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Studio 914 | Quality Music Is First Priority | Under Construction: Coming Soon
STUDIO:NINE-ONE-FOUR (S:914) is bringing heat to the Tri-City area via our premier production facility. We strive to provide a whole new level of engineering and production services using a hybrid of vintage and modern gear. The focus at S:914 is classic Hip-Hop music, as well we support all genres including Rap, Soul, R&B, Up-Tempo, Rock, Alternative and Inspirational. Over 250 tracks produced, originals and re-mixes.
S:914 has an arsenal of vintage samplers and drum machines…from the MPC 2000 / 3000, STUDIO 440, through the EMU E1, E2, E3 series, AKAI S1100 and ASQ10 sequencer. A collection of vintage tube microphones and preamps, ribbon microphones, and both Vintech and custom Mullard gear. We maintain a full selection of synthesizers and are constantly adding to an extraordinary range of sound modules, both actual and virtual. The pros know that professional engineering is more than sweet outboard gear and a collection of software, success is more than just tools and technology. We have a worldwide production team lead by Noiseman giving S:914 20 years experience to the hip-hop game both DJing and Producing…and thats our front line, real world experience, together with the unparalleled pride we take in our product, that makes S:914 the obvious choice when you are serious about your project. We deliver top quality results.
MASTERING: Radio stations and record company professionals looking for artists to showcase rely on seasoned experience to acquire quality music. They get hundreds of submissions at any given time and only have a few seconds to listen to songs and decide if they want to hear more. If production or studio quality are not up to par and the track has not been mastered professionals can tell. Maximize your chance as a contender by investing in the proper steps to insure music quality. Give yourself the best chance at success with industry pros and your fans by mastering your album or mix-tape projects.
Big Noise Radio uses over 20 years experience to select only the best artists for our worldwide radio broadcast. Our selections are based on music quality, organic timing, lyrics, delivery and voice tone. These are artists that place on BNR Top 20 worldwide. The quality of their music for the most part comes from experienced producers and engineers using the right equipment and techniques. Mastering gives your music the proper equalization and loudness that industry professionals are looking for. We’ve mastered many of the tracks you hear on Big Noise Radio and would like to offer everybody an opportunity to hear the quality of our services at Studio 914. You can download your free ZIP file “Noiseman Master Demo” available at BNR Downloads to listen to some WAV file examples of our work.
Free Demo: Our mastering services are superior to industry facilities that charge $400.00 plus per hour. We provide professional mastering that is top quality and much more affordable for all levels of the music industry. We would like the opportunity to master one track of your selection for FREE, to test the quality of our service. With our proprietary process we can have your track mastered and delivered back to you for review. To get started all we need is a .wav file from you via email or file share. For best results make sure files have NOT been processed with Waves L2 Ultramaximizer or digital limiters. One free mastering demo per customer.
If you’re satisfied with what we’ve done we have exclusive packages to choose from for your future projects. Contact Studio 914 today and bring that polish to your project for industry success!
Exclusive 8 Track Project Rate: $250 ($31.25 per track)
Exclusive 18 Track Project Rate: $500 ($27.78 per track)
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Mastering is very important if you want your project to gain the attention it deserves. We supply top shelf mastering services at excellent rates. Contact us for a free 20 minute consultation. We use a proprietary high resolution equalization technique to bring the sonic image of your music right where it needs to be, cohesively whether it's one song or a whole album. After that we add harmonics and introduce multi-band dynamics with finalization this gives your music that big sound: in the car, at the club, on the radio, on mp3 players and on down the line… Clients are consistently blown away by the superior sound quality delivered by our process. We are proving to be the best in the business both in quality and pricing.
Recent Projects Include: "Blow the Doors" by Masta Steele, "Hood Anthems" by Sean Paul of the Young Bloodz, "Numworld" by Numskull of the Loonies, T Pain, J-Bo from the ALT, Prince Bugsy and Da Fam Gang from New Orleans. NO I.D. of UGMX, "Welcome 2 Tha JOE" by JusDre International, "Face Value" by Locsta Villian featuring Big Rich, J the Butcher and Thizz Entertainment, "5 Fifty 9 On The Grind" by El Cali from Fresno, "The Come Up" by The Regiment from Detroit. "DC, Against All Odds" featuring Dru Down, Celly Cel, San Quinn, Assassin, AP.9, Mob Figaz, Lee Majors and Too Short. "Back 2 Da Drawing Board" by No Mercy Records, "I Love The Bay" by North Bound Heights, "Icon of Da Hood" & “Skillz 2 Pay Da Bills” by Tebo and "Fresh out the Box" by VERA Clique to name a few.
Contact us today and bring the level of polish to your project that facilitates that big industry success.
Digital/Analog Mastering $100.00 per hour.
Look here the panicle of good hip-hop music starts with the track behind the song. S:914 is all about the best in track quality. At the core of the production team is founder and president of the hottest new production operation in the golden state, Noiseman MD. Working with 20 years experience in the business Noiseman has built a squad of producers that are bar none, some of the best producers on the planet. No doubt please feel free to check out our top friends at myspace.com/studio914 to review some of the great talent available through the Big Noise network of production specialists. Tracks are available with exclusive rights, leased rights and open rights. Track pricing is based on several criteria so please call for a detailed conversation about your project and pricing.
Production Projects Include:
B Flatt, Tyranny, Scott Free, Arfo Rican, Don Cisco, Masta Steele, Bugs I Luch, Swift, Primal Beats, Noiseman Beats & Grooves.
Remix Projects Include:
EPMD, Mobb Deep, Red Man, Pete Rock, Big Daddy Kane, Kool G Rap, Rakim, B Flatt, Fabulous, Craig Mac, Tyranny.
Production and Re-mixing $50.00 per hour.
Here at S:914 we are dicated to crafting classic hip-hop music. Custom harmonic treatment of the facility recording booth and control room. A collection of vintage tube microphones and ribbon microphones, hand build custom Mullard gear. Class A Focusrite channels, Neve and Heleos equalizers, Vintech channels, Universal Audio limiting amplifiers and custom tube preamplifiers are all part of the program at STUDIO 914. Quality A/D / D/A converters are a must as well as classic transformers. 20 years in the business has taught us a few things about sound quality for mixing and recording.
Recording and Mixing $35.00 per hour.
This is the Studio 914 listening station (coming soon - for now check out our Emcee Nemesiss release), right here you can check out some of the available tracks. Take your time and review the quality and timing of the material available via the Big Noise network of production specialists. Tracks are available with exclusive rights, leased rights and open rights.
Track pricing is based on several criteria so please call for a detailed conversation about your project. On tracks with open rights we charge for recording and mixing only. These tracks are a mix of old and semi-recent material to showcase the flavor of our work, set up an appointment to hear more material if you'd like to meet in person.
Continue to step your game up at Studio 914 and check out some of these videos on production and production techniques. Narrated by your favorite independent hip-hop producers, these videos can help you understand the subtleties for getting your sound right. History is reveled while information is dropped by cat's who are passionate about the beat making craft. Some of the names you might already know; Nottz Raw, Black Milk, Kev Brown, Confidence Beats, Ben Hedibi, King I Divine, Boonie Mayfield and Moka Only, just to name a few. If you're looking to purchase Quality Hip-hop Beats, all these guys are approachable. Contact them using the table below for pricing and availability. From soul to hip-hop, these guy's do some really great work.
Also check out School Of Confidence for classes on hip-hop production. If you're an up-and-coming beat-smith Confidence Beats can help you get to the next level. He's got years of experience and has officially produced some pretty big names in hip-hop, Ed O.G. being one of them. He also has releases on Ill Adrenaline Records. "Each one reach one, each one teach one", pass this on to your peoples and share the knowledge. Hip-hop is the lifestyle, creativity is king!
"Confidence and DJ Technic Interview" Part 1
"Confidence and DJ Technic Interview" Part 2
"Behind The Beats with Nottz" Presented by Drum Broker & Scratch Magazine
"MPC 1000 Beat Making" King I Divine | The Come Up
"BOON DOC Making a Soulful Funky Beat" (March 2012)
DIGGING IN THE CRATES "Production Style Decisions"
As an up-and-coming producer there are many genera's and styles of music to choose from, many producers and emcee's to be influenced by. Artists taught in the classic styles might suggest that you do not use samples in your music at all. Hip-hop influenced artists will tell you that it just doesn't sound right without the samples. As a producer I am constantly learning my craft and I can tell you that along my path I was influenced by and conformed to all of those forms of thinking. Thats how you experience growth.
Today I feel that balance is important but I personally prefer the tones and timing that can be achieved using samples where hip-hop music is concerned. Adding keys and synthesizer parts on your samples is fine as long as proper techniques are used achieve tonal cohesiveness within the track. If you are going to mix module sounds and samples take the time to find sounds that fit the vibe of the samples you are starting with. Using tube preamplifier's and other processors on your module sounds is an excellent way to get tonal cohesiveness happening on your Track, Slap or Beat.
Starting with the right sample is just as important as anything ells. Make sure you are picky about the samples you start with because that can make or break your end product. If it doesn't feel right start again and dig in the crates some more! One of the places I like to go to for digging in the crates in my area is "On The Corner Music" located in Campbell, CA. They have listening stations and carry a great variety of rare grooves on vinyl for every music genera.
Noiseman-MD on the left networking with Jeff owner and founder of "On The Corner Music" on the right, at one of the regular functions happening at their Campbell store location. Check the links for contact info they are a great place to catch music and artwork.
"Flute Funk Volume 1" Mixtape by DJ Mentos
Wax Poetics magazine is a wonderful resource for cultivating your vinyl record collection. Chack out this mix below. In Flute Funk Volume 1, DJ Mentos treats us to an hour-long mix of classic and freshly excavated funk nuggets, breakbeats, dusty grooves, and straight up neck-snappers—all with one thing in common. Included are some people you would expect (Hubert Laws and Herbie Mann), as well as some more obscure artists (Jeff Wayne Starship and the Ebony Godfather). It’s time to break out your good brandy, velvet robe, and Cuban cigars—this mix is Ron Burgundy–approved.
"Real Producers Of The DMV" Kev Brown & DJ IRAN MINI-DOC
This informative 45-minute video delves into the mind of Kev Brown and DJ Iran (pronounced I Run) as they discuss production, Teddy Riley, Dilla, Common's Electric Circus. Kev also plays a couple of unreleased tracks. Iran plays a couple of unfinished beats from the MPC 2000XL as well as plays some sample heavy records. Enjoy. It's either this or 45 minutes of Worldstar...
USEFUL INFORMATION ON AUDIO FILE FORMATS
WE BELIEVE ITS BEST TO KEEP YOUR PROJECT FILES IN CD-WAV FORMAT (16-bit at 44,100 Hz) FROM PRODUCTION TO MIX-DOWN, MASTERING AS WELL. MP3 FILE FORMAT IS INTENDED TO ALLOW MUSIC TO BE HEARD OR SENT OVER THE INTERNET AND DOSE NOT HAVE THE SAME BANDWIDTH OR QUALITY AS WAV FILES DO.
WAV FILE FORMAT DEFINED
The native digital audio format in Windows. Using the .WAV file extension, 8- or 16-bit samples can be taken at rates of 11,025 Hz, 22,050 Hz and 44,100 Hz. The highest quality (16-bit at 44,100 Hz) is the sampling rate of an audio CD and uses 88KB of storage per second. Windows employs WAV files for general system sounds, and new WAV files can be placed in the Windows Media folder (\WINDOWS\MEDIA or \WINNT\MEDIA) and assigned in the Sounds control panel.
The WAV format is widely used as the audio medium for professional recording and editing. For creating music CDs, WAV files are converted to the CD-DA audio format, and both WAV and CD-DA files take up a similar amount of storage space. See CD-DA.
Mostly Uncompressed PCM
The default content of a WAV file is uncompressed, pulse code modulated (PCM) digital samples derived from the analog source. However, WAV files can also be used to store compressed formats, including MP3, ADPCM, GSM, G.723.1 and others. A header in the file indicates the content type.
MP3 FILE FORMATS DEFINED
(MPEG Audio Layer 3) An audio compression technology that is part of the MPEG-1 and MPEG-2 specifications. MP3 compresses CD-quality sound by a factor of roughly 10, while retaining most of the original fidelity; for example, a 40MB CD track is turned into a 4MB MP3 file.
MP3 files are played via media player software in the computer, such as iTunes or Windows Media Player, as well as in countless iPods and other handheld players that use flash memory or hard disks for storage. MP3 sound quality cannot fully match the original CD, but millions of people consider it "good enough" especially because they can pack thousands of songs into a tiny pocket-sized player.
Converting a digital audio track from a music CD to the MP3 format is called "ripping," and ripping software is available as a stand-alone program or a function in a software-based media player such as iTunes and Windows Media Player.
While 128 Kbps (kilobits per second) is considered the norm for good quality MP3 files, MP3s can be ripped to bit rates from 8Kbps to 320 Kbps. The higher the bit rate, the better the sound and the larger the file. The sliding lever in the following dialog box, taken from Windows Media Player 10, is used to select four bit rates for encoding MP3s: 128, 192, 256 and 320 Kbps.
VBR and mp3PRO
MP3 VBR (variable bit rate) is an enhanced format that adjusts the compression based on the complexity of the music. The mp3PRO format generates a file half the size of a comparable MP3 file, but maintains compatibility with many MP3 players.
MP3 Shook Up the Industry
By the end of the 1990s, music fans discovered that a CD song title converted to MP3 would still sound pretty good even though it was only 1/10th the size of the original CD track. Smaller files meant faster downloading. At an average of 4MB, it took less than 15 minutes to download a file over an analog modem. With a broadband connection on a college campus, it took seconds.
MP3 created a worldwide auditioning system for new musicians who could freely distribute their music to gain an audience. It also let people swap copyrighted titles with impunity. File sharing services such as the original Napster and Kazaa made it a global phenomenon, and the record industry went into a frenzy over violations of its copyrights (see Napster). Today, copyrighted MP3 files are still shared over the Internet. However, online music stores, including the resurrected Napster, sell tunes for a fee, legally and successfully.
MP3: A History
MP3 was developed in the late 1980s by the Fraunhofer Institute in Germany. It uses perceptual audio coding to compress the data by eliminating frequencies that would not normally be heard because they overlap and cancel each other. See ID3 tag, audioblog, iPod, AAC, perceptual audio coding and cuckoo egg.
|AKAI MPC MODEL NUMBER||OS VER|
|MPC 60||N/A | 2.12|
|MPC 500||Download | 1.13|
|MPC 1000||Download | 2.13|
|MPC 2000||Download | 1.72|
|MPC 2000XL||Download | 1.20|
|MPC 2000XL||Download | 1.14|
|MPC 2500||Download | 1.24|
|MPC 3000||Download | 3.11|
|MPC 4000||Download | 1.71|
|MPC 5000||Download | 2.0|
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