MdL has been producing just over two years, and is all of 17 years of age, but he has been making some big steps in advancing his career.

I first learned of MdL after watching one of his youtube vids and what impresses me abou this dude, is the fact that he can make just about any style of beat and he is confident enough in himself to tell the world how to do it as well.

Recently I asked him a few questions...

 

MdL Pic


First, congratulation on your recent placement with Qwes. Can you tell the Warbeats audience a little about yourself: your name and where you are from?
 
Thanks, I appreciate it.  My name is Mason David Levy (MdL).  I was born in Pasadena, CA but was raised and currently live in Altadena, CA (they're neighboring cities).  Music has been a big part of my life since I was young; I played various instruments (piano, guitar, flute, harmonica) sang in choir, and have always had a strong general interest in music.  I think that having that strong foundation has helped get me where I am.


I know you've been a Warbeats member for a minute but how long have you been producing as a serious business?
 
I began producing in October of '05 (I was 15 at the time) when, like many others, I stumbled across FLStudio and started playing around with that.From them on, everything just progressed.  I began working with local artists and it quickly became the most important part of my life.  It was probably about a year ago when I knew that music production was what I wanted to do with my life, and thankfully, everything seems to be on the right track so far.


Do you have management and if so, is having a management team an important part of the equation for you?
 
Yes, I have a manager that goes by the name of LoLifeProductionz, and having management is most definitely a very important part of the equation. Having management has allowed me to network and do business with the industry people that one needs to succeed.


What are some accomplishments that you are most proud of in the production game?
 
I'm very proud of the production that I've done for Qwes, which has actually been two projects, the second of which (Do It To Me), which was decided by Qwes and Konvict to be his first single instead of "I'm Fly" (look out for that within the next few months).


What advice would you give to the new producer looking to get a placement on a commercial recording?
 
I'm not gonna lie, it's hard, I was lucky enough to have a manager with excellent connections who found me through my YouTube videos and Myspace.  Putting your work on industry web sites such as pmpworldwide.com, which is looked at by A&Rs, is a good idea. Also, having quality YouTube and/or at least a professional Myspace (Myspace is a must for modern day musicians) will help as well.


One of the biggest challenges is promoting one's self. How do you do that and what advice can you give our readers on that?
 
My YouTube videos are among the most popular "Beat Making" videos on the site and have greatly helped my promotion.  Having a professional myspace and artists who represent me has helped as well.


I've seen your skills with a variety of products, what production software/hardware do you prefer?
 
Cubase SX (Nuendo to be exact) is my sequencer of choice, and I use it for everything, from beat-making to recording, mixing, and mastering.  The only source I'm using for sounds (except drums) is a Motif ES.  Very simple setup, but a quality and very efficient one. As far as plugins go, I use Waves and some stock Cubase SX plugins.  And I love Izotope Ozone for "mastering," which is of course very difficult to achieve (at least, at a  "radio ready" level) with just a plugin, but it does a great job of making a good mix sound more professional and presentable.

What are your thoughts on the "Hardware vs. Software" debate? Is one better? Does it matter?
 
I think that every producer should use both, as they both have their advantages and disadvantages.  However, I believe that hands-down software is better for sequencing and hardware modules (such as the Motif ES and Moog Voyager) sound better than their software counterparts.  For example, I used to use Reason for pretty much all my production, and don't get me wrong, it is a great program, but the sounds don't even remotely compare to my Motif ES.  I've heard really good things about the Native Instruments sounds, but I still prefer hardware modules.


Do you sell your beats online, face-to-face or both? And do you have a preference? Why?

I have sold beats online, and most of the work done with artists through my manager are done via email, due to geographical differences.  But I don't really prefer one or the other as long as the business gets done and gets done right.


What factors do you consider when charging for a beat?

Many artists want  multi-beat deals so I have to work things out, but usually this is how it goes:

A beat for an independent artist will usually be $300-700

A beat for an artist signed to a major label will usually be $5,000+

These factors depend if I had to make the beat especially for them or I already have the beat, although all the beats that I used to have sitting around have been sold so I usually have to make fresh ones, which I prefer.


Any tips you can give us mixing a beat?

I'm definitely not an engineer, but I notice a lot people worry too much about effects and processing and not enough about the basics, like levels and panning.  Make sure the levels and placement of each track sounds right without processing at first.  Also, make sure your low end sounds like your bass and your kick are controlled with compression; this will reduce the peaks, and help control the overall level of the track.  I have KRK rp5s and I'm not sure if this is standard, but to check the low end levels, play the beat at a fairly high volume and see how much the monitors are pumping, (like the actual woofers of the monitors).  Then I apply compression accordingly to reduce the pumping.  This can further be reduced with mastering, specifically with a multiband compressor.  But try it yourself, observe, and listen to how commercial tracks have plenty of low end but still be controlled.  Then, compare to your own mixes and try to minimize the difference between the two.


Everyone wants their drums to bang. how do you do yours?

For sure the MOST important part of bangin' drums is having excellent drum samples to begin with. You shouldn't have to have a million things in drums, besides layering etc., just to make them sound good.  Minor compression, eq, and maybe a little reverb on certain drum tracks should be sufficient.  For eq'ing drums that have no low end, I high-pass them at at least 120hz.  Even if these frequencies are not audible, it's still good to cut the noise and create a tighter mix.


With regards to inspiration, do you have any tips on maintaining a creative energy to feed off of?

You just gotta stay listening to music, especially commercial mainstream music, cause if you want to make real money with music production you can't stay underground.  I accepted that a long time ago, and don't have a problem with mainstream music. When you really sit down and study them, tryin' to figure out why they're on the radio, they're all (with some exceptions of course) very good tracks.  But another thing for inspiration is moving forward, progressing, making and taking opportunities for yourself.  This interview is a perfect example of my improvement and my continuing perseverance to leave a mark on the music industry.


As a fan of your music and you tutorials, let me say thank you and ask what gives you the motivation to share knowledge as openly as you do?

Thanks I appreciate it.  When I first started, I found a resource for beat making videos (unfortunately gone) which had quality videos that really helped and inspired me.  I wanted to make videos too, both for helping others and promotion, but I had no idea they were going to be as popular as they are.  I'm very grateful for everybody who supports my videos and glad that I've helped people.  I feel there's no reason to hide anything because either you have talent or you don't, and knowledge will only help those who have it.  I don't see a problem with that.


In your opinion, what types of things should the new/young producer concentrate on most to develop his/her skills?

When I started,  I loved Scott Storch's production (and still do); many of my first beats were very similar to his.  Learning to produce like your favorite producer will help you get started and will add professionalism to your beats.  It's funny, at a certain point I was worried like "oh god, I'm jockin Storch too much" but then I kind of evolved into my own style.  Also, reading and watching resources like warbeats.com, futureproducers.com, illmuzik.com, etc. will help you learn.  But when it all comes down to it, practice makes perfect- that's the bottom line.


What other producers (mainstream or underground) are you feeling the most right now?

I've always been a Storch fan.  I think J.R. Rotem is one of the heaviest hitters in the game who's not quite as known as someone like Timbaland.  Dr. Dre is a living legend.  For the super smooth, funky, gangsta westcoast tracks you can't beat Battlecat.


Do you have any upcoming projects you'd like to let us know about?

Here's a resume of the major placements I have.  None of these tracks have been officially released as of yet, but will be soon.

Qwes (5050/Konvict/Universal)
"I'm Fly"
"Do It To Me"

Smoke Dibiase (Block Ent/Bad Boy)
"I'm Here Now"

Spark Dawg (Green City/Desert Storm South)
"The Streetz"
"80's Baby"

Tequila (LifeRDef/Universal)
"Rock With You"

Young Trajik (Screw U Records/Universal Republic)
"4 Da G'z"

Before we leave you, where can we get more information about you and/or hear more of your music?

http://www.myspace.com/masondl

http://youtube.com/profile?user=MdLProductions

Also, search for my artist 2-Hye's album "A Little Past High" on iTunes