Give it 2 Me],” the Neptunes have unassailable hip-hop credibility, and with so much buzz around them as producers, it was a natural progression for them to make the jump from behind the mixing board and into the spotlight. The two recently recorded In Search of … (Virgin) their debut as artists, which they released under the acronym N.E.R.D. (No one Ever Really Dies). “Dying is a doorway,” explains Williams. “And you don’t die in a doorway. You go somewhere else.”

Their music certainly goes somewhere new. Joined by Shay, their Virginia hometown friend, Hugo and Williams have crafted a sound that references the minimalism of their production work as the Neptunes while at the same time incorporating a sonic eclecticism. It’s a hard record to pigeonhole, though there are certainly elements of the work of Outkast and the Native Tongues posse, with a classic rock vibe thrown in for good measure.
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“I don’t really care how we’re classified,” says Williams, “as long as it’s something positive. It’s modern, chance-taking music that shows people you can do whatever it is you want to do.”

Imagine yourself sitting in the front row, watching the live performance of your beat. Where is your drummer? Where is your keyboard player? How about your violins? All these things are very important when creating your “stereo image”.

Perhaps the most important tip for a good stereo image is to give each instrument its own space. The main thing here is to keep instruments out of the way of each other so the listener can hear them clearly. What happens when you put two guitar players on top of each other? Its best to keep them on separate sides of the stage.

Drummer: Dead Center rear
Guitarists: 10 and 2 o’clock
Vocalist: Center front

Let this classic rock band example be the guide and then go off from there. Center the kick and snare, let the cymbals go a little to the side. If their is a conga player, put them on the left end. Woodwinds, perhaps the most melodic of the orchestra, are centered. As you go to the right, the sound goes from soft to hard, from sweetness to brassy trumpets and tubas. As you go left, it gets more delicate, with soft horns, piano or harp. In the back, you have your short and louds, like Piatti (cymbal) Snare, Bass Drum and Timpani. In the front, you have the long and softs, the strings.

Remember that in the end, less is always more. You rarely have to pan anything 100%, you rarely have to max any one fader or effects send out. Just little bits of signal going to alternate audio paths goes along way towards giving you a breathtaking stereo image.

panning beats making beats panning instruments stereo image panning instrumentals

After moving to Cherry Hill, New Jersey where he became the keyboard player for the Philadelphia hip-hop band The Roots, he played keyboards for other Philly artists including Schoolly D and G. Love.

Storch began experimenting with his own productions by making beats for The Roots. He then left the band and learned more about the art of making beats from Dr. Dre and Timbaland. Storch is now one of the most in-demand hip-hop producers today, working on beats for a wide variety of artists. Unlike many of his contemporaries (Kanye West, Pharrell), Storch rarely uses samples in his beats, preferring to create his own music.

In his private life, he has been romantically linked with rapper Lil’ Kim and Paris Hilton. Despite his flashy appearance wearing enormous amounts of diamond jewelry and driving very expensive automobiles, he prefers a modicum of privacy, and is relatively shy compared to fellow hip-hop producers Pharrell Williams or Kanye West, both of whom have become musical stars themselves after becoming successful producers. Scott has a son named Steve who lives with him in Miami. In a recent interview with Stuff Magazine, Storch says he enjoys buying and wearing jewelry that represents power. In mid-2006, Rolling Stone magazine reported Storch’s fortune to be worth somewhere near $70 million dollars. On April 16, 2006, Scott and his sometime girlfriend of four years, Dae Daniel Esquire, welcomed his second son, Jalen Storch.

Storch’s own production company is called Tuff Jew Productions. Storch also has his own record label, called Storchaveli, which is distributed under Dr. Dre’s Aftermath Entertainment.

For a short while in 2005, Storch worked with fellow mega-producer Lil Jon to produce hits for Lil Flip, Angel Doze and Tony Sunshine among others. However, the relationship soon turned sour and ended with Lil Jon criticizing Storch for being a “biter.” Storch responded “(lil jon)-get on my level,im a musician,not a biter”.

Storch is the subject of Christina Aguilera’s song “F.U.S.S.” (F*** U , Forget U, or For U Scott Storch) from her 2006 album, Back to Basics. Storch responded to this during an interview with In Touch Weekly magazine, during which he criticised Aguilera’s album, saying it was “full of fillers, oversinging and lame Vegas-like cabaret music.”

Storch made his first appearance in DJ Khaled’s Holla At Me Baby music video. His second appearance was at the end of the new music video by Fat Joe entitled Make It Rain.

Sources:

http://en.wikipedia.org/wiki/Scott_Storch
http://www.supacindyonline.com/dirt.aspx?dirtid=261
http://www.starpulse.com/news/index.php/2006/08/13/
christina_aguilera_slams_music_producer_
http://www.nydailynews.com/front/story/443879p-373745c.html

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