Saturday, February 23, 2008

DSK AkoustiK KeyZ


- 3 piano type: Grand Piano, Concert piano P & Concert Piano F
- Velocity response
- Amp. envelope and micro-detuner
- HP/LP Filter
- 2 Fx (reverb & flanger)

Click here to visit download page

Thursday, February 21, 2008

Free Mixtape Download: Crooked I - St. Valentine's Day Bossacre

[Hosted & Mixed by DJ Nik Bean & DJ Felli Fel]


Crooked I - St. Valentine's Day Bossacre:

01. St. Valentine's Day Bossacre Intro
02. The Boss
03. Dj Nik Bean & Dj Felli Fel Speak
04. Finer Things (Prod. by Felli Fel)
05. Freedom ft. Fred Knuxx (Prod. by X-plosive)
06. Crooked Don't Dance (Prod. by MG)
07. What that Mean (Prod. by Rick Rock)
08. Bossacre Skit #1
09. Boss Biter
10. Real Boss Life
11. Valentine's Day Delivery
12. My Life 2.0 (Prod. by Komplex)
13. The Music Industry (Remix) Ft. Termanology, Royce Da 5'9, Akrobatik & Consequence
14. Wake They Game Up ft. Yukmouth
15. Cal-if-or-ni-a ft. Mr. Silky Slim, Roscoe Umali, & Mash (Prod. by BH)
16. Bossacre Skit #2
17. Act Like You Know ft. Mic Moses (Prod. by Meech Wells & Tha Pusher)
18. St. Valentine's Day Bossacre Outro

Click here to download

Producers Information Pack

This folder contains some nice info for all aspiring producers.


4 Mix Methods used by Top Producers
20 Tips on Home Mastering by Paul White
Basic Compression Tutorial
digital mixing
Dirty South Beat Tips
Fl studio tutorials
get your studio sound
How to EQ your Bassline and Kicks Properly
practical mixing
Secrets to EQ'n Bass for Hip Hop
sound advice on mixing
the art of eq

Click here to download the pack

New Kit

This kit contains


Click here to download

Pass as always is:

Interview with Jimmy Iovine

Also later today i will upload a new kit, and some producers information in the form of ebooks. so check back later.

Wednesday, February 20, 2008

Busta Rhymes working on "Back On My Bullshit"


Busta Rhymes recently revealed to MTV News that he is hard at work on his eighth album "Back On My Bullshit." The new album will feature production from Dr. Dre, Green Lantern, Cool & Dre, Danjahandz, Nottz, Timbaland and Pharrell, who helped him come up with the title.

"I'm calling it Back On My Bullshit for two reasons," Busta explained. "I said it on [a new song,] and it stuck in Pharrell's head. And because this album, in particular, feels like vintage Busta Rhymes, in a 2008 way. It was original and appropriately the right thing to call the project. No deep brain-science ... nothing like that."

While fans await the new album, Busta is promising to hit the streets with a few mixtapes, the first being "King of the Remixes" with DJ White Owl, followed by "48 Laws of Power" with Mark Exclusive. Rhymes then plans to drop "I've Already Outshined Your Favorite Rapper", before he links up with Mick Boogie to release "Dillagence 2," the follow-up to their tribute to the J Dilla.

"It's gonna be crazy," Busta said.

Monday, February 18, 2008

MdL-Beat Making 101

A tutorial on how to make a westcoast gangsta beat in Reason 3.0

Check out his youtube page here

Musical Crystal Glasses Like Never Before

Friday, February 15, 2008

Kanye West - Flashing Lights (Feat. Dwele)

Video For Kanye West 'Flashing Lights' Featuring Dwele Off Of 'Graduation' In Stores Now!

Directed By Spike Jonze & Kanye West.

Consequence - Feel This Way (Feat. John Legend)

Video For Consequence 5th Single 'Feel This Way' Featuring John Legend Off Of 'Don't Quit Your Day Job' Out Now!

Directed By Rik Cordero.

Tuesday, February 12, 2008

Kanye West - Grammys Acceptance Speech 2008

Kanye performs live at the 50th Annual Grammy Awards

QuickAudio Audio Editor


QuickAudio lets you edit, play and record digital audio as well as convert between various popular audio formats. It has standard audio editing features, multiple undo, audio spectrum analysis as well as support for up to 24 VST plugins. Zoom out to edit your whole waveform at once or zoom in to edit individual samples. Cut and paste between as many files as you like.

Formats supported include:

* Wave
* MP3
* Ogg Vorbis

Editing operations include:

* Cut, Copy and Paste
* Change sample rate, bits per sample and channels
* Insert Space
* Amplify
* Silence
* Fade In
* Fade Out
* Normalize
* Compress
* Reverb
* Filters - Lift/Attenuate Musical Presence, Vocal Presence, Bass, Midrange, Treble
* Remove Noise
* Change Duration (without changing pitch)
* Change Pitch (without changing duration)
* Add up to 24 VST plugins for your own custom editing

Click Here To Download

Monday, February 11, 2008

VST TAL-BassLine


TAL-BassLine is a virtual analog bass synthesizer especially made for bass, acid sounds and effects. It's based on a robust core and has the usual controls of analogue hardware synthesizers. A unique -18dB low pass filter with a lot of asymmetric and random components introduce a warm and analogue sound. Very fast, non linear envelopes are also a part of this synth.


* Band-limited oscillators (saw, pulse).
* Sub-oscillator: square -1 oct., square -2 oct., pulse -1 oct, pulse -2 oct.
* -18 dB/octave low-pass filter (resonant/self-oscillating).
* LFO (frequency: 0,1 .. 30 Hz, waveforms: sin, tri, saw, rec, noise).
* Very fast nonlinear envelope (A: 1.5ms..4s, D: 2ms..10s, S: 0..100%, R: 2ms..10s).
* Simple Arpeggiator (up, down, one octave mode).
* 2x Unisono Mode.
* Panic button.
* MIDI automation for all sliders and pots.
* Precise fader control while holding down the "Shift" button.
* Supports all sample-rates.
* 2x oversampling.
* 23 presets.
* Tutorial PDF.
* ~2.5% CPU (Intel Core 2 CPU 6700, 44.1KHz, 24Bit, buffer-size 1024 Samples).

Click Here To Download

Xavier Naidoo - I've never seen ft rza

Samples To Check

Just came across the link below and apparently they have free samples so go get em

Click here to visit

Saturday, February 9, 2008

Dr Dre Seeks Royalty Information From Death Row Records

PhotobucketDr. Dre filed papers in the U.S. Bankruptcy Court in Los Angeles on Tuesday (February 5) requesting permission to obtain documents from Death Row Records that will help him determine the amount of unpaid royalties that the company owes him.

According to the Associated Press, the producer wants to place a dollar amount on royalties that have accrued since Death Row filed for bankruptcy in 2006. The documents include contracts between himself and the label, revenue from the sale of his recordings and agreements to release his recordings as part of compilation albums.

Dre has already sued Suge Knight’s old label several times for unpaid royalties from his 1992 album The Chronic. In 1996 Dre gave up his 50% stake in the label but retained the right to receive royalties. According to him, he has not received those royalties, even after Death Row licensed his music to another company for distribution.

Death Row has been under the control of a court appointed trustee since July of 2006. Warner Music Group recently made a $25 million bid for the label’s catalog, which includes The Chronic and several other Dre productions.

The request filed by Dre this week asks that Death Row make the documentation available by February 29 and its representatives be available for a deposition on March 7.

Elbe Kim's Beat Making Video's

This kid is definatly talented, check out his youtube page

Click here to visit his youtube page

Friday, February 8, 2008

Angular Momentum - Analog Warfare



* 2 Standard modelled oscillators.
* 1 Phase distortion modelled oscillator.
* 2 (Osc AB and BC) Ring Modulators.
* 3 Independent Clippers.
* 3 Independent Amp envelopes.
* 3 Independent SV filters with Crossmix.
* 3 Independent filter envelopes.
* 1 Modulator envelope.
* 1 Frequency Modulation Envelope module.
* 1 Modulator with many sources and 78 destinations.
* 2 BPM synced LFO's with many sources and 2x78 destinations.
* Total of 234 routing options.
* 2 BPM synced filter delay's with auto-panning and auto-crossing.
* Stereo chorus L/R.
* Double purpose CV/Groove Sequencer.
* 1 Phrase arpeggiator with groove control.
* 4 Panels (effects / arpeggiator-CV / Groovesettings / miscellaneous / about).
* 64 Standard editable patches.

Click here to download now

Thursday, February 7, 2008

MP - News

DMX Stars In New DVD W/Michael Madsen & David Carradine

Rapper/actor DMX is set to star in the straight-to-DVD Action Thriller Last Hour, which hits stores on April 15.

Read More....

The Game Cops Plea Deal In Assault Case, Headed To Jail For 4 Months

Rather than fight the felony gun charges that he was hit with last year, platinum rapper The Game has opted to face the music in a Los Angeles jail.

Read More....

Missy Elliot - Ching-A-Ling / Shake Your Pom Pom

Wednesday, February 6, 2008

Mixtape: We Got It For Cheap Vol 3



Official Version
We Got It For Cheap Vol. 3 Featuring DJ Drama- (Download NOW)

We Got It For Cheap Vol. 3- NO DJ Drama (Download NOW)

Tuesday, February 5, 2008

Video : Full interview -Snoop Dogg on Larry King

Snoop Dogg Speaks To Larry King about the presidential race, rap music, reality TV, fatherhood and more.

Monday, February 4, 2008

Friday, February 1, 2008


L.A. Nolan II
Taken from:

So, you make electronic music such as Hip Hop, Drum N Bass, Techno, etc. You want your basslines to thump in the club, in the car, home system, and on crappy radios, right? Do you have a problem making your basslines thump in different audio systems? Do they sound nice on one set of speakers, but weak on the next? Are you having a hard time getting the power you want from your basslines without making the mix too muddy? Here are a few tips on how to make your basslines bang.

The Frequency Range

If you want your bass to bang in a system with nice subwoofers AND in crappy home shelf systems, it is pointless to use a bass patch whose energy lies only below 40 Hz, because most home systems will not play sounds that low in frequency. You need to make sure bass has a lot going on in the 70-90 Hz frequency range. So just how do you do this? How do you get a sound that is both felt and heard on a number of different speaker systems?

Layering Other Waveforms

The sine and triangle wave produces that low thumping bass tone we electronic composers love (e.g. sub bass, 808 boom, DnB drone). These waveforms have few or no harmonics, so they are felt more than they are heard. If using a synth (or even a sampler), try layering these waveforms with a waveform rich in harmonics, such as a square or saw wave. After layering, use the synth's or sampler's low pass filter cutoff to trim away some of the higher harmonics from this new bass patch.

Distorting for Harmonics

Start with your favorite bass sound, one that happens to be low in harmonics (like the sub bass and synth bass discussed above), and add some distortion/overdrive. Use anything with a tube (e.g. tube preamps, tube compressors) or a dedicated distortion unit (e.g. guitar distortion pedals, computer plug-ins, etc). This will add harmonics to the bass sound so that it will be heard in a higher register for those people with less ideal speaker systems, but still felt for those of us using speakers with more bass response.

If programming with a synth or sampler, use two oscillators (or create a multi-layered sampler patch). Set one the oscillators/layers to be an octave below the other. Lower the volume on the higher octave layer so that it is just heard. This will ensure that your thumping bass patch can be heard in both the lower and mid frequency range.

Percussive Attack

Another approach is to layer your bass patch with a percussive sound, such as a bass drum. Lengthen the attack of the percussive sound to make it less drum like. To do this, raise the attack time on the amp envelop of your sampler or synth (this is usually the “A” of the ADSR on most synth’s and samplers). If you cannot do this with your sampler, use any wave editing software you may have (or your sampler’s sample editor) to slightly fade in the percussive sound, then save it as a new sound. Layer this new percussive sound with your bass patch. This will make the bass patch punchier, and thus help it to cut through the mix, even on a system with low bass response.

Real Bass

Yet another layering approach is to layer your deep synth bass patch with a real bass. This can either be an actual recorded bass guitar, or a patch in your sample library that sounds like a real bass. Since real basses are usually higher in frequency and more punchy than synth basses, your the deep bass will be heard and felt more on systems with good bass response, but the real bass layered over the top will be heard more for those with less fortunate systems.


Another tip is to use a bass enhancement plug-in (such as Waves MaxxBass), which essentially adds psycho acoustically calculated harmonics to the sound in order to trick the human ear into believing that the missing lower bass frequencies are actually there. This occurs because the human’s auditory system has the ability to recreate missing fundamental frequencies from remaining harmonics present in the bass tone. Bass enhancement systems will allow you to bring this out in your bass sound.

Compression is Key

Ever made a bassline that switched between lower and higher notes throughout the song? The low notes are fine in relation to the volume, but the higher notes stick out like a sore thumb? Or the higher notes are fine, but the lower notes are too low to be heard? To correct that problem, try a little compression. Do not over do it though, or you will kill all the dynamics and emotion in the bass part. With basses, start with a threshold of between -5db to -15db, and a ratio of between 3:1 to 8:1. If you are using a synth-like bass, a quick attack would be advised. If you are using a more plucked or slappy type bass, use a longer attack to allow for the initial “pluck” to pass through uncompressed, but the rest of the note to be compressed.