I’m growing tired of overly opinionated rappers. You know, the type that spend more time talking about who sucks than they do making music? And when they do make music, most of the lyrics are about how good their lyrically lyrical lyrics are? Yeah those people.
Usually these opinionated rappers are underground artists with 0 followers other than their friends and their friends little sisters.
What the fuck is the point of writing a whole song about how good you are at writing songs? How can you preach about having a message in your music, and then the only message in your music is that you have a message in your music. I think I’d rather hear some simple nonsense about partying or hoes.
Rather than rant all day about this, I pose the following question.
Are you really mad at them for being wack and still having fans and money, or are you mad at yourself for working twice as hard on your music and having no fans and no money (or anything else to show for it)?
I think it would be far more practical to ignore the artist than to talk shit about them. First, when you talk about them you are adding to their press and thus adding to your problem. Second, you are wasting your own precious time.
EVEN BETTER SOLUTION: Study these artists. If they managed to become successful with music that you think sucks, and you think your music is better, then you should have plenty to learn from them. Maybe you could take something from their marketing techniques or work ethic.
The industry is not a conspiracy against anyone with real content in his or her music. In fact, I personally believe that content of music and talent are almost entirely irrelevant to your level of success. You can suck and still be successful or you can be awesome and be successful. On the flipside, you can suck and be broke or you can be awesome and broke.
All I’m saying is this: Rather than looking at what other people are doing and what they have and judging them for that, work on yourself. I guarantee Soulja Boy isn’t somewhere riding in his Lambo with a bad chick, telling her how wack YOUR lyrics are.
I'm saying this cause I care. Ha.
Tuesday, January 5, 2010
Tuesday, December 15, 2009
A little bit of Producer "Game"
Hungry, inexperienced producers ask me questions all the time. A lot of the time the questions are the same. Therefore I am going to bless you all with a few gems that I have picked up during my time working in the industry. Feel free to entirely disagree.
Today, I want to address the issue of approaching major artists to shop tracks/demos. This only applies to up-and-coming producers/songwriters. Obviously established producers play by a different set of rules.
There are many ways to do it, some are right, some are wrong, and some are downright idiotic. For instance, DO NOT figure out where the artist’s session is and randomly show up at the studio. I have no idea why people think this a good idea, but it happens all the time. It is a bad approach for several reasons:
1. You are interrupting the session. What if that artist was in the middle of writing his or her biggest smash to date, and you randomly show up and blow the vibe by making things awkward or simply interrupting the thought process or flow of the song?
2. Major artists use major studios and become comfortable in the vibe. The reason they are comfortable is because they are sitting in a room for long periods of time with people they know/work with. If you enter unexpectedly, you are changing that. Sometimes the vibe is extremely delicate.
3. When you show up unannounced to a session, you are displaying the following attributes: You are unaware of universally known studio etiquette (therefore you are obviously not “in” the industry), you are a low-level producer (otherwise you would have found a more professional way to shop your songs), and you are that guy that is going to make everyone look at each other as soon as you leave, and be like, “What the fuck? Who does that?”
DON’T be that guy.
So, how do you do it then, you ask? Well, there are several ways that make sense.
1. The first, and probably the best, is having a manager. A good manager has plenty of contacts and will be able to get you into sessions when you are needed or set up meetings for you to play your songs. Most managers get paid when you get paid, therefore its not going to cost you money up front and they will be motivated to make you money.
2. The second way is by building relationships in the industry, and I recommend this to EVERYBODY. This takes a lot of time and effort, but will pay off exponentially. Just think, if you were an artist, whose track would you rather use? The guy who gave you a CD in the club (that you never listened to) while you were trying to get some top from a video model, or the producer who your manager/A&R/assistant/engineer/lawyer/friend/baby-mama-sister-uncle-cousin personally knew, vouched for, and set you up to meet with?
Not only that, but when are you more likely to listen to a track? After the club when you are drunk and trying to fuck something, or in the studio when you are already in work mode (or atleast trying to be) and looking for a track to write to?
Network all the time (in the right place at the right time), display a sparkling personality, and you will begin knowing people who know people who know people.
3. Utilize the Internet. One thing I have noticed in sessions is that almost every major artist has a Twitter account. YES, they are the ones tweeting. Now, a superstar with a 2,000,000 followers on twitter might be a little tough to get a hold of. But what about their manager? Assistant? Engineer? You can usually find out who these people are by reading their tweets, too. Be resourceful. Also, don’t spam these people or be annoying or creepy. Be professional about it, and respect everyone’s time.
Side-note: I recommend the use of twitter (and other social networks) to make acquaintances and build relationships, not to immediately overload everyone you meet with tracks. Take your time. A lifetime friendship and business relationship will do a lot more for you than sending a few tracks. Plus, they will probably think better of your music after you make a good impression on them as a person.
I hope this helps. Until next time…
-ZS
Today, I want to address the issue of approaching major artists to shop tracks/demos. This only applies to up-and-coming producers/songwriters. Obviously established producers play by a different set of rules.
There are many ways to do it, some are right, some are wrong, and some are downright idiotic. For instance, DO NOT figure out where the artist’s session is and randomly show up at the studio. I have no idea why people think this a good idea, but it happens all the time. It is a bad approach for several reasons:
1. You are interrupting the session. What if that artist was in the middle of writing his or her biggest smash to date, and you randomly show up and blow the vibe by making things awkward or simply interrupting the thought process or flow of the song?
2. Major artists use major studios and become comfortable in the vibe. The reason they are comfortable is because they are sitting in a room for long periods of time with people they know/work with. If you enter unexpectedly, you are changing that. Sometimes the vibe is extremely delicate.
3. When you show up unannounced to a session, you are displaying the following attributes: You are unaware of universally known studio etiquette (therefore you are obviously not “in” the industry), you are a low-level producer (otherwise you would have found a more professional way to shop your songs), and you are that guy that is going to make everyone look at each other as soon as you leave, and be like, “What the fuck? Who does that?”
DON’T be that guy.
So, how do you do it then, you ask? Well, there are several ways that make sense.
1. The first, and probably the best, is having a manager. A good manager has plenty of contacts and will be able to get you into sessions when you are needed or set up meetings for you to play your songs. Most managers get paid when you get paid, therefore its not going to cost you money up front and they will be motivated to make you money.
2. The second way is by building relationships in the industry, and I recommend this to EVERYBODY. This takes a lot of time and effort, but will pay off exponentially. Just think, if you were an artist, whose track would you rather use? The guy who gave you a CD in the club (that you never listened to) while you were trying to get some top from a video model, or the producer who your manager/A&R/assistant/engineer/lawyer/friend/baby-mama-sister-uncle-cousin personally knew, vouched for, and set you up to meet with?
Not only that, but when are you more likely to listen to a track? After the club when you are drunk and trying to fuck something, or in the studio when you are already in work mode (or atleast trying to be) and looking for a track to write to?
Network all the time (in the right place at the right time), display a sparkling personality, and you will begin knowing people who know people who know people.
3. Utilize the Internet. One thing I have noticed in sessions is that almost every major artist has a Twitter account. YES, they are the ones tweeting. Now, a superstar with a 2,000,000 followers on twitter might be a little tough to get a hold of. But what about their manager? Assistant? Engineer? You can usually find out who these people are by reading their tweets, too. Be resourceful. Also, don’t spam these people or be annoying or creepy. Be professional about it, and respect everyone’s time.
Side-note: I recommend the use of twitter (and other social networks) to make acquaintances and build relationships, not to immediately overload everyone you meet with tracks. Take your time. A lifetime friendship and business relationship will do a lot more for you than sending a few tracks. Plus, they will probably think better of your music after you make a good impression on them as a person.
I hope this helps. Until next time…
-ZS
Sunday, November 29, 2009
Numbers Game
One lesson that is blatantly obvious yet usually ignored is that most things and life can be boiled down to a numbers game. Success is about application and consistency. Think about it.
The more you play, the more you win.
Or a more relevant music biz example:
The more beats you make, the more beats that you have made that don’t suck. The more beats you make that don’t suck, the more beats you have made that are awesome. The more beats you make that are awesome, the more likely that you are to produce a hit. Therefore, more beats = more hits. Hmmmm. Maybe that’s why successful people like B. Cox are working all the time.
Also, in addition to being productive, when you constantly apply yourself, you get BETTER at what you do. Therefore, we can adjust the previous example by adding:
The more beats you make, the better you get at making beats that don’t suck.
Therefore, by working consistently, you exponentially increase your rate of success. Now get off the computer and do something productive. But don't forget to check back later!
The more you play, the more you win.
Or a more relevant music biz example:
The more beats you make, the more beats that you have made that don’t suck. The more beats you make that don’t suck, the more beats you have made that are awesome. The more beats you make that are awesome, the more likely that you are to produce a hit. Therefore, more beats = more hits. Hmmmm. Maybe that’s why successful people like B. Cox are working all the time.
Also, in addition to being productive, when you constantly apply yourself, you get BETTER at what you do. Therefore, we can adjust the previous example by adding:
The more beats you make, the better you get at making beats that don’t suck.
Therefore, by working consistently, you exponentially increase your rate of success. Now get off the computer and do something productive. But don't forget to check back later!
Thursday, November 19, 2009
You Might Be a Groupie If......
You Might Be A Groupie If:
You might be a groupie if you don’t work in any aspect of the entertainment industry, yet you know more than one celebrity on a first name basis.
You might be a groupie if we are listening to music together and you tell me which street the artist has a condo on. Go home.
You might be a groupie if you ask me if I know Jermaine Dupri. How come Jermaine Dupri doesn’t ever ask me if I know you? (Credit: Bertell)
You might be a groupie if I text you that I almost crashed my car into a ravine and you respond back “I sat next to OJ the Juiceman tonight!”
You might be a groupie if I have seen you at the studio multiple times, but each time with a different rapper.
You might be a groupie if you get invited to the studio from Club Onyx at 3:45am. Period.
You might be a groupie if you get a call from any rapper’s bodyguard to come to the studio.
You might be a groupie if you are sitting peacefully on the studio couch and the artist gives his security the evil eye and has you replaced.
You might be a groupie if dropping the rapper’s name to get in VIP doesn’t work so you drop the ball player’s. Apparently you really do know them both, what a coincidence.
To be continued...
You might be a groupie if you don’t work in any aspect of the entertainment industry, yet you know more than one celebrity on a first name basis.
You might be a groupie if we are listening to music together and you tell me which street the artist has a condo on. Go home.
You might be a groupie if you ask me if I know Jermaine Dupri. How come Jermaine Dupri doesn’t ever ask me if I know you? (Credit: Bertell)
You might be a groupie if I text you that I almost crashed my car into a ravine and you respond back “I sat next to OJ the Juiceman tonight!”
You might be a groupie if I have seen you at the studio multiple times, but each time with a different rapper.
You might be a groupie if you get invited to the studio from Club Onyx at 3:45am. Period.
You might be a groupie if you get a call from any rapper’s bodyguard to come to the studio.
You might be a groupie if you are sitting peacefully on the studio couch and the artist gives his security the evil eye and has you replaced.
You might be a groupie if dropping the rapper’s name to get in VIP doesn’t work so you drop the ball player’s. Apparently you really do know them both, what a coincidence.
To be continued...
Tuesday, November 3, 2009
Have No Fear
I was talking to Jessica of TeLuv the other day, and we had a very enlightening discussion about fear. Specifically, we were talking about the fear of failure and its ability to prevent action. The fear of failure can stifle you because you will always feel like you should be reserved, just in case something goes wrong. Therefore, you never give your all. In order to be successful in anything, you have to come to grips with the idea that you might screw everything up and fall flat on your face, accept it, and go hard anyway. I can think of a million examples, and I had to learn this fact the hard way.
When I first moved to Atlanta, I had an internship at a major studio. The internship was six months long, and when it was over, there was a hands-on test to see if I would be hired on as an assistant engineer at the studio. I was anxious to be an engineer, and this test weighed heavily on my brain for the entire six months. I was thinking, “Shit, this is it. I have to pass this test. What will I be able to do if I can’t work here?” It was as if my entire future depended on the outcome of this single test.
The effect of worrying about this test so much was that when it came time to take it, I was overly anxious, and performed poorly. I was trying TOO hard instead of just using my brain and trusting in my talent and experience. I could not think clearly, therefore I could not troubleshoot. As a result, I was not hired. However, with a recommendation, I got an internship at another major studio, and a second chance.
This time I made up my mind not to be afraid of failure or mistakes. I decided that ACTION would be the theme from now on. I figured if I made a mistake, I could fix it afterwards instead of worrying about it beforehand. It is rare that a mistake is made and there is no opportunity to correct it. There is a phrase that I have always tried to incorporate into my belief system:
“More is lost through indecision than a wrong decision.”
With this in mind, I made moves. I stepped up for every opportunity, and even before my internship was over, I was an assistant engineer at a major studio in the market of my choice.
When I first moved to Atlanta, I had an internship at a major studio. The internship was six months long, and when it was over, there was a hands-on test to see if I would be hired on as an assistant engineer at the studio. I was anxious to be an engineer, and this test weighed heavily on my brain for the entire six months. I was thinking, “Shit, this is it. I have to pass this test. What will I be able to do if I can’t work here?” It was as if my entire future depended on the outcome of this single test.
The effect of worrying about this test so much was that when it came time to take it, I was overly anxious, and performed poorly. I was trying TOO hard instead of just using my brain and trusting in my talent and experience. I could not think clearly, therefore I could not troubleshoot. As a result, I was not hired. However, with a recommendation, I got an internship at another major studio, and a second chance.
This time I made up my mind not to be afraid of failure or mistakes. I decided that ACTION would be the theme from now on. I figured if I made a mistake, I could fix it afterwards instead of worrying about it beforehand. It is rare that a mistake is made and there is no opportunity to correct it. There is a phrase that I have always tried to incorporate into my belief system:
“More is lost through indecision than a wrong decision.”
With this in mind, I made moves. I stepped up for every opportunity, and even before my internship was over, I was an assistant engineer at a major studio in the market of my choice.
Saturday, August 22, 2009
Be A Boss
You know what really grinds my gears? When a grown man blames another man or woman for something going wrong in his life. I don’t care what it is, everything that is happening in your life, with the exception of circumstances in which you did not have even the most remote possibility of involving yourself, IS YOUR FAULT. Notice I said, “involving yourself”, not “being involved”. Be proactive people, it’s your life. I take the responsibility for my outcomes upon myself, and I think everyone else should too.
For example…Do I show up to the studio 15 minutes before the session starts, find out that the room is a mess from the session before, and start blaming other engineers or assistants for the fact that I don’t have the room ready to go when my client gets here? FUCK NO! I show up an hour early and make sure everything is clean and organized, and that the gear is tested and ready to go. What is the result of this? I am usually ready when the session starts instead of being stuck with my thumb in my ass blaming other people.
What are you really doing when you point the finger at someone else? You are saying to me that you are not competent enough to overcome someone else’s errors. A grown man doesn’t do that. A grown man does what he has to do to get the job done, regardless of other people’s fuck ups. If you still can’t get it done, that’s ok. At least you did everything in your power. Admit that you fell short, and you will be respected. More will get accomplished this way than any other.
This is the difference between the employee mindset and the employer mindset. The employee does only what he is told to do, with no regard for the outcome. A boss does things simply because they need to be done and he is there to do them. I recently saw the OWNER of a major studio mopping the floor before a listening party, because the intern was out doing a run.
Be a boss. When something goes wrong, instead of looking at what other people screwed up, look inward. Was there something you could have done to avoid the error? Or maybe you should have done the task instead of delegating it, if the other person couldn’t complete it properly. Maybe you could have delegated it to someone better qualified. Whatever the solution, take responsibility upon yourself.
Thursday, August 20, 2009
Loso's Way + Mix Magazine
Damn, Its been a while since i updated this blog. How I forgot to tell you about the following things is boggling my mind. Anyway, the short and sweet version:
I recently got my first Major album credit for Fabolous' new release: Loso's Way.
The album debuted at #1, selling 100,000 copies the first week.
I worked on 2 songs that made the album... "Throw it in the Bag", and "Pachanga"
Everyone go buy the album, help me get my first plaque.
ALSO:
I was briefly mentioned in Mix Magazine. Nothing serious, I just thought it was cool so i wanted to share it. Click here to read the article.
Anyway, you can expect more frequent updates at this point, because I have more to talk about. Project Super Engineer is full throttle, ya dig?
I recently got my first Major album credit for Fabolous' new release: Loso's Way.
The album debuted at #1, selling 100,000 copies the first week.
I worked on 2 songs that made the album... "Throw it in the Bag", and "Pachanga"
Everyone go buy the album, help me get my first plaque.
ALSO:
I was briefly mentioned in Mix Magazine. Nothing serious, I just thought it was cool so i wanted to share it. Click here to read the article.
Anyway, you can expect more frequent updates at this point, because I have more to talk about. Project Super Engineer is full throttle, ya dig?
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