listen to other types of music. Hip-hop is a blend of other genres. Main genres you should listen to are Rock (especially old rock and roll), Jazz, Latin (lots of latin. listen to the clav/snare patterns. sound familiar?[A milli]), Funk (pay attention to bass and rhythm guitar), Disco (electronic effects), Dance, classical for theory.

of course lots of different hip-hop.

Make music from your heart. Don't do it for the money. And make sure if you are selling beats to only sell top quality beats. (get those old beats that suck off your soundclick page. put em on an unofficial one or something because we still love them).

high pass everything :p

DON'T GIVE FREE BEATS UNLESS THE ARTIST IS SERIOUS AND POPULAR
I've given about 5-6 free beats and only 1 of the artists recorded the track.So there is no reason to give them free beats unless it's on SoundClick where you just gain more traffic that way and that the whole meaning of the free beats and promotion of course.

BTW I don't agree with the statement that if you get money your beats become worst - I'm more stimulated when I know artist would buy the beat and record it.

3rd Tip from ya boi!

This one is about heating up your bass using pitch bends!
Enjoy!

Quik Tipz: Heat up Bass with Pitch Bends
By MPCsounds.com

Let's face it, there's no shortage of amateur hip hop productions out there. More often than not, producers don't implement the extra steps required to morph a generic, amateur beat into a professional production. But by tweaking a few aspects within any given production, one can easily mold a beat into a hit. One aspect that can make a world of difference to any production is adding lively pitch bends to bass instrument melodies...

Since forever, jazz and blues musicians have understood the power of pitch bends to create more soulful, expressive melodies that grab listeners' attention. And... since most hip hop productions today do not use live musician performances, it is even more important for producers to add back the lost expression and pitch bends to sequenced melodies as exists in live music.

Specifically, to sequence professional pitch bends, there are three main aspects in which to control:

1) Bending up/down to a targeted semitone - When sequencing pitch bends, set the pitch bend range to a value that allows you to hit the desired pitch when sliding the pitch bend wheel 100% up or down. If your song uses a minor key, set your semitone value to 2, 3, 5, 7, 8, 10, or 12. This way, when you bend your pitch controller 100% to create a bending bass line, the ending pitch of that bend will land exactly on a desired note within the song's key. However, with no rules set in stone, it's best to experiment with a variety of pitchbend ranges to find what suits your production best.

2) Bending on main pulses or endings of phrases - As with bending ranges, there are no hard fast rules on where to place pitch bends within a melody. However, the most common spots bass pitch bends occur are on main pulses (downbeats) such as bar 1 beat 1 of a 4 bar phrase or bar 3 beat 1 of a 4 bar phrase etc. Also, pitch bends are common at ends of 4 or 8 bar phrases, which bring closure to the phrases or act as uprises into preceding phrases.

3) Bending length or duration - Most pitch bends are 1 bar or less in length/duration. But again, there are no set rules. Usually, a slower bass melody is coupled with slower, longer pitch bends to match phrasing. The same is true with faster bass melodies being coupled with shorter length bends. However, creating contrast by coupling a fast bass melody with long, slow pitch bends can emphasize a song's feel in a desirable way. The best advice is to experiment which a variety of durations with some matching, some contrasting.

Enough already with static sequenced bass lines,
Heat up Bass with Soul, Heat up Bass with Pitch Bends!

Yeah, pitch bending on bass can make a difference.
(Remember those old school tunes with that nice, smooth, bendy bass? I bet you do)

Posted By Ev-G on 11 Jul 2009 08:35 AM

BTW I don't agree with the statement that if you get money your beats become worst - I'm more stimulated when I know artist would buy the beat and record it.

You misunderstood the quote.  Alchemist was saying that if you do music for the money, it will ultimiately change how you do music- most of the time that change is for the worst.

Music is an expression of yourself, your tastes, and your emotions.  If you're hell bent on getting dough from music...it's really easy to change how you do music completely just to get the sales.

If your makin ish that you love that just isn't selling, he's saying keep doin what you do...and don't switch up to another style that you hate just to make a buck.

If you can make music you love and make dough off it, then you hit the jackpot.

Posted By JG Beats on 11 Jul 2009 03:01 PM


If you can make music you love and make dough off it, then you hit the jackpot.

Exactly.
if you get dough off making music your not even into, its just a job
but if you manage to do that.. well.. you got my respect thats for damn sure ^^

Gd Look'in Out On Starting This Thread K-Ta-Klysm. Appreciate it!...Thanx 2everyone giving tips, especially TooIntegrated for sharing those Modern beat tips. I use to read their tips when 1st starting out, but haven't done so for quite some time now. So, I will make sure I'll be checking out their tips from time to time 4rm here on out.

Posted By Soul Purpose Ent. on 11 Jul 2009 03:21 PM

Posted By JG Beats on 11 Jul 2009 03:01 PM


If you can make music you love and make dough off it, then you hit the jackpot.

Exactly.
if you get dough off making music your not even into, its just a job
but if you manage to do that.. well.. you got my respect thats for damn sure ^^

I just love to make music no matter what genre/type it is

#4 already!
This technique is about calibrating your low end!
Enjoy!

Quik Tipz: Calibrate Low End by
Observing Woofer Cone Movement
By MPCsounds.com

Note: The techniques below should only be applied when monitoring with a quality subwoofer, preferably no smaller than 10". While you may attempt to apply the same techniques using 8" nearfield monitors, we cannot guarantee the same results nor can nearfield monitors compare to the accurate low frequency monitoring a subwoofer provides.

Sometimes low frequency pitch conflicts are actually easier to see and correct visually rather than audibly! For example, first solo the main kick in your mix along with the other bass instruments in your track. Listen to this grouping at a moderately loud volume through the subwoofer only. You may hear conflicting, overlapping frequencies between the kick and the bass guitar, for instance.

While you could perform some EQ carving to help improve the conflicts, don't touch the EQ knobs just yet! Instead, using a "cent" pitch adjustment, fine-tune the kick sample until the movement of the subwoofer cone lessens while maintaining a strong and solid level. This will indicate the centering of pitch between overlapping or conflicting bass tones. Now each low-end track and mix can playback at a higher level than before!

Further avoidance of frequency conflicts can be obtained by filtering out overlapping frequencies while measuring a subwoofer's cone movement. For example, any sub-bass below 60hz-70hz on your bass guitar channels is most likely conflicting with the kicks. Therefore, begin cutting out the range leading up to 70hz by using a highpass (lowcut) filter on the bass guitar. As you adjust the highpass filter's parameters, watch for the point at which the subwoofer cone movement lessens becomes smoothest. This is the point where the highpass filter has filtered out enough of the overlapping frequencies to resolve the underlying low frequency conflicts.

Remember: If you want your mixes to HIT HARD,
you must first CALIBRATE YOUR LOW END!!!

thx TI thats some good info

^ No prob mahh nigg.. Always happy to help ^o^!

Here's yet another tip!
This one is about making your mixes wider.
Enjoy!

Quik Tipz: Make Mixes Wider than Ever Before!
By MPCsounds.com

Ever come across instruments that sound narrow, bland, or just plain uninspiring? More often than not, the rhythm or performance of the instrument isn't the problem. Instead, it's most likely due to the recording being mono. There's no simple, quicker way to widen your mix than by enhancing mono instrument tracks using simple, yet powerful delay techniques:

1) Using the effects section of your mixing hardware or software, choose & load a mono delay effect. Make sure the return of the delay effect is routed to a new mono channel on your mixer.

2) Within the delay effects parameters, turn down all feedback and/or regeneration under the delay's feedback control section.
Turn the delay's mix signal to 100% wet. Pan the mono delay return either hard left or hard right in your mix.

3) Take the mono instrument track that needs enhancement and hard pan it opposite of your delay's pan. Next, send some of the instrument track's signal into the delay unit via a send/auxiliary bus that is assigned to the delay's input.

4) Within the delay's parameters, slowly adjust the delay time starting from 8ms through 35ms. Depending on the nature of the instrument's signal & tempo of the song, you'll start to notice the image of the instrument widening from it's original mono signal into a nice warm stereo spread! Adjust the millisecond amount (8ms-35ms) to achieve the most desirable amount of spread!

5) Lastly, experiment with the newly created stereo image by balancing volume levels between the dry signal's channel and the wet signal's channel until you achieve the spread & balance you desire most!

lol I use it all the time...
either you use the fl delay 2 that can fatten your instruments with the widen presets customized

To emphasize the effect, you can put some 100% dry reverb on one track...
It's use to put some instruments out of the stereo field...

But iam not sure about 8ms to 35ms... I have always read it was 10ms to 30ms...
it's done in order for the instruments to sound as one... But you can experiment with a bigger value...

What is more interesting is to use that technique partially while you have stacked drums : pan them like 10% L or R and on some of this drums put like a 60ms delay...
The overall should be felt in the center but it adds more flavour...

Delay is a really powerful thing... [edit] I further emphasize the need to have your track in mono, or you will have problems of phase shift which is not at all recommended....

one of the best threads on WB... i love those last two tips from TI... especially about the opposite panning o nthe delay and track... i was like omfgwtf why didnt i think of that lol. good ish.

another thing: when your recording a melody, play around till u got some what of an idea of what u wanna record, then practice a lil and record on impulse and feel. mute that track and open a new note lane and do a slightly different one, with a different feelin, make like 3 and choose the one u like best.

Thnx 4 da luv yoo.. Always happy to share =]
#6 I should start my own thread XD..
This one is about 'optimizing your beats by eliminating "beats" ' sounds confusing right XD..
Enjoy!

Quik Tipz: Optimize Beats by Eliminating Beats
By ModernBeats.com

Note: The techniques below should only be applied when monitoring with a quality subwoofer, preferably no smaller than 10". While you may attempt to apply the same techniques using 8" nearfield monitors, we cannot guarantee the same results nor can nearfield monitors compare to the accurate low frequency monitoring a subwoofer provides.

When monitoring mixes through a full professional setup including quality 8"-10" nearfield monitors coupled with a 10"-12" subwoofer, we may be surprised just how much low frequency clutter really exists that simply cannot be heard on smaller setups. But once you are able to hear the overbearing and conflicting low end war going on in your mix, you can finally start correcting those errors resulting in a much cleaner and level-optimized mix!

First and foremost, is learning what a "beat" is. And NO...we are not talking about a "beat" as in a "drum beat", we're talking of something entirely different...

When the frequency of 2 similar instruments within a song are very close in pitch, but not in exact tune with one another, an undesired artifact is born causing an adverse, secondary low frequency wave to modulate called a "beat". In acoustics, a "beat" is an interference between two sounds of slightly different frequencies. Avoiding "beats" are particularly important when dealing with kicks, sub-bass, and bass guitar instruments over other high-end instruments in any given song. This is because lower frequency tracks make pitch conflicts stick out like sore thumbs compared to less-problematic higher frequency tracks.

To elimintate "beats", the most favorable pitch to tune all low-end, non-melodic tracks (drums and percussion) to is clearly the first musical note in the key of your song, known as the root "tonic". Correcting all these subtle pitch conflicts will deliver the most harmonious interaction between all the low-end non-melodic & melodic instruments in your mix!

#7 Praise me! XD
This one is an additional piece on the 'flamming your kicks' article.. .
Enjoy!

Quik Tipz: Know How to Flam Kicks Correctly
By ModernBeats.com

While flams are traditionally used on snare and claps, kicks can be flammed as well. However, due to low frequency conflicts that result when flamming kicks, more care and skill must be applied...

Since two kicks played very close together may cause both unwanted pitch oscillations and shifts in phase, there are two main parameters you must tweak in order to clean up (and optimize) your low frequency kick flams. One parameter to tweak involves the tuning of one kick to the other. The second parameter involves matching the phase (or amplitude alignment) of one kick to the other:

1) First, choose which of the 2 kicks' pitch in the flam you desire most. Then, adjust the pitch of the less desired kick with "cent" value increments until you hear where the strongest peak in volume occurs. This will indicate both your kicks' pitches are in tune. Alternately, if you like the pitches of both kicks and prefer not to tamper with the pitch of either, a different technique to use is to apply a highpass filter to one of the kick to remove the unwanted low frequency conflicts.

2) Second, select the secondary kick in your flam and slowly adjust the sample start time of that kick until you notice an overall peak in volume in the attack across the entire flam. This peak in volume will represent when both kicks' phases are a match. Moreover, to achieve an optimal match in phase, try to combine both an overall peak in volume simultaneously with the point at which you observe the least amount of cone movement on your subwoofer!

You'll be a Pro at "50 Cent Style" Kick Flams in No Time!!!

Self experience:
DO NOT GIVE YOUR BEAT THE FINAL MIX AFTER YOU WORKED ALL DAY LONG ON IT!!!
What do I mean here: If you work all day long on a beat, with your speakers at a decent level (just a bit more than usual) your ears will get tired, and you'll be tired of your beat and you won't be able to 'listen' right.
My advice: leave that to the next day. I mean you can give it a rough mix, but don't render your FINAL version, because you will most likely find something 'off' the next day.

Ok, enough talking, let's see some American Dad.

Posted By K-Ta-Klysm on 14 Jul 2009 01:21 PM

Ok, enough talking, let's see some American Dad.

xD family guy is better imo...steewie is a pshyco little kid

family guy has to be the funniest cartoon ever xD

Posted By Marshall_Beats on 14 Jul 2009 03:26 PM

Posted By K-Ta-Klysm on 14 Jul 2009 01:21 PM

Ok, enough talking, let's see some American Dad.

xD family guy is better imo...steewie is a pshyco little kid

Indeed, it's funnier, and American Dad usually has 'hidden morals' in episodes while Family Guy... DOESN'T, it's just the fun

Posted By K-Ta-Klysm on 14 Jul 2009 01:21 PM
Self experience:
DO NOT GIVE YOUR BEAT THE FINAL MIX AFTER YOU WORKED ALL DAY LONG ON IT!!!
What do I mean here: If you work all day long on a beat, with your speakers at a decent level (just a bit more than usual) your ears will get tired, and you'll be tired of your beat and you won't be able to 'listen' right.
My advice: leave that to the next day. I mean you can give it a rough mix, but don't render your FINAL version, because you will most likely find something 'off' the next day.

Ok, enough talking, let's see some American Dad.

I always do that nice tip