XXL Top 10 Freshman pick B.O.B. is getting it in with Legendary artist T.I. This is a good look for B.O.B. He is really growing into a great artist!!! I have watched him grow over the years and T.J., B rich and company are doing a good job with this young man. Watch the video below!!!
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The battle between Bankhead finally came to heads today at the 4th annual "Dirty Awards". Grand Hustle and D4L gets to fighting. Lets stop the violence. Its enough paper out here for everybody. Plus these crackerz really own all this shit so niccaz be beefing over nothing. Check the video below!!!

Dirty Awards 2008 Battle Between T.I. and Shawty Lo from Gyant on Vimeo. And here is the rest of it.

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Legendary Music producer, D.J. Premeire in the lab with Ludacris. I have had the opportunity to check out Luda's new album and it is hands down his best work yet.

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Check out this in depth interview with music producer D.J. Toomp as he goes through the making of all of his hits. He even plays you the samples that inspired these records.
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Check out this new single that is getting alot of plays and gaining momentum in the south. This was produced by my homie Ken Jo and me Jack Brown aka Folk. Request on ur local station!!

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Man i am so mad at myself for not making it to this years event. I am already arranging my flight info for next year's event and I suggest all of you 2 do the same. But in the meantime check out what went down and what we all missed!!


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Written by Scott Cairns,


The following information is aimed at those wanting to create audio for computer games and who may have little or no experience. This of course includes composers, sound-designers and voice actors. I guess some of the information could apply to other disciplines in game development too. Forgive me if some of the information is pretty basic or obvious, I've tried to keep it simple and to include a few things that I felt were important. You may not agree and thats fine too.

Just to be clear, when I use the term "audio guy" Im referring to both males and females in any of the roles mentioned above. Im not trying to be sexist, I just tend to use a lot of slang. (and Im probably lazy too)

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Start Small

I cant stress this enough. Even though it might not be that exciting to work on "Bills Circus Animals for PC", its still a paying gig and a credit in the industry. Also, it will teach you to create audio to a brief (whats a brief?) and to a deadline. Im constantly surprised how many audio guys approach companies like Ubisoft and EA Games with the belief they'll land a gig right off the bat. Perhaps some do, and I wish them all the best, but the odds are against you. You really need to work your way up and create a solid credit-list over time. This also demonstrates to future clients that you can get the job done. Which brings me to my next point...

Be Reliable

I know it sounds bleedin obvious, but gee have I worked with some nutters! Ive heard every excuse in the book too from sub-contractors. ALWAYS LOOK AFTER YOUR CLIENT. I cant stress this enough. Im not talking about sucking up to them, Im talking about customer service. If you're doing a job for a client (Im thinking more as an outside contractor) keep in regular touch with them. Email them everyday if you have to and report your progress. Something simple like; "Hi Mike, hope you had a nice weekend, just wanted to let you know that the sound effects are coming along nicely and Ill have them to you no later than Wednesday. Please let me know if you need anything else." - will appease Mike's frazzled nerves and let him concentrate on the other 1,000 items on his producer plate.

Visit conferences/trade shows/seminars etc

Again this seems obvious, but Im surprised how many guys wanting a start have never even been to GDC (GD what?) or any other computer-games related conference, seminar or trade show. A quick story... I once went to a one day talk on making music for computer games, it cost me $50. The information was pretty basic (Id already scored 2 or 3 games by then) but I hung around. Whilst there, I met an audio director and inhouse sound-designer (more about inhouse guys later) and to cut a long story short, I ended up finding out about, pitching for and ultimately landing my first major, multi-platform title. So, go to everyone of these things that you can. Also, take the time to meet other more established audio guys there. My first two gigs came from other audio guys who were too busy. I still get work like this occassionally, and believe it or not, the guys right at the top are farming work out too.

Get a Showreel

Showreels are a big topic. Ill try and keep it simple and short; if submitting music, try to focus on the one or two styles that you do best. Its no good trying to cover every style in the hope of landing more gigs. I dont really know of an established composer that can do everything. So, try to wow your client with what your really good at. Make sure you include your contact details on the CD ltself, in case the cover gets seperated.
If sending music, send links to your music in the email, not giant attachments. And try to be pragmatic, some peoples music will suit a particular game better than yours. Sometimes the reverse will be true. Try to think of landing a composing gig like an actor auditioning for a role. Obviously Daniel Radcliffe wont be too convincing playing the President of America. :-) Try to find out as much as you can about the game and assess honestly as you can whether you'll be able to do it. I've turned down gigs I knew weren't in my style but Ive also mentioned what I feel I am good at - just in case the client has something else on the burner.

If sending a sound-design showreel its usually more effective to couple your sounds to some ingame footage or to a trailer. It might be worth including a disclaimer that the footage used (if nots yours to begin with) is being used for self-promotion only. If in doubt, you might want to check if the client minds you using something of theirs first. If you do want to capture ingame footage and replace it with your own sound, I recommend Fraps; www.fraps.com

Research your Client

Again fairly obvious, but its no good sending jazz music demos to a developer that only produces war strategy games. Ive included some useful websites at the end of this page, some of which, list the many game companies out there.

Do your own press

Im surprised how many people dont do this - promote yourself and/or your business. Learn to write a press-release. (there's plenty of advice if you google; "how to write a press release".) If you've just landed a gig, or have some news you'd like to share, put it "on the wires" - fax or email your press release to local newspapers, tv stations and game-industry websites. It helps to keep your name in the public's perception, it also raises your profile in the industry too.

It may seem strange to do your own promotion at first, but often, journalists are looking for a story and eyeing their deadline. You may have just made their day by sending a press release. Try to have a hook; "Local Composer works in the multi-billion computer games industry - and he does it from home!" - has worked for me. :-)

I was once interviewed for a local paper, from there, it was seen by a major syndicated publication and they too approached me for a story. I ended up getting a two page spread. After that paper ran its story, I was then contacted by a tv station and did an interview for them. This all stemmed from one minor story in a paper I thought no one read. To date, Ive done radio interviews, TV, newspapers, magazines, websites and even appeared in a book. And no - its not an ego driven thing, I dont like hearing the sound of my voice. Its just great exposure for your career. (it helps to think of your work that way too - long term)

Think of yourself as a business

Developers are busy and often times think about the audio when the game is about to go gold (go what?) The last thing they want to do is deal with a bumbling muso who works from his lounge room. (you might work from there, and thats ok, just dont tell the client!)

Game company producers are often a frazzled lot - they're trying to keep all the aspects of the game from coding to design to your audio on budget and on schedule. Its enormously gratifying to them if you can present yourself as competent, courteous, professional and reliable. Believe me, if they think you've helped them out of a hole with your professionalism - and you've shown you can deliver top quality audio to a deadline - they'll hire you again.

By representing yourself as a business you can also do what every other business does - outsource. Perhaps you're busy already and a regular client needs some audio in a hurry? (which is not uncommon) If you've kept up contact with other audio professionals, you should know who is skilled in various styles of music and sound-design. Hire them as a sub-contractor and quality-check everything before it goes back to the client. (remember the client is technically hiring you or your company.)

Another advantage to outsourcing is utilising a skill that you dont have. Perhaps one of your clients is doing a Nintendo title? You might need a composer who is experienced in tracker formats. (Nintendo devices generally have very specific audio requirements.) If your client is planning to continue doing work for the Nintendo platform, it might be worth learning how to develop for it yourself.

Broaden your job description

There's nothing wrong with wanting to be a successful composer, but it can take years to get enough recognition and regular work to support yourself full-time as one. Some other avenues to consider are recording and overseeing voice over sessions and sound-design. Many composers have started this way and it beats waiting tables for a living. Besides, not only does sound-design hone your skills in audio (helping you to be a better composer) but as an audio professional, chances are you have the equipment and knowledge to create sound effects anyway. There are generally more sound-design positions available than composition ones too. (Sad but true.)

Inhouse Positions

If you can get a job inhouse as a composer or sound-designer Id probably recommend it. Not only will you learn the vagaries of game development first-hand, it will also stand you in good stead for other audio positions at other studios. Some potential drawbacks can be the regular "office hours" and the fact that you have to work on whatever your company is currently developing. The truth is, most contractors work long hours and dont often get the luxury to pick and choose their gigs anyway. A further point about inhouse - get friendly with the guys doing audio in these companies. They'll be able to tell you if their company is hiring, and if the audio department is busy and needs to outsource some of their work.


Glossary

Audio Brief - is generally the document sent to you that will desribe the desired list of sound effects, how many minutes of music, and the intention needed for the music. In short, the Audio Brief is the creative vision of how the audio should sound in the game. Its really important to read and understand the brief thoroughly. Its no good skimming through it and seeing word like; "egyptian ruins" and running off and writing an arabic style battle theme. Reading it thoroughly might also show that the player is exploring egyptian-style ruins and that the environment is generally eerie. This of course will dictate a different style of music altogether.

Game Design Document - is like the bible of the game. It should describe every level and every detail of the game (environment, physics, gameplay, styles, similar game references, etc) in great detail. The Audio Brief is generated from the G.D.D. Note, sometimes you might be called upon to create an audio brief of your own, particularly for a smaller client. They may have described an environment, but not given thought to exactly what sounds are needed in it. You might have to derive your own sfx list from the G.D.D. You may also need to be the one to suggest an appropiate style of music for a game too. (Its happened to me!)

GDC - stands for the Game Developers Conference. (www.gdconf.com) Arguably the largest computer games show on earth, it takes place in San Francisco around March each year. Be sure to come up and say hi if you see a guy with my name tag on. (Im pretty friendly if Ive had my morning coffee)

Going Gold - is the phase in development when the game gets burned onto a gold master disc. This is then used for pressing copies of the game.

Some useful sites:

www.gamasutra.com - (join up, its free and it has a jobs section)
www.garagegames.com
www.audiogang.org - (Game Audio Network Guild)
www.ign.com
www.igda.org
www.music4games.net
http://en.wikipedia.org/wiki/Module_file - (information on Mods and the Tracker format)
www.gamedev.net

Watch as these Recording Artists/songwriters tell you what they are working on and Hit songz they have written.

This is an excerpt from Allhiphop.com's Rumor section. It talks about the Field Mob project we have been working on. New studio footage of some of the sessions coming soon!!


Field Mob’s manager hit me up and gave me the scoop on what they are all working on! Here you go:


I wanted to confirm and clarify that rumor about The Field Mob album. Actually Smoke from Field Mob is working on a solo project. He has a solo deal with Sony through an independent named Empire Records out of AZ (DTP is still involved in the project). The album is shaping up to be CRAZY... Ken Jo is definitely the driving force musically behind the project with assistance from Jack Brown, and a possible single produced by Kanai Finch... As for Field Mob they are working on putting together a new project, also most of those tracks being done by Ken Jo, however, the solo project from Smoke seems to be coming first.


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Watch music producer/Ceo/Mogul Jermain Durpri in the Studio cooking up some heat for Bow Wow's next project. He shows you the art of crate digging and finding the perfect sample.
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This is music producer DJ Khalil in the studio with his bass player. Khalil is infamous for working with 50 cent and other artists as well as using Properllerheadz Reason's software. Watch as they create magic!!
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Take a look at Music Producer "Jake One" letting you know projects he worked on and how he linked up with his current Mgmt.

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Shakir Stewart
By D.J. Ty
The only executive to successfully make the transition from music publisher to becoming one of the most gifted and highly valued Senior Vice President, A&R's in the music industry.

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Shakir Stewart was born in Oakland, California and realized very early that the music "business" was his destiny. In 1989, Shakir worked the neighborhood music scene as a club promoter. Recognizing that his flair for marketing and promoting had limitless potential, Shakir enrolled in Morehouse College, in Atlanta, Georgia and in 1996, graduated with a Bachelor of Science in Marketing.

During his years at Morehouse, Shakir became known in the then, budding, "dirty south", as a concert promoter; promoting for top notch talents like Luke, Scarface, Nas, Too Short to name a few. Immediately after graduating, he incorporated the art of negotiating into his marketing & promotions arsenal, partnered with a few acquaintances and started a promotions company. The company's success led to the opening of a just as successful recording studio, Noontime Music. It wasn't long before Shakir Stewart found himself forming a joint venture with Epic records.

His accomplishments at such an early age caught the attention of Hitco Music Publishing, signing Shakir as their Creative Director. It was during his time at Hitco, that Shakir's A&R talents were unearthed, as then President of Arista and Hitco's owner, Antonio "L.A." Reid offered him an A&R consultant position with LaFace Records, of which he was the CEO.

After a triumphant run at Hitco, Shakir resigned and was hired as Vice President of A&R at Island Def Jam Music Group. And in October 2006, after only eighteen months onboard, Shakir Stewart was promoted to Senior Vice President, A&R, Island Def Jam Music Group, by Chairman, Island Def Jam Music Group, Antonio "L.A." Reid, and President of Island Def Jam, Shawn Carter, B.K.A, Jay-Z.

To his credit, Mr. Stewart is responsible for signing such talent as R&B sensation Ciara, rap stars Rick Ross and Young Jeezy, publishing the successive no# 1 hits in Billboard's Hot 100 Chart as Destiny Child's "Survivor", Outkast's "The Way You Move", both Beyonce's "Crazy in Love", and "Baby Boy" and assembling and organizing Usher's massive hit "Yeah" on the twelve time platinum album Confessions.