ALC and Havoc Likes the 5000

4dahaterz wrote:Producer and Beatmaker battle.... are yall serious.... not badly put Moyphee... The real job of a producer says it all here:

In the music industry, a record producer (or music producer) has many roles, among them controlling the recording sessions, coaching and guiding the musicians, organizing and scheduling production budget and resources, and supervising the recording, mixing and mastering processes. This has been a major function of producers since the inception of sound recording, but in the later half of the 20th century producers also took on a wider entrepreneurial role.

The music producer could in some cases be compared to the film director in that the producer's job is to create, shape and mold a piece of music in accordance with their vision for the album.

what're the odds we'd have the same analogy

moyphee wrote:Unfortunately in Hiphop, the term "producer" is constantly misused and thrown around loosely. Beatmakers supply the beats and that's where their involvement stops. It's only in hiphop that a dude with a little gear tagged as a "producer" of the bat.

The fact is even when a beatmaker gets a production credit it's trumped by the Executive Producer credit. Industry types know immediately who did what just by that alone. The more appropriate badge for a beatmaker is an "Arranger". This covers the note composition which is what we call beatmaking.

Despite what most think they know, when 99% of beatmakers enter a pro environment they don't know how to shape a song, how to forge commercial quality, or what to even ask the engineer for. The mass market of affordable has way too many thinking that they are within the pro ranks when they aren't even out the rookie stages despite the cost of the gear or complexity of their rigs.

... so true

moyphee wrote:Unfortunately in Hiphop, the term "producer" is constantly misused and thrown around loosely. Beatmakers supply the beats and that's where their involvement stops. It's only in hiphop that a dude with a little gear tagged as a "producer" of the bat.

Please provide us a few examples in Hip-hop where someone with a little gear is tagged as a producer.

Go to youtube type in "hip hop beat""beat making""my banging beat"an so on and so on.

EXACTLY

diddy never made a beat in his life

dre doesn't make the basic beats anymore

but they bring the song to the great levels

BxJaze wrote:

LvngDead wrote:Alchemist, to me, is a big pile of garbage. Overrated to the fullest.

And whenever the question of "beatmaker vs producer" comes up, why do all these cats put down the beatmaker? Make it seem like producer is something greater than beatmaker. Who gives a flying fuk if you are directing the sound of the song/album? You're still a beatmaker first and foremost, retards.

i dont think they're putting down the beatmaker. Instead I think they're more trying to talk UP what they do--even if it is just beatmaking. Being a great producer (to me) is more in the mind. The fact of the matter is, there are many people who can manipulate, but not necessarily do themselves, like movie directors. A good director can take some average actors and direct them to produce some really nice scenes on film, whereas a horrible director can take Tom Cruise, Jack Nicholson and Al Pacino and make a terrible movie.

A producer to me, is somewhat of a 'director' of music. A producer can never touch a keyboard, or an MPC on a track, and still be able to tell a singer "you should sing it like this" or tell the engineer "you should pan this to the left," etc, and steer the song in a direction that--without he/she--it would have never gone before. Even if they don't have the technical lingo/understanding as solid as a seasoned recording engineer, it doesn't make the raw talent in their ears any less valid. So they might not know to tell the engineer to roll off all frequences below 80hz, but they might know to simply tell him "it has too much bass."


Diddy has made some great songs (as far as music, not lyrically) in his career, and I know for a fact he wasn't cranking out each beat. Sometimes when people call him (or other producers) in, they might think a song can go further that what they've created, and are looking for someone to take them to the next step, like an interior decorator. The decorator aint building houses, but they can damn sure tell construction workers how to hook a crib up beautifully.

In the end, it's all about talent anyway. Truth be told, we all know there are some excellent beatmakers/arrangers who can't mix worth a damn. They probably can't even come up with songs, hooks or even a equally impactful switch-up in their beats. But that's where the talent of producing comes in. On the flipside, there might be a mixing engineer who knows how to make the kicks bang like never before...how to blend keys and strings with old dusty samples seamlessly....but can't make a hot beat for ****.



The moral: The label "producer" comes (or SHOULD come) with the quality of the result of what is created from your artistic direction, and the consistency and distinguishability of said quality.


It's not the gear, it's the ear.

moyphee wrote:Unfortunately in Hiphop, the term "producer" is constantly misused and thrown around loosely. Beatmakers supply the beats and that's where their involvement stops. It's only in hiphop that a dude with a little gear tagged as a "producer" of the bat.

The fact is even when a beatmaker gets a production credit it's trumped by the Executive Producer credit. Industry types know immediately who did what just by that alone. The more appropriate badge for a beatmaker is an "Arranger". This covers the note composition which is what we call beatmaking.

Despite what most think they know, when 99% of beatmakers enter a pro environment they don't know how to shape a song, how to forge commercial quality, or what to even ask the engineer for. The mass market of affordable has way too many thinking that they are within the pro ranks when they aren't even out the rookie stages despite the cost of the gear or complexity of their rigs.

I was going to quote you as sounding like an idiot before I even looked at who the author was.
Go figure...
Retarded post saying the beat maker is the "arranger."
They ain't playing notes off sheet music, so f what you talk/cry about!
You take an informative video & somehow figure out a way to cry about it & demean 99% of people that make music.
People make major label quality music all over the world now w/o using a mixing console the size of a picnic table.
People also make music that sounds like it came off my grandma's kitchen radio. Stop the presses!!

P.S.
Hip-hop producer is the cat that makes the beat, end of story.
Your little rules don't apply. In hip-hop you can have a $500 dollar cpu & a pirated copy of Fruity Loops.
If you make something insane, which has happened, you may get on a major release as the producer.
That is beautiful, it is an even playing field.
Executive Producer is just basically the boss of the project, often the money investor or label ceo.
Master P was noted as executive producer on all them old No Limit joints.
We all know he wasn't making dope beats, but he was executive pro.
Executive producer: Eric "Eazy-E" Wright
That is what all the Ruthless Record releases had on them. Did he make beats? No!
They also said: Produced by Dre & Yella for High Powered Productions.
Why, because they made all the old N.W.A. beats

You always sound like a pampas jackass that knows so much more than everybody.
You must have your royal feet up on some mixing board that only you & the head of NASA know how to work.
Link me to 1 hot track YOU made that can sign 1 of these checks your posts write, you freaking creep

The credits of an album should list the dude who makes the beat as the producer.
The overall album's direction & quality is up to the executive producer, the artist, & the recording engineer(s), & even to a small degree the Mastering team or engineer.
You can't take the shine away from the little guy if he makes a hot beat.
What they said is true we all know this.
Dr. Dre makes beats, so if he sent out a beat to somebody like Cam'Ron he should be listed as producer of that 1 track in the credits.
Obliviously he is a great captain of the ship as well, so if he set behind the boards & directed an entire Cam'Ron album it would be his best album & would take him to another level. That is the Producer side of it, but I wish that they keep that guy behind the album as Executive Producer. Not a Cam fan either really at all, no homo

and I quote... "I’m a real producer, you just a piano man"
the words of Timbaland on "Give it to me"

wow!!!! No wonder people dont know their roles in the industry anymore

Do people not understand what an Executive Producers title means? In the music industry, the executive producer of an album is often in control of the business side of production, distribution, and promotion. This role can entail obtaining financing, allocating the budget, etc. At times, the executive producer may also provide artistic input such as which songs are placed in the final cut and the order in which the songs are placed. In this instance, the executive producer is usually someone who has had input in producing some of the tracks on the album.

The Producer: In the music industry, a record producer (or music producer) has many roles, among them controlling the recording sessions, coaching and guiding the musicians, organizing and scheduling production budget and resources, and supervising the recording, mixing and mastering processes. This has been a major function of producers since the inception of sound recording, but in the later half of the 20th century producers also took on a wider entrepreneurial role.

The music producer could in some cases be compared to the film director in that the producer's job is to create, shape and mold a piece of music in accordance with their vision for the album.

History
Freed from this traditional system by the advent of independent commercial studios, the new generation of entrepreneurial producers-- many of whom were former record company employees themselves -- were able to create and occupy a new stratum in the industry, taking on a more direct and complex role in the musical process. This development in music was mirrored in the TV industry by the concurrent development of videotape recording and the consequent emergence of independent TV production companies like Desilu, established by '50s TV superstars Lucille Ball and her then husband Desi Arnaz.

These producers now typically carried out most or all of these various tasks themselves, including selecting and arranging songs, overseeing sessions (and often engineering the recordings) and even writing the material. Independent music production companies rapidly gained a significant foothold in popular music and soon became the main intermediary between artist and record label, signing new artists to production contracts, producing the recordings and then licensing the finished product to record labels for pressing, promotion and sale. (This was a novel innovation in the popular music field, although a broadly similar system had long been in place in many countries for the production of content for broadcast radio.) The classic example of this transition is renowned British producer George Martin, who worked as a staff producer and A&R manager at EMI for many years, before branching out on his own and becoming a highly successful independent producer.

As a result of these changes, record producers began to exert a strong influence, not only on individual careers, but on the course of popular music. A key example of this is of Phil Spector who defined the gap between Elvis and the Beatles (1958–1964) with such acts as The Ronettes, The Crystals, Darlene Love, The Righteous Brothers and The Paris Sisters. Spector's Wall of Sound production technique also persisted after that time with his select recordings of The Beatles, The Ramones, Leonard Cohen, George Harrison, Dion and Ike and Tina Turner.

Some producers also became de facto recording artists, often creating records with anonymous studio musicians and releasing them under a pseudonym. Examples of this phenomenon include the records by fictional groups The Archies and Josie & The Pussycats, produced by Don Kirshner and Danny Jansen respectively, who were contracted by TV production companies to produce these records to promote the animated children's TV series of the same name. Similarly, Jeff Barry and Andy Kim recorded as The Archies.

Producers and modern recording technology
In modern digital music, it is possible for the producer to be the only person involved in the creation of a musical recording. The said producer is entirely responsible for writing, performing, recording and arranging the material. To be able to do this effectively the producer needs knowledge not only of the software he is using, but also knowledge of the genre in which he is writing, and how music works as a language. The existence of such producers is, in some ways, challenging the role of the traditional recording studio in that feasibly, an entire album can be created and recorded from the producers home studio. [1].This change has been partially due to the increase of inexpensive yet powerful music production software (such as ProTools, Digital Performer, Logic, Cubase and Sonar), which allows for entire tracks to be composed, arranged and recorded on a single computer, allowing the roles traditionally carried out by a team of people to be performed by one individual. With the advent of portable recording equipment, live album production has become much more cost-effective than in the past. This has resulted in countless live music recordings.

With the advent of the computer web applications like Facebook, YouTube and MySpace, record producers can now serve in very non-traditional roles, using "social networking." They can produce music via the internet by having their clients email .mp3 or .wav files to them. In this way the producer can be located in a different geographic location and still accomplish their goal.

Taken from Wikepedia

What is the ZX320 that al was talking about?

Al is using the 2500 i believe. His latest video was from december of 08 and shows him bangin on the 2500.

http://www.youtube.com/watch?v=L2_tVoBKmcw

ALC always throwing some funny 320 or some funny name of some shit that most likely doesnt exist or is vitange and rare. he know damn well he aint making beats on a z320.


lol

Im'a keep it simple, a friend...actually two ,one being a dj extrodinearrrrrr. Said to me about mixing,beatmaking,etc ..... is like a producer compared to the ocean ,there is so
much you can find in a producer,because like the ocean there are so many things in it.

DJ Magic Mike,

May I jus add to this, is it just me,or does it looks like my man ALC may be on some drugs...... I'm jus saying the way he was talking with some slurs slightly,and pay attention
to all the movement and face expressions....I'm just saying

Alc is no stranger to the herb.

BIG LARRY wrote:You must have your royal feet up on some mixing board that only you & the head of NASA know how to work.

hahahahha!