Assuming the synth melody started it all, do you think Timbaland started with the exact synth sound that is in the song? What if he had a piano patch loaded up? The piano – even though it would be playing the same riff – might have colored his musical vision and he may have kept trying new ideas. Perhaps he saw it all in his mind after he laid down the drums, and then went in search of a sound that matched the one in his head. He probably had to modify some synth parameters to get as close a match as possible had that been the case.

I think anybody would have built on the concept, had they somehow stumbled on the final synth choice and the same melody (at the same time), but even then, their drums just might not have matched up and the beat could have been ruined.

Maybe the synth patch sounded lo-fi from the get-go, and Timbo worked the drums to match the synth’s quality. Sonic consistency is very important. (It just wouldn’t have sounded the same with sparkly hi-fi drums over the lo-fi synth.)

A lot of the time when I am just messing around, I do like using a piano patch as it’s quite neutral and I can listen to it for a while without getting tired of the sound. And once I have a concept in mind, I do look for a patch that accentuates the melody or riff’s character.

Like we discussed earlier, there are plenty of ways to start a song. Whatever sound patches you select to start with (or drum samples if you go Groove-Up), do not always use the same ones. Remember Einstein’s definition of insanity, and do new things to get new results!

I can guesstimate that probably every single person reading this article has let a great idea slip through their fingers. We just didn’t see the beat becoming something great. We didn’t trust that little melody enough. We were lazy. Dre or Just Blaze would have ran with what we had… It’s time to get serious about our music.

No related posts.

So what is tension and release?

Tension is a form of contrast.
Release is when the tension dissipates.

While contrast is a change that can last even for the rest of the song once introduced, tension, on the other hand, is resolved, usually within a few bars.

Contrast is based on change, and tension is just the type of change that causes the listener slight discomfort. Release is when this tension is resolved. Like with contrast, tension works best when it is unexpected yet familiar. You don’t want to cause too much tension, because the listener will stop your music.
Tension, when applied correctly, is the most powerful type of contrast!

Tension-Release Techniques

Now I’ll show you a few awesome ways to build tension.

Intro

In the intro to the song, you can build tension a number of ways. Some examples:

• Tempo. Keep the listener guessing for a few seconds about the real tempo of the music. You can use a few sounds to set the stage, but keep them guessing until the down beat (if you want). Get them even more anxious by sounding the kick drum 2 or 3 times but not at the tempo speed or in any pattern that would be indicative of it…
  A great example is Game’s song Ya Heard (featuring Ludcaris). The intro seems unfocused and becomes tense towards its end, but it’s all good when the down beat hits.
• Sonic palette. If the intro contains a few guitar riffs and a nice acoustic drum performance, but then switches to a hard 808 kick pattern with a synth melody on the downbeat for the verse that follows it, the listener will be on the edge of his or her seat. They’ll be thinking, “will the guitar come back?” and so on. Basically, you used the intro – which is supposed to be used to set the scene for the song – in a way that just mindf***ed your listener!
• Sudden depth change. Make your intro nicely filled out, with as much instrumentation as you plan to have at any point in the music. When the first verse hits (if you go straight from intro to verse), go barebones. Keep it very simple… maybe just a kick/snare pattern with a structural version of the main melody (just the few notes that stand out, not all the embellishments and step-to-step movements) played by an instrument that has not yet been heard in the beat.
  Resolve the tension by building back up, either slowly over a few bars or all of a sudden (in one hit) after one or two bars, or by further swaying from the instrumentation used in the intro, and therefore confirming that the verse section is in its own world!

Anytime!

You can use these techniques anytime:

• Volume increase. An increase in volume of one or more instruments will result in anticipation. An example is a snare being sounded several times before the first downbeat, each time with an increased intensity/volume. Another example is a violin sounding one long note, at first quiet, and then louder and louder.
• Pitch increase or decrease. When pitch increases, something is going to happen! In electronic music, a common example is the synth sweep that starts off low and then gets to a scorching high pitch right before a massive downbeat.
• Mute. You know this from horror movies! Silence always means the murderer is about to come into the frame very suddenly. Providing a half beat’s silence allows the rapper or singer to command total attention. The tension is resolved when the music returns.
• Selective mute. When you silence just the drums, or just the main melody for a moment, then the effect is similar to complete silence but not as direct. Since there is some overlap, see the contrast section for more ideas that you can turn into tension/release techniques.
  You can combine several contrast and tension/release techniques to great effect.

“A song shouldn’t be a flat line all the way through. Your record should have a pulse, just as much as you do. Some parts of the song are gonna cause more intensity, or a breakdown, and I always do stuff like that to keep your attention in the record.”

// Polow Da Don

Related posts:

1. Contrast: Create Addictive Music
2. Dissecting Slim Thug – “Welcome 2 Houston”

If you listen to chart-topping songs of the last few decades, you will notice a trend: they all make use of the musical concept described in the following pages.

As you get better as a beat composer, an awareness of this concept can take you flying past your competition. We are talking about CONTRAST.

Contrast

In music production, the concept of contrast is quite simple. It can be described as the following:

Grabbing the listener’s attention by breaking the perceived formula of the song.

The most common way to produce contrast is to alter certain musical components so they behave in a different way than they did earlier in the song.
Your listener is a thousand times more likely to pay attention and stay in the song’s world if his prediction of the music has been proven wrong. A good song cannot just be random elements thrown together to ‘surprise’ your audience, because it will not sound good at all. There is a limit, and there are ways you can change things and yet keep the setting comfortable enough.

The best music is that which surprises the listener but is also familiar. This is very important to remember!

In a very exciting beat, one blunt way to introduce contrast is to tone down one particular section. You don’t really want to make it ‘boring,’ but make it ‘wanting.’

For example, in the last chorus section of your beat, what if you omitted the lead melody – the part everyone can hum along with? It would tease your listener and invoke a lust to hear the melody again, and they’d be waiting for the return of it anxiously. Then, when the chorus repeats, the melody makes a last appearance as the song reaches its conclusion. The fact that you chose to leave the melody out for a section shows great skill. The beat would not be nearly as good with the melody repeating the whole way through the song or through every chorus.

These uninteresting periods spark an anticipation factor that is hard to get otherwise. The best songs are amazing because of these plain sections!

Are you familiar with the MTV duo Beavis and Butthead? It was a very popular cartoon show back in the 90s.
During one episode, Beavis, watching a heavy metal music video tells his partner Butthead, “Ugh, this part sucks…”
Butthead responds, “Yeah, but if they didn’t have a part that sucked, the part that’s cool wouldn’t sound as cool.”
This is one of the most powerful elements you can incorporate into your music. Providing your beat is good to start with, this can make it great.

Types of Contrast

Contrast can be a subtle change, or it can be very direct and in your face.

Melodic contrast

If you have had your melody repeat several times in the song, you can try to get beyond the barriers to which the melody was confined for the beat thus far. Some examples of melodic barriers:

• The highest and lowest notes. Expand the range of the melody, or, on the flipside, limit it to a more narrow range for a short while!
• Previously ignored notes. If your melody makes use of four different notes, place some emphasis on using a note that was previously ignored.
• Scale. If your melody is strictly based on the notes of a particular scale (scales are discussed later in the course), then using a note outside the scale can be very powerful. If it sounds good, then by all means go for it to vary things mid-way through a beat.
• Octave. In a lot of rap beats, simple melodies are played once and then again higher up the keyboard, or sometimes lower, using the same notes but in different octaves (an octave is a range of all 12 notes).
  Doing this constantly (switching between octaves) is not a form of contrast, as the listener predicts it will continuously go back and forth, but simply a melodic variance device. However, it does become a contrast tool when used sparingly, say once or twice in the beat when not expected.

When going beyond the previous range for the melody, you can do so in two ways: using steps, and using leaps.

A step is when you go from one note to its neighbor (either the note directly next to it or the note next to it in the scale.
A leap is, you guessed it, when you leap from one note to a note several steps away.

A good melody is always based on a combination of steps and leaps, and there is no way to know whether a step or leap would sound better (to let the listener know you are venturing outside the previously set range). You’ll just have to try both ways: either use several steps to reach the new heights (or lows), or use a leap to catapult there.

The same goes for placing emphasis on previously ignored notes. However, for using non-scale notes for the first time, using steps to reach the foreign note usually sounds better than a leap (which can often discomfort the listener in this case).
When breaking these barriers, you will get great results by utilizing the strong points of the bar. This is discussed later in the course.

Harmonic contrast

There are several easy ways to set in harmonic contrast.

• Different chords. While keeping melody and rhythms steady, you can use different chords to achieve some subtle and not so subtle results. For the subtle variety, you can use different chords that have the same function as the ones they replace. This is a great way to keep things moving and yet very familiar. While I do touch on chords later in the course, this musical device goes beyond the scope of this product.
• Rhythm. If the harmonic rhythm was quite slow to this point, you can try making things a bit more crowded. For example, instead of just playing a chord on the downbeat of every bar, you might now be playing the chord two to three times in one bar with a funky rhythm. This is really powerful when doing this in the last few bars leading up to a chorus. It’s a great way to build energy and anticipation.
  This method is even more powerful when also replacing a chord with one that has not been used before!

Vocal contrast

This is actually something you’ll work out when you are talking with an artist who wants to be on your beat. Ways to achieve vocal contrast:

• Screwed. Lower the artist’s voice digitally using a pitch shift effect for a few seconds, or even a bar or two. In southern rap music (and more recently in other types of rap), this is a common effect used for punch lines, and the beat often winds down for a moment as well to add to the effect.
• Auto-Tune. Using this effect sparingly is a great way change things up mid-way through a song for a few seconds. Very popular in a lot of pop and r&b music.
• Monotony no more. When the artist goes from a monotonous tone to a sing-song style for the rest of the song or for a few bars, it can be pleasantly surprising. 50 Cent does this sometimes; he has some singing ability (he does a lot of his own hooks). Also the southern artist Z-Ro is an expert at this technique.
  Either that, or the artist could unleash a spike of emotion by going from a set tone to a belting howl. Think of 2Pac when he raps. (“Paaaaiiin!”).
  Some rappers have a monotonous tone and that’s just their style. In this case, something needs to change in the song, since the vocal range and volume won’t. It’s the producer’s job, then, to make the song a complete work.
• Supporting act. When a second vocalist makes a short cameo appearance, it can be really powerful. Often used in love songs (partners), but also in rap (question and answer). One example is in 2Pac’s Changes, and this short back-and-forth also acts as the pre-chorus, making it a double threat:

Dealer: I made a G today.
Tupac: But you made it in a sleazy way! Sellin’ crack to the kids…
Dealer: I gotta get paid…
Tupac: Hey! Well, that’s the way it is.

Rhythmic contrast

There are so many combinations you can try. Here are a few:

• Adding and subtracting. Keep the same drum structure, but add a new drum sound to the pattern, or take one away!
• Drum pattern. Change the drum pattern slightly. Add another instance of the kick to make it more crowded (tastefully) or remove a few of the hi-hat hits. It depends on the situation.
• Bass. If the bass line is simply a repetition of the root/first note of the scale (very, very common), try to make it melodic for a few bars or for the rest of the song. This is one of the best ways to move a song forward!
• Instrument rhythm. It doesn’t have to be drums or bass… you can vary the piano or guitar chord rhythm as well.

Since we’re making electronic music, you can go crazy with effects as well (if it suits the music):

• Change the samples. By changing one, two or ALL of the important drum samples used, you might be making a radical change. If you plan to keep these changes for the rest of the song, leave the pattern alone or only alter it slightly so your listener still has a familiar aspect to hold onto.
• EQ. You can use an equalizer to affect one or several (or ALL) of the drums. This is used a lot in dance and other electronic music when leading up to a chorus. (You know what I’m talking about here; it’s when there is that EQ sweep that makes the drums sound very airy and weak and it slowly brings them back to life for the massive downbeat of the chorus.)

You don’t have to use this sweep motion like they do in dance. Just take out a band of frequencies for a bar or two to switch things up. Be creative.

• Add a drumbreak! To create some complex compound rhythms, you can add a low-volume drum break to bounce off your programmed drums. It’s a very pleasing effect that can actually be used for the whole song if you want. Dr. Dre utilized this drumbreak + programmed pattern method for a lot of his songs in the 90s.

When are the best times to switch up the rhythmic component of the song? Personally, I like changing something at the start of the second verse. One of the easiest ways to keep a song moving is to leave the hi-hats out until the start of the second verse. This just adds a certain movement. It’s really cool when used correctly, because hi-hats are not a major component but their presence will add something different when added after a minute or so. Try it.

Break

The break section in a song is a deliberate ‘home away from home’ contrast to keep the listener interested. It is used frequently in r&b songs, sometimes in pop songs, and sparingly in rap.
Song sections are also detailed elsewhere on this site.

Related posts:

1. Tension and Release: Super-Charge Your Productions
2. Beat Maker vs Music Producer
3. Promote Your Music

“The beat is only as good as the weakest part.”

This is one quote you should remember. Sometimes an otherwise superb beat is ruined by one weak part:

• A drum pattern that does not fit with the rest of the music (or an appropriate pattern but simply weak drum samples)
• Sound quality (i.e. poor mixing)
• One particular sound just doesn’t gel with the rest. (Maybe it was composed in a different scale and doesn’t fit in?)

“Restrain yourself!”

As it applies to music production, restraint is to limit your instrumentation. Unless you are very crafty and can see exactly where you are going when using 16 different instruments (like Shawty Redd’s compositions for Young Jeezy and others), you will need to understand that there is a time to stop.

If a beat is really good, you can potentially ruin it by continually stacking it higher and higher with all of the different sounds you can find. I know sometimes you don’t want to stop, but realize that sometimes limiting the number of parts you use can be very beneficial; not only will you make beats that humans can actually rap or sing on (without having to fight for attention with a string section, 3 lead guitars and 4 flutes – oh, man, I’d pay to see this beat orchestrated live!!), but you will also learn to make each part a contributing member of the song instead of just filler material.

By following the practice of carefully considering each part carefully and not just stacking higher and higher without direction, you are training your inner super producer!

If you listen to a lot of pop beats (and some rap, too), without the vocal track there is not too much going on in the verse sections, but everything plays its part, and things slowly build. In the chorus is where you will find a lot more going on, but every sound still plays its part.
Keeping a beat simple and MOVING is a real skill.

I once heard a mixing engineer say, “if a sound is so quiet that it can’t be heard, it shouldn’t be in the song!”

“Only perfect practice makes perfect.”

Practice does NOT make perfect. Only perfect practice makes perfect.
If you make three hundred useless beats in a row, you will always make useless beats unless you change something.

Every now and then you will make a terrible beat, and for most people, the terrible or not-so-good beats outnumber the awesome ones, but if all you do is make crap beats without hitting the gold you know you can reach, then something is wrong.

You are not experimenting. That’s the problem. You are sticking to your formula, and it’s not working.
In fact, you are insane! Here is Einstein’s definition of insanity:
“Doing the same things over and over again and expecting different results.”

Success is just persistence x experimentation. You already have the persistence if you’ve made 50 bad beats. Now you just need to try different processes until you hit the sweet spot.

Think of a man standing in front of a door at night. It’s pitch black, and he needs to get inside; there is no way he knows where the keyhole is exactly, only that it’s waist-high. If he keeps jamming his key into the same place in the door where he first tried, he is never going to open it. He will need to persist, but he will also need to experiment by simply moving left and right as he keeps trying to find the keyhole. He will eventually find it.

You see, everything can be deduced to a formula. A process. By listening to the music you want to make, you will pick up certain similarities and make your own conscious and subconscious rules. What you do is completely up to you, and you have to experiment if something is not working for you.
When you make a bad beat, don’t let it get you down. Just know that you have the power in you to make the best beat the world has ever heard! And keep going.

Kanye West, who produces beats for himself and others, spent 3 summers making 5 beats a day. During this extended period of beat making sessions, you can bet that he was experimenting and trying different approaches and techniques. Think about it: if he wasn’t then he would have come out at the end of those 3 years no better off than when he started.

With the techniques discusses on this website, you will be skipping a lot of the guess work and definitely don’t need to wait 3 years to make awesome music, but you will still need at least some time.

No related posts.

I’ve used quotes collected from magazines and online interviews to support the ideas that will be presented.

Bad advice

In the process of compiling PYM, I found out just how bad a lot of the advice given on music production forums really is. Even well respected members of these online communities are telling others to do things like:

• Send their beat CDs out to 30 different labels
• Spend hundreds of dollars copyrighting their music
• Throw vocal tags on every beat they put on the internet
  • Even pay somewhat popular rappers/DJs to record a vocal tag for them (I’ve seen prices from $100 to $350 depending on artist popularity) thinking it was their ticket in!
    (For example, “this is [rapper], and you’re listening to [producer name]!” or “nobody makes beats like [producer name]!”

Besides being very time-consuming, you’ll see in the following pages that sending out beat CDs blindly is like beating a dead horse. It’s just not going to happen. Maybe if you’ve tried everything else you can give this a go, but until that time, stay away from this time-wasting practice.

Paying for copyright certification is absolutely pointless. Your music is copyrighted as soon as you create it, and since you are the only person who possesses the project files for every beat you make, you have a bulletproof claim to the music’s ownership.

Big-time artists aren’t stupid enough to steal your music. And the amateurs lifting beats off Myspace profiles to use on their mixtapes? Getting a certificate from the Copyright Office won’t help you deal with them. Nothing will. They’re not making money off their music, and it’s not worth pursuing unimportant disputes.

Vocal tags will actually repel a lot of opportunities. We’ll talk about this more in a minute.

“Beat CDs”

A beat CD is a collection of your best work. You hope that when a person with connections hears the CD, you will be contacted.

It goes without saying that your name and phone number should be written very clearly on the CD itself (as pieces of paper and CD cases are easily lost). The last track of your beat CD can also be a short recording in which you state your name and number, and advise the listener that you are open to any proposals regarding possible work.

Tags

Like I said earlier, using tags has very few benefits (if any) and plenty of downsides. I’ve heard many beats online with very loud, annoying tags every 20 seconds. That would kill the creativity of any artist trying to think of ways the beat could become a song. The following quote speaks for itself.

“Sometimes the beats be having the producer’s IDs on ‘em and you can’t even record. If the artist wants that record and you got your tags all over it, now your opportunity is lost. I would leave it without tags; if I’m fishing I’d rather catch something than catch nothing.”

// DukeDaGod (Diplomats A&R)

Arrangement, sequencing

The arrangement of the beats on your CD should be simple but easily identifiable. One big loop is okay if the beat is that good, but generally speaking it’s a good idea to demonstrate some of your production prowess.

Also make sure that your beats get on with it. A 50-second intro before the meat of the track is never a good idea. Somebody going through six CDs at the end of a long workday will eject the CD in frustration and give the next guy a chance.

“Structure’s tremendously important. The arrangement seemed like one long verse to me, I had to go back and figure out where the hook was. He’s definitely not wack, I’m just listening with major label ears.”

// Brian Berge (Atlantic Records A&R) [after analyzing a song]/p>

Number of tracks

Include at least a few tracks on your beat CD. Play it safe…

“You have a better chance if you send five songs versus sending one song. You might hit with something you didn’t think was going to hit. You might hit two. I try to write at least two songs a day. I will never stop writing songs because you never know. Not everything that I write is a hit record and not everything that I write is an album cut, but I’m batting, I’m swinging so much.”

// Bryan-Michael Cox (Songwriter, Producer: Mariah Carey, Usher & more)

Managers: a leg-up

Unless you have a personal connection with the A&R or artist with whom you’d like to work, a manager is probably a necessity.

“For me, the key to success is a good manager. He will pitch our music to a specific artist, manager or A&R.”

// Rustan Hallgeir of Stargate (Songwriter, Producer: Neyo, Beyonce & more)

The best reason to get a manager in the industry is that your music will definitely get heard. If it’s heard by the right people, and your music is on the level, you will get a placement. The equation is as simple as that!

There are so many examples of this formula working. Let’s just analyse the 2 essential components, though:

Placement: this happens when the artist wants to create a song using your beat.
Manager: will shop your music to artists and A&Rs with whom they have connections.
Great music: this is the only component you need to worry about. Since you have total control over your music, everything is really in your hands.

The great music component of the equation is also necessary for you to get a decent manager with connections. Managers will take cuts in most cases, so they are as much invested in the quality of your music as you should be.

You may have to pay a fee to let a respected manager audition your music.

You can be self-managed, but that means you’re going to have to network as well. And for a lot of creative people, networking seems scary. For even the very outgoing musicians, networking could still be perceived as a distraction. Your focus should be making music.

A lot of the guys promoting themselves online are creating their own websites, rapping on their own tracks, mixing and mastering their songs, learning Photoshop to create CD covers, trying to network in the real world, and so on… No wonder the music suffers.

Misconceptions

These days, artists and producers are not required to be in the same studio at the same time. In fact, they may never meet.

Through a manager, the road to a paid placement can be very simple:

• You hand your manager a beat CD once a fortnight with 12 tracks.
• Manager distributes CD to close-knit network of A&Rs and certain artists and their representatives.
• Manager relays word to you that an artist has recorded a track using a beat you provided.
• You provide full project files (each layer of your beat) by exporting from your DAW (i.e. Cubase, Pro Tools, or Logic). Your manager delivers this to the artist so that the song can be tweaked, arranged correctly and mixed as needed.
• Placement deal is mediated through your manager.

One example that immediately came to my mind as I was writing this was the producer Needlz. He has landed multiple placements with G-Unit artists through his manager, who has close ties with G-Unit A&R Sha Money XL.

“The way it goes is… I submit 5-7 beats a week to my manager and she is the one that gets them around, and she got a good relationship with Sha [Money XL], and a lot of people in the industry, so, after that, the way the industry is now, they kinda just take your beats, and loop ‘em, put ‘em in Pro Tools, do the song and then contact you after they decided they like the song. It’s kind of a backwards-type deal. A lot of people would think that it’s the other way around, that I’m in the studio with them…”

// Needlz (Producer: 50 Cent, Drake & more)

You can watch the video in which he shares his insight here (it’s at the end): http://www.youtube.com/watch?v=qPM9jStpVn0&p. Also in this video, he cycles through some samples on the MPC that are mapped to his MIDI keyboard (so he can play them melodically), and finds the exact sound used for the Young Buck song, Let Me In. He plays the main riff. It’s cool. J

It all turned out great for…

The next producer we’re going to look at is Apex. He was promoting his music online when somebody jacked one of his beats and shopped it as his own music. This thief was found out in the end, and Apex was catapulted to hip-hop producer stardom.

What song did the beat make possible? 50 Cent’s I Get Money, which was said to have saved the Curtis album.

“Basically, this dude Scott Boogie went online and just scooped up a whole bunch of people’s beats off of MySpaceand SoundClick, put it on a CD and represented it as his own work. He went straight to G-Unit Records and got it in the hands of some important people. They liked what they heard. When 50 [Cent] heard it, he wanted it, he made it into a classic.”

// Apex (Producer: 50 Cent & more)

The quotes from Apex himself give you a great overview of how everything went down. Before reading the next quote on his big break and how it came about, keep one thing in mind: if Apex had tagged his beat with a vocal drop, the thief (Scott Boogie) would NEVER have collected the song from Apex’s MySpace or SoundClick page.

That’s right. The practice of tagging is so dangerous that it could have cost Apex possibly his only chance of making it.

“They needed to master the song, so they asked him to go into the studio to bring up the track file and he was coming up with excuses. He said that he didn’t have the copies or the track files. He said that his hard drive on his computer broke. It was crazy.

I was told this after the situation happened. After all that, they gave him some studio time to re-do the beat. He goes to the studio and he doesn’t know where the drums came from! So, now, they’re trying to get some sound that sounds like the one I used and they kept asking questions. They played me the version that he had made and it sounded like trash. It was borderline copy-cat. He couldn’t play the melody of the beat. He didn’t use the instrument that I used for the beat. So, he called his homeboy to play it.

His connect at G-Unitwas questioning Scott and he was struggling for answers. This guy by the name of Broadway searched online and the fans of my stuff were saying that that was my beat. Everyone was saying that that was an Apexbeat.

So, once the guy heard that it was me he asked Scott if he ever heard of me. He said no. Broadway got in touch with one of these rappers on MySpace who rapped over my beat. The rapper then got in touch with me. I listened to what the guy had to say and later on, Broadway got in touch with me directly because I wasn’t dealing with the rapper guy. The both of us linked up at Junior’s and talked about everything.

Once it was all settled, Scott Boogie was out and I was in.”

// Apex

Funnily enough, in this case, the thief was kind of like Apex’s manager; he had the connections, he had the talk, but unfortunately for Scott Boogie, he was so stupid he didn’t even come to realize that at some point 50’s crew would be asking for the song’s tracked-out layers for mixing purposes. What a chump!

Why nobody will listen to your CD

Let’s talk about why if you don’t use a manager and you don’t have personal connections to the artist or A&R in question, you just have no chance.

Personal contact is a huge issue. As we’ve discussed, in a lot of cases, producers don’t meet artists. Everything is handled via a mediator: your manager. A&Rs don’t want to deal with:

• Handling project files
• Keeping tabs with you and all other producers
• Making sure you understand the final deal
• Making sure you are a member of a music publishing group such as ASCAP so you can collect your royalties

And artists that you aren’t best friends with definitely do not want to get involved in the above either.

So when you’re not there physically, and there is nobody to really represent you, the outcome looks bleak in a lot of cases – your CD won’t get heard. If you magically manage to get a placement, you’d probably have to get an entertainment lawyer involved to make sure you’re not getting raped financially. That’s money out of your pocket.

“A lot of times when CDs get sent to the A&Rs, they don’t listen to them. When I worked at a label, we had boxes and boxes of CDs. I’m talking, filled to the brim. You know what they do with those CDs? They throw them away. It’s too much music. It’s too much music to go through. It’s not personal. It’s like, I’m going to listen to this CD instead that my man brought me face to face. I’m going to listen to the CD that the intern put on my desk.”

// Bryan-Michael Cox

Another reason the vast majority of A&Rs to whom you blindly send CDs will never listen to your music is the possibility that after they go through the tracks – and their artist even ends up picking one to record to – they will not be able to contact you. Your phone number on the CD could be impossible to read or you wrote it down wrong.

To combat this, they could try to make sure that everyone who’s sent a CD is contactable beforehand, but this is time-consuming. A&Rs are busy people. When getting CD from somebody they know (the intern, their best friend or your manager) they know that the contact is definitely there.

Online success: the way forward

You can use the internet not only to promote your music, but to make good money along the way. There are a lot of people pulling in an easy 4 figures a month selling beats on sites like RocBattle.com, which is a marketplace where beat makers sell their music to artists. There are also tournaments for cash. The site takes a cut for every sale you make, and a cut off the tournament prize money, but it seems like an energetic, bustling community, a quality that alone may entice you to join the site – if only to participate in forums to start with.

“Nowadays, labels are giving deals to people who are top artists on MySpace that don’t even have radio play.”

// TJ Chapman (DJ, broke records for artists like T-Pain and David Banner)

For sites through which A&Rs are more likely to scour, try the 2 biggest ones for up-and-comers to get heard: SoundClick.com and MySpace Music. You’re probably familiar with MySpace, and you may have heard of SoundClick.

SoundClick was responsible for launching the career of Soulja Boy, who started posting his songs on the site in 2005, before also creating MySpace and YouTube accounts. (His major label debut, Souljaboytellem.com, on which he produced several songs, was recorded entirely with the demo version of FL Studio, the DAW he still uses today (and has hopefully purchased by now! It costs $99, and it’s a great choice if you’re thinking about it.)

Like we discovered earlier, SoundClick and MySpace were both used by Apex in his online promotion efforts, and the former also launched the production career of Kane Beatz, who has produced a load of great pop and urban tracks in the last few years.

Kane Beatz started getting serious about making beats from the age of 19. He got to a high ranking on the SoundClick charts based on his popularity on the site (getting a lot of plays on his music, etc.), and was making a steady $2,000 to $3,000 a month selling beats via his SoundClick page.
At one point, his profile was linked to from the main SoundClick page, and Senior VP of A&R at Atlantic Records, Mike Caren, reached out to him.
A little while later, he had his first major placement: Trick Daddy’s Tuck Ya Ice. Listen to it here: http://beatfuse.com/pym/tuckyaice.

Producers are lucky, in that they are more likely to get an easier pathway into the industry. Unlike artists, you don’t need to tour, there is much less risk for the A&R to give you a chance, the label doesn’t need to pay you an advance to get decent music out of you. The list goes on. You should be excited!

The only thing you need to worry about is getting your music on the level that will see you take advantage the opportunities you do get.

One site I think is pretty fun is IndabaMusic.com. They have regular remix contests in partnership with labels and sponsors, offering great prizes. On a Snoop Dogg remix contest (for the song, That Tree), the winner – a user by the name of Dog Du Jour – was flown out to a Snoop Dogg concert and met Snoop backstage. Perfect opportunity to pass along a beat CD, in my opinion. You just won a remix contest… your beat won. Snoop was one of the judges and thought yours was the top submission as well. He’ll probably listen to your CD!

A&R ears guaranteed?

How can you guarantee that your music gets heard by an A&R? Perhaps setting up a SoundClick or MySpace and keeping your profile on those sites up-to-date seems like work you don’t want to do, you can try music placement websites. They vary in price and scope of opportunities, but when your music is at on the level you think it needs to be, definitely give these a go. Chances like this just weren’t available in the 90s. Today’s technology has made this opportunity possible!

The biggest website for urban music producers is PMPWorldWide.com, which charges a monthly fee but does not take any cuts from deals.

It’s rather expensive (it used to be $50 a month, and it might’ve gone up), but the opportunities are second to none if you’re the type of producer who can create top 40-type urban or pop music (i.e. club-banger beats).

Alternatives to PMPWorldWide are iStandardProducers.com (much cheaper than PMPWorldWide, but fewer placement opportunities) and Taxi.com.

The way PMPWorldWide and iStandardProducers operate is quite simple: A&Rs post projects for which they need beats – a description of what they’re looking for will be included, as well as the artist name in most cases. A Track Dump then opens and the site allows you to submit your entry. If the A&R likes what he or she hears, you’re in – possibly with a major label placement.

PMPWorldWide (hereafter simply PMP) is definitely quality. There are tons of success stories from up-and-coming producers having landed major work! The reason why so many A&Rs frequent the site is because they know three things:

1. Today’s technology allows anybody to make a classic hit at home. Remember that Soulja Boy used the demo version of FL Studio to make his first major album. The internet has unlimited potential.
2. Since there is a membership cost ($50 a month or higher), only producers who know their music is on the commercial level will come through the gates.
3. Because track submissions are somewhat limited (you can’t spam every submission), they know they’re only going to get the best beats from producers.

Just looking at the front page, I can see the recent featured placements for which PMP was responsible; The PMP user OLYMPICKS got a placement through the site as a producer for a track on Lil Wayne’s I am Not a Human Being album. Wikipedia confirms the producer credit. Nice!

On the right sidebar, guess what I see now?

It’s Mike Caren, the guy who found Kane Beatz on Soundclick. In fact, we can see here that Kane is still one of his clients. Another one is DJ Frank E, whose name is underlined, meaning he’s a member of the site.

Looking to the left of this small box I find something a little way down entitled, The DJ Frank E Story. I took a screenshot for you to see:

After finding Kane Beatz through SoundClick, Mike Caren found DJ Frank E through PMP.
Both producers have landed major placements. Kane Beatz has had an exceptional career so far, even producing a total of 5 songs on Chamillionaire’s Ultimate Victory. That album has sold more than 400,000 copies. Ka-ching.

All in all, if your music is GREAT, you have the tools and services available to get a realistic shot at making a living producing music. Don’t stop believing, and never stop improving.

Play your cards right

“I have a very defined sense of what I’m feeling, but I’m not making music for myself – I’m making it for a lot of people. When you’re playing jazz solos, it’s usually to impress yourself and a few select people that will understand it. When I got into production, it was about making 12-year-old girls want to buy it along with 25-year-old guys. Yes, I’m going to be criticized for being generic or not having one sound, but on the other end of that is also extreme versatility.”

//J.R. Rotem (Songwriter, Producer: Sean Kingston, Rihanna & more)

Your sound

Whatever your sound is, whether it’s an imitation of a current style or a hybrid of a several styles, just make sure that it’s commercially viable.

Depending on which artists and A&Rs end up hearing your music, you will either have a great chance or a poor one. If you know the exact artist that you’re targeting, it’s easier to tailor your music to his or her vocal style. Once you know the extent of your manager’s reach, it’s easy to customise certain elements of your music to further increase your chances.

In the case of Kane Beatz, who has perfected his own brand of southern-style beats, Mike Caren was probably more inclined to hook him up with some work as Atlantic Records houses some of the most successful rap stars down south, like Trick Daddy, Flo Rida, Young Dro and T.I.

But how many other A&Rs and managers stumbled on Kane’s music earlier and decided it wasn’t a good match for the artists they could reach? Pointless speculation, perhaps, because Kane Beatz finally did get his big chance. And he took it well.

Your sound doesn’t have to be generic, but the net you’re throwing should be as wide as possible if you’re unsure of the exact target audience.

“A mistake a lot of young producers make is that they want to be a part of the story. But a real producer makes something the artists want to own themselves. My style is anonymous so the artist can shine.”

//Jermaine Dupri (Songwriter, Producer, Founder of So So Def)

Potential is… worthless

The music industry is not about potential. It’s about being there already. Labels aren’t signing artists who sound like they could maybe sell a record. They don’t want producers that don’t understand the basic arrangement of popular songs.

You need to generate absolute confidence in your product.

Hook ‘em

“Being around Kanye is what really made me start coming up with more melodies and songs. Almost every beat that Kanye placed, he’s had melodies and hooks for ‘em, like Jay-Z’s “Encore.” It’s easier to get placed that way.”

//DJ Toomp (Producer: Jay-Z, Ludacris & more)

Thinking about incorporating songwriting into your skill set? Probably a wise thought. Helping an artist see a finished product is the easiest way to sell that product.

For demonstrating hooks – the catchy vocal phrase that appears several times in a song, primarily in the chorus sections – you could either hire a local vocalist or record yourself singing. It doesn’t have to be anywhere near perfect. The artist just needs to get the concept. It should just be a rough guide.

The following video is an example of a rough hook written for a femalevocalist, but sung by a man in the example! (Scott Storch’s vocal producer, Pooh Bear.) I watched this actual show a few years ago. What happens after this short excerpt is that the girls go into the vocal booth and record their own take of the hook.

http://beatfuse.com/pym/storchpooh

Vocal range is another important factor. To me it sounded like Pooh Bear would not be able to hit higher notes. Maybe that fact kind of limits his hook-writing a little bit.

If they were producing a song for Mariah Carey (who has an astounding vocal range), they’d probably have to substitute Pooh Bear’s vocal guide for an easily distinguishable synth or string sound that Mariah could hear and identify as the vocal line she is supposed to follow. She’d also get the lyrics on paper.

“People want a beat with the hook already on it.”

// “Mayne” Jackson of the Runners (Songwriter, Producer: Rick Ross, Lil Wayne & more)

It’s not even just about hooks. If you’re a supremely talented rhyme-writer, you can produce reference tracks (with beats, too, being the total package!) for artists that are open to this.

Example #1: The Lil’ Kim song, Queen Bitch, was written by the Notorious B.I.G. – in mid-2010, the reference track leaked, with Biggie rapping the entire song, including lines like “queen bitch, disease free bitch,” which may make you uncomfortable. (Hear the track here: http://beatfuse.com/pym/biggiekim.)

Example #2: The Eminem/Dre/50 Cent hit, Crack a Bottle, leaked a few months before it’s official release as a reference track. Eminem raps Dr. Dre’s verse. (Listen here: http://beatfuse.com/pym/emdre.)

If you want to include hook-accompanied tracks on your beat CD, you should include hook-free tracks as well in case somebody wants to record on the track and use their own hook. For example, if you’ve got three beats on the CD, the tracks should be laid out like this:

1. Description
2. Track one [without hook]
3. Track one [with hook]
4. Track two [without hook]
5. Track two [with hook]
6. Track three [without hook]
7. Track three [with hook]
8. Contact information

Track 8 is there so you can leave your name and telephone number.
Track 1, Description, might be a short recording like this:

This CD contains three original pieces of work composed by myself, [name], in the form of instrumental beats. Each of these beats is played TWICE, back-to-back; the first time clean, the second time with a hook idea. Thanks for your time.

“That’s a track I had for about four years. It was one of those tracks that everybody was digging, but they just didn’t know how to approach it. Now I have a lot of hooks to my beats, just to give people the blueprint, ‘cause a lot of artists, no matter how professional they are, you have to actually show them the guidelines of how to approach a certain track.”

//DJ Toomp [talking about the Young Buck song, Pocket Full of Paper]

Thanks for reading PROMOTE YOUR MUSIC.

I hope I have inspired you to take action… to realize that you have these amazing services and tools at your disposal. The only component you have 100% control over is the quality of your music, and when it’s on the professional level, you should mentally feel like a freight train with faulty breaks – unstoppable!

You could produce for your favorite artist or make a great living composing short tracks for TV shows like those on MTV. Or even sell beats online exclusively (but I would use that as an avenue to bigger and better things.)

Even if you’re not actively looking for a manager, it’s always good to have your music as highly developed as possible, because you never know who you might run into. The producer of Akon’s song, Beautiful, met his would-be manager at a hotel lobby in Atlanta by chance. That man was visiting Akon’s brother, and that’s how the opportunity presented itself.
Here’s a video of the young producer showing how he made the track: http://beatfuse.com/pym/beautiful. More inspiration!

“The guy that hands me the new CD from nowhere thinks I’m not listening to it, when I am. I’m gonna take that and listen to it like Timbaland gave it to me, or Dr. Dre gave it to me, because there is always a diamond in the rough. You just gotta find it.”

// 50 Cent

Related posts:

1. Beat Maker vs Music Producer
2. Contrast: Create Addictive Music
3. Dissecting Slim Thug – “Welcome 2 Houston”

I wonder if you’ve made some okay beats and now want to take your music to the next level…

It’s loud and clear: successful producers all have their own secret sauce. Their own bag of tricks, and their own methods. Most importantly, their own sounds. Signature sounds.

But at the heart of every great producer’s toolkit… is a stable of — drum samples that never grow old. They are classic and yet timely and in fashion all the time. They always sound like the in-thing, but they wouldn’t be out of place in a 90s RnB classic.

Maybe you can’t help but listen to music on a different level, appreciating the drum programming and composition of tracks. The non-producer mind doesn’t hear on the level you hear. You can hear a thumping kick… and wonder why it sounds so much better than the one in the last song? What makes this so special?

You can do this easily without much experience. One of the main uses for your computer may be music production. Sometimes energy will spike through you when you think about making a beat, but when you actually sit down and start to program your drums or compose your melody, it’s different…

Perhaps you’ve experienced that sometimes there is a bit of that energy missing… and when you start to go through your drum sample library, it can feel more like work. You may start to become uncomfortable, constantly adjusting your posture as you sit at your keyboard. Why doesn’t this feel like the times when you had an amazingly energetic vibe making music?

At a music production workshop in late 2010, I was asked whether I thought all drum sounds were made equal. I said, plain and simply, no. The follow-up question was: what I would avoid? I answered with the following examples which are wide-spread on websites and in even popular (and expensive) drum sample packs:

When you have the perfect musical ingredients, you are inspired to make music and there is not a dull moment. You can literally jump-start your creativity at any point.

You may in the past have made beats and looked at the clock in the middle of a beat making session… Shit! 1am? Where did the time go!? It’s one of those moments of lost time caused by immersion. Immersion in an art you love. The right ingredients help to set this mood all the time.

The future greats of music production do not like to be kept in the dark. They want to know, they want to learn. They want to possess the same tools. I know I do, because my music has to be of the highest quality. I haven’t had an angry client in 8 years!

And when you analyse a drum track – a simple drum track in a hit song – and wonder what makes it pop, the answer is not the drum structure or arrangement – because you’ve composed patterns like that yourself. The answer is not mixing and mastering – because even in the how-to videos for those beats the drums knock hard, and that’s pre-mixing. The answer is the tools used.

You can discover the tools today… and start making music knowing that you have the most prestigious sounds in the industry. I’m not kidding, and you’ll see why they are used by the best producers in the game in 2011.

Drum Quake is the baby of hundreds of hours of work and a ruthless, yet creative, process that achieves the best. The best in quality, the best in sonic character and the best in versatility.

Ever heard of bread and butter sounds? They are the type of sounds you can use anywhere. A lot of people maintain that bread and butter cannot have character.

They’re wrong.

Those who’ve listened to my Skype voice messages are astonished at the feedback others leave. Producers that have been on the Billboard radar (and much bigger than just a blip) just can’t believe they’ve been working without Drum Quake until now.

The MPC.

The backbone of 80% of all classic and popular hip-hop and r&b hits. I wonder if you know Dr. Dre has four of them. He daisy-chains them!

Everyone from Jermaine Dupri to Timbaland’s engineer Marcella Araica have sworn by the MPC mono convergence technique.

The MPC does something to the drums you feed into it. Something that is beyond description, but at the same time, you can hear it and recognise the character because it’s part of all the songs you grew up loving. Everything from MJ to Tupac to Wu-Tang and Eminem.

To be perfectly honest, the MPC is, in my mind, horribly overpriced for what it is:

But there is one thing that it does do well: it adds the legendary MPC character to everything that goes into it.

When my MPC 2000 XL arrived I put it to good use. I fed Drum Quake through it; the same sounds that have been lauded by producers since 2004. Wow, that took a while. I’ve been told it was worth the wait, so I’m happy.

There isn’t really a trick to this stage of my drum creation process. And I’ll tell all my private clients that, too. I have only one use for the MPC because I’ve found software to be better for my workflow. But nothing beats the hardware sound… as I found out…

I did what only a few producers have revealed they do; I fed my samples back into the MPC and I let the analog character of it waft across my sounds again. The entire collection.

The results… are superb.

I spent about 15 days on the initial “MPC run” (through the mono output of course) and I didn’t want to do that again because of the effort involved. But I had to do it.

As far as I’m aware, this is the ONLY MPC-fed drum collection…

I definitely KNOW that it is the only collection that’s been through the pipes TWICE… and going into an extremely transparent Apogee Duet audio interface on the way out.

These samples have scraped the gold of this legendary drum machine twice over.

When you have a precision-engineered product with the characteristics that historic analog equipment provides, you have a winner every time. And you’ll sit down to make amazing music whenever you like.

This is what you’ll get:

Best of all, each and every one of the 346 samples has been through the MPC 2000 XL two times for that authentic hint of analog smoke.

When you start to use these , you’ll notice there are two sections.

One section is all the samples stashed together.

The other contains the samples in tight-knit groups of samples that sound amazing together. They sound like they just belong with one another, and this organisation is the perfect antidote to can’t-make-a-beat-itis. Get inspired every time. Be ready… every time.

Join the Club: Start Using Drum Quake today: Just $27
until [fourdayz1] (Click Here!)

We all know the impact of the Roland TR-808 drum machine. In fact, it’s become so overused a reference in popular culture, I’ve heard young guys talk about any kick as “an 808.” But they aren’t correct. The 808 kick is very unique in its sonic quality. It’s the snap-less winding boom that became a pillar of modern and classic rap music, having also founded the disco age.

What you’ll get is the same set I paid $345 for in 2004 (through a private recording circle; these aren’t retail). These sounds aren’t for sale usually and they are not a rip-off set like you see being pushed by other websites and publications. These sounds are the most transparent ones I’ve ever heard, and you’ll be able to immediately recognise the quality as you go through the samples today.

Drum Quake sounds are compatible with Reason, HALion, EXS24, Kontakt, FL Studio, and more; basically any software or hardware sampler/drum machine (or instrument with input) will work.

If you don’t like the samples for any reason whatsoever, I’ll give you your money back, no questions asked. It’s as simple as that. I have complete confidence in my product and, on average, not even two people out of 100 request refunds!

You have absolutely nothing to lose, and everything to gain. It’s your music, and I know what this will do for you, so I want you to not be worried about anything.

Have a great time using these !

Marcel, BeatFuse.com

Related posts:

1. Drum Samples

Thank you. You can download DRUM QUAKE by clicking HERE.

This is a temporary link and will expire in five days. Thank you for your choosing BeatFuse!

Related posts:

A music producer oversees a music project. He may never touch a keyboard or drum machine, but it is his (or her) ear that sees the song through to completion. He may work with session musicians and the mixing engineer to produce the exact song he hears in his head.

A beat maker, you guessed it, makes beats. A lot of people don’t like to be called beat makers, because they think the title music producer sounds more established. Another reason relates to the grey area I mentioned before; while technically not directing artists in a studio and marrying beat and vocals (and therein completing the song), a beat maker does more than just make the beat. He or she will create music that has an artist in mind. It may not be an exact artist, but an artist profile nonetheless. (For example, “gangster rapper with a fast flow.”)

Keeping the artist profile in mind as you put finishing touches to your music will help develop the beat into a song more quickly.

Artists will react more positively to a beat that they can see themselves singing or rapping to. We both know that some songs exist with mediocre beats but a great, catchy vocal track. I want you to really take this in: the beat is as good as the song it could be. Helping an artist see the potential is an art, and this is where you’re stepping into songwriting as well.

I hope you see where this is going. See, while it’s just a beat, the extra steps you take do put you into the music producer category. If you can see the complete song, you’re mentally prepared to produce that song. You can get there technically as well if you’re prepared to put in a little bit of time.

I’d like to finish this introduction by saying that the terms ‘beat maker’ and ‘music producer’ are just titles, and you shouldn’t let them limit you. Just do what you want to do, and do it to the best of your ability.

Related posts:

1. Beat Maker Software
2. Promote Your Music
3. Contrast: Create Addictive Music

“Who Else Wants To
Make Beats Like
Timbaland and Dr. Dre?”

They Laughed When I Opened Up My Music Production Program,
But When I Hit ‘Play’…

I have never seen expressions change so fast in my life.
When I started to learn how to make your own beats, I never thought of moments like this.

One second I was just a nerdy kid with an unrealistic dream of becoming a music producer…

Then it happened. The beat dropped in… and everything my classmates had thought about me changed in an instant. I had blown their minds.

I remember hearing ‘woah!’ right after the lead synth came in, a rasping, wobbling synth sound like you might’ve heard in 50 Cent’s Ayo Technology.

By far the best response was Samantha’s. She was quiet for the first few bars, and I wasn’t sure whether she was as impressed as the others. Then, after about 8 bars when the snare pattern changed slightly and the bass came in, she just screeched, “no way!!!”

Imagine how you’d feel after a moment like this. I felt like I was flying. It was surreal!

I don’t make beats to impress people, though. It has more practical purposes, like generating income on the side.

Example: using popular media placement websites, I landed a spot on an MTV cribs episode in 2006. A 16-second loop that was used by the show years ago is still earning me royalties TODAY!

The royalties through placements like this are nice, but you can also sell beats on any one of the popular online beat-selling marketplaces for quick and easy money. I’ve been doing this since 2005, and my earnings have only grown with time…

“If That Eminem-Like Hip-Hop Beat You Just Made
Generated Just $148 Automatically For You,
Each and Every Month,
How Many Would You Make In A Day?”

After you learn to make your own beats, You can sell them with exclusive rights (one sale – big money), or with restrictive limitations (leasing them for personal, not-for-profit projects; multiple sales). It’s really up to you. I prefer the lease option, because I still want to maintain all rights to my music.

Anyway, this is all something I go through in detail in a bonus report included with this system. It’s not the main attraction…

What I really want to do is…

Show you how to set up a home studio on a shoestring budget, and start making amazing beats in the least time possible, so you can be motivated by early results.

Then, you’re going to perfect the craft and start creating tremendous music. No ifs, ands or buts… you will do this!

If I could do it, you can, too. It’s not hard once you have the right information.

Why most people fail

A lot of aspiring music producers who are beginning to take their first steps simply give up. Why?

• They think you need a thousand-dollar studio to make beats.
• They think it takes months before you’re making hot beats.
• They think you need to spend dozens of hours learning dull music theory.
• They think you need to master the piano.
• They aren’t sure which programs to start with. They aren’t sure how to begin learning. They just… can’t start properly.

Let me tell you, when I started out learning how to make your own beats, I was also confused. And I wasted months of my time trying different programs and different methods. It wasn’t easy!

But… once I got the hang of it, I knew it was much more simple than I had ever thought. And I want to tell you everything I know, so you can go from Timbacan’t to Timbaland in record time.

The people who gave up did not visit this site. They didn’t get Beat Sniper, the massive, in-depth music production course I created. Because I structured Beat Sniper in a way that basically guarantees success. It’s always interesting, informative and takes you through the necessary steps in a logical fashion, so that everything clicks at the end of each section and during each included video.

Introducing… BEAT SNIPER

A system that truly grows with you… that was my vision. A guaranteed way to make your own beats. And it’s finally a reality. You won’t need to watch all of the videos and read the reports to get started, but you’ll come back to them time and time again and pick up new tips and tricks.

$24

NOTE: Price is only valid until [special719v2] when it will go back to $37 — this is as a thank you for the members that have emailed their success stories and have shown me that I should make this more accessible sometimes — and $24 is even more affordable! Grab it while the price is low!

The entire Beat Sniper system is covered by a full 30-day guarantee.

If for any reason you’re not satisfied with this course, just email me and I’ll issue you a prompt refund. No questions asked. It couldn’t be more simple.

I look forward to hearing YOUR success story.

Sincerely,

P.S.: So here’s exactly what you will get, risk-free, so that you can begin to make your OWN beats ASAP: the Quick-Start guide (50 pages to get you up to speed the right way), the Principles and Concepts module (30 pages – absolute gold), the Composition and Theory module (40 pages of closely-guarded music secrets), the Drums module (4 videos totalling 45+ minutes of run-time), and last, but not least, the updated Promote Your Music special report (30 motivating pages of pure proof and examples of what works and what doesn’t in 2011). Do you want to make professional beats? CLICK HERE to get Beat Sniper at the DISCOUNTED PRICE OF $24 before it goes back up. (Price will be returned to normal once I get a few more testimonials.)

P.P.S.: Oh, and I nearly forgot… To reward you for your dedication (you’ve read this far, so I know you’re serious), I’m including my entire set of 346 premium drum samples, so you can have the hottest sounds available. That’s right, the same “Drum Quake” set professional producers are buying from the Drum Samples page HERE for $24 (which is unheard-of value on its own) is yours free if you order now.

Grab Beat Sniper with a limited time discount now!

No related posts.

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This Agreement does not transfer from the Owner to you any the Owner or third party intellectual property, and all right, title and interest in and to such property will remain (as between the parties) solely with the Owner. the Owner, beatfuse, beatfuse.com, the beatfuse.com logo, and all other trademarks, service marks, graphics and logos used in connection with beatfuse.com, or the Website are trademarks or registered trademarks of the Owner or the Owner’s licensors. Other trademarks, service marks, graphics and logos used in connection with the Website may be the trademarks of other third parties. Your use of the Website grants you no right or license to reproduce or otherwise use any the Owner or third-party trademarks.

4. Advertisements.

the Owner reserves the right to display advertisements on this Site.

5. Changes.

the Owner reserves the right, at its sole discretion, to modify or replace any part of this Agreement. It is your responsibility to check this Agreement periodically for changes. Your continued use of or access to the Website following the posting of any changes to this Agreement constitutes acceptance of those changes. the Owner may also, in the future, offer new services and/or features through the Website (including, the release of new tools and resources). Such new features and/or services shall be subject to the terms and conditions of this Agreement.

6. Disclaimer of Warranties.

The Website is provided “as is”. the Owner and its suppliers and licensors hereby disclaim all warranties of any kind, express or implied, including, without limitation, the warranties of merchantability, fitness for a particular purpose and non-infringement. Neither the Owner nor its suppliers and licensors, makes any warranty that the Website will be error free or that access thereto will be continuous or uninterrupted. You understand that you download from, or otherwise obtain content or services through, the Website at your own discretion and risk.

7. Limitation of Liability.

In no event will the Owner, or its suppliers or licensors, be liable with respect to any subject matter of this agreement under any contract, negligence, strict liability or other legal or equitable theory for: (i) any special, incidental or consequential damages; (ii) the cost of procurement for substitute products or services; (iii) for interruption of use or loss or corruption of data; or (iv) for any amounts that exceed the fees paid by you to the Owner under this agreement during the twelve (12) month period prior to the cause of action. the Owner shall have no liability for any failure or delay due to matters beyond their reasonable control. The foregoing shall not apply to the extent prohibited by applicable law.

8. General Representation and Warranty.

You represent and warrant that (i) your use of the Website will be in strict accordance with the the Owner Privacy Policy, with this Agreement and with all applicable laws and regulations (including without limitation any local laws or regulations in your country, state, city, or other governmental area, regarding online conduct and acceptable content, and including all applicable laws regarding the transmission of technical data exported from the United States or the country in which you reside) and (ii) your use of the Website will not infringe or misappropriate the intellectual property rights of any third party.

9. Indemnification.

You agree to indemnify and hold harmless the Owner, its contractors, and its licensors, and their respective directors, officers, employees and agents from and against any and all claims and expenses, including attorneys’ fees, arising out of your use of the Website, including but not limited to your violation of this Agreement.

10. Miscellaneous.

This Agreement constitutes the entire agreement between the Owner and you concerning the subject matter hereof, and they may only be modified by a written amendment signed by an authorized executive of the Owner, or by the posting by the Owner of a revised version. Except to the extent applicable law, if any, provides otherwise, this Agreement, any access to or use of the Website will be governed by the laws of the state of NSW, Australia, excluding its conflict of law provisions, and the proper venue for any disputes arising out of or relating to any of the same will be the state and federal courts located in Sydney, NSW, Australia. Except for claims for injunctive or equitable relief or claims regarding intellectual property rights (which may be brought in any competent court without the posting of a bond), any dispute arising under this Agreement shall be finally settled in accordance with the Comprehensive Arbitration Rules of the Judicial Arbitration and Mediation Service, Inc. (“JAMS”) by three arbitrators appointed in accordance with such Rules. The arbitration shall take place in Sydney, NSW, Australia, in the English language and the arbitral decision may be enforced in any court. The prevailing party in any action or proceeding to enforce this Agreement shall be entitled to costs and attorneys’ fees. If any part of this Agreement is held invalid or unenforceable, that part will be construed to reflect the parties’ original intent, and the remaining portions will remain in full force and effect. A waiver by either party of any term or condition of this Agreement or any breach thereof, in any one instance, will not waive such term or condition or any subsequent breach thereof. You may assign your rights under this Agreement to any party that consents to, and agrees to be bound by, its terms and conditions; the Owner may assign its rights under this Agreement without condition. This Agreement will be binding upon and will inure to the benefit of the parties, their successors and permitted assigns.

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