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Make Your Own Beats, Instrumentals, Tracks, And Demo Cds
By Matthew Keith
Many people are making an excellent living selling thier samples, tracks, and cd's, on the Internet and off, even if they're not with a major record label. Just look around on the Internet. People are paying $30 to $60 for small beat and and sound packages, $50 to $100 for small loopsets and beatsets, $100 to $300 for Instrumentals, $100's to $1,000's for complete tracks and samples, and for the few lucky ones like Jay-Z and J D... "Money aint a Thing"! They sell millions of their cd's. There are thousands of people and even companies looking for new music everyday! Let them hear yours!

Whether you dream of Making It Big in the Music Industry, or are just interested in making some extra cash doing what you love, this article is for you. You will see the resources you need to make your own beats, loops, instrumentals, finished tracks, and complete demo cd's. You will also see the resources you need to make money doing it. With that being said, let's get to the part you are waiting for...

Part I: Make Your Own Beats, Instrumentals, Samples, Loops, Tracks, and Complete Demo CDs...

To do this, you will need a few things. First you will need recording studio software. Recording studio software is nothing more than a program that allows you to mix beats, melodies, chords, samples and loops to make your own customized instrumentals and tracks. They also allow you to record yourself as you sing or rap to your track and to make a copy of your tracks to cd.

You can find this type of software all over the Internet. Just do a search for "make your own beats" or "recording studio software". As you search, you will notice that on average, this type of software will run you between $50 and $200. Don't Buy Them (you'll see why shortly)! Now you're going to need beats, melodies, chords, samples, and loops to customize with your recording studio software, aka: soundsets and loopsets. Again, just do a search for "beats" or "loops". They usually come in packages of about 200 soundsets for $30 and 300 loopsets for $60, or 600 soundsets for $75 and 900 loopsets for $150. Don't Buy Them Either!

Alright, so at the minimum, $140 gets you the low-end studio software, 200 soundsets, and 300 loopsets... or if you want a little better quality studio software and more soundsets and loopsets, you can spend about $425 for high-end studio software, 600 soundsets, and 900 loopsets. That's everything you need to make your own beats, instrumentals, samples, loops, tracks, and complete demo cd's. But why did I say Don't Buy Them?

Because you can get it all, the studio software and over 1,100 soundsets and loopsets for under 30 bucks with Hip Hop Starz Record Producer and Mixer Studio (see "about the author" at the bottom of this article). This is an unheard of price for everything you need, and it is of such good quality, I have dedicated an entire page of my Snoop Dogg website to it. It is loaded with many features you will find on the high-end software selling for $100 or more. Also,

Center Stage with Aloud - Part 2
In part two of my interview with Aloud, Jen and Henry talk about the recording studio, videos and online promotion, and balancing the business end of their music with creative stuff.

Center Stage with Aloud - Part 1
Jen de la Osa and Henry Beguiristain have been writing, singing, and playing guitar together since they were young. Today they are the core of Boston-based Aloud. The songs on their sophomore album Fan the Fury are an engaging collection of observations, each expressed with urgency and true emotion.

What Makes A Song Sound Bad - Part 2
In part 2 of exploring what makes a badly written song, we?ll look a bit deeper into some of the most common faults of a novice songwriter. Forgive the references to mostly old songs but I wanted to be sure that everyone has heard them before.

The Freedom of Limitation
For artists the battle has always raged between the desire for complete artistic freedom and the need to work within a limiting set of rules. Some people insist that creativity and limits are mutually exclusive. I would argue the opposite: people are never more creative than when forced to work within limitations. Limits generate their own kind of creative freedom. Don't believe me?

The despair of infinity. Or how technology can affect your songwriting. (And what to do about it.)
I first heard this phrase ? the despair of infinity ? when I was staring a wall of detergents in a grocery store and my wife, Catherine, said it to me with a bemused look on her face. The phrase has stuck with me ever since, and whenever I am faced with a seeming bounty of choice, I think of it.

Production Workshop: What Makes A Song Bad?
We all know it when we hear a great song because we can't get enough of it. It makes us move, it makes us listen and it draws us in. But it's a lot harder to write a great, or even good, song than it seems, as anyone who's ever tried to write one knows. We can analyze great songs all day long to see what makes them tick, but sometimes can learn just as much by analyzing the ones that aren't that great as well.

Developing Creativity
It?s shocking but true: at its genesis creativity is simply copying something you like. Artists usually express it with words like ?inspiration? and ?influence?, but it means the same thing. True artistry, however, is taking those germs of borrowed ?inspiration? and turning them into something only you could have created. Inside you there are thoughts and ideas garnered from your life experiences that are completely unique and interesting. Learning to recall those things and express them in ways that are both understandable and widely relatable is what developing your creativity is all about.

Practicing Your Songwriting
Like anything, songwriting improves as one practices one?s craft. Practicing songwriting can often be a daunting task not only because it seems odd as a concept, but also because it requires admitting that your own songwriting needs improvement. Here are some tips on deconstructing songs to improve your own writing.

More Songwriting Tools
Now that we?ve covered a songwriter?s most important tool - the notebook - let?s talk about some others: the rhyming dictionary, thesaurus, dictionary, computer, and more. First up: the rhyming dictionary. Writing lyrics is hard work. Why waste time looking for rhymes when someone else has already done it for you? Remember, however, that rhyming dictionaries are not fool-proof.

Advice From The Road: Sometimes It Is About Who You Know
After touring for years in cafeterias, prisons (Ok only one...Riker's Island), parties, dive bars etc., we finally got a shot at opening up for our first national act...a LEGENDARY 80's band...

they are currently holding a Win A Record Contract Contest with Doug E Fresh. Use the software and enter to win!

So now you know how to make your own beats, instrumentals, samples, loops, tracks, and even complete demo cd's, and this brings us to our next part...

Part II: Make Money Doing It...

There are many, many ways to make money with your own music. The first thing you need to do, though, is break it down into pieces, or components we will call them.

There are 4 key components to any track, or song. You have soundsets, which are nothing more than beats, sounds, scratches, etc. You have loopsets, which are your soundsets when put together in a loop. You have instrumentals, which are completed tracks with no voice or lyrics. Finally, you have completed tracks, which are basically just instrumentals that include lyrics.

When you look at music from this angle, broken down into components, you will start to see many ways to make money with your own. Like I mentioned at the beginning of this report, people are not only paying for completed tracks, they are also paying for the components individually. If you can create you own, good components, people will buy them.

Again, search the Internet for these components. Doing so will not only show you how much you can sell your components for, but also where you can sell them. As long as people are listening to music, there will always be a demand for it, and I can't see people stopping anytime soon.

If you are interested in learning how to make money with your own beats in more detail, I recommend you check out Bob Bakers website (see "about the author" at the bottom of this article). Bob Baker is a writer, indie musician and former music magazine editor who is dedicated to showing musicians of all kinds how to get exposure, connect with fans, sell more CDs and increase their incomes through their artistic passions. He is also the author of the Guerilla Music Marketing Handbook, as seen in the major motion picture The School of Rock ... and in VIBE, Music Connection, Electronic Musician and American Songwriter magazines. This is the guy you should listen to. Here are some of the things you will find at his website...

- 197 Promotion Tips, Tricks, and Resources for Independent Musicians.

- 101 places to submit press releases, get reviewed, uncover PR connections and promote your music on the Internet. Supplies the exact website and email addresses for submitting your music news.

- The 29 most important elements in creating sizzling music publicity materials. Make sure your media kit gets noticed by editors, writers, booking agents, program directors, and other industry people.

- 50 ways to promote and sell your music on the Internet.

- And more, including his coveted Guerilla Music Marketing Handbook.

I hope this report has proved useful to you and I wish you all the best as you learn how to make your own beats, tracks, and even complete demo cd's.
Matthew Keith is the webmaster of UnsignedRappers.bravehost.com and a huge music enthusiast. He has spent the past 3 years searching for the most affordable ways for ordinary people to make their own music and make money doing so. The only two resources he recommends for this can be found at UnsignedRappers.bravehost.com/recommended-links.html. You have permission to publish this article electronically or in print, free of charge, as long as the bylines are included. A courtesy copy of your publication would be appreciated.

We strive to provide only quality articles, so if there is a specific topic related to make beats that you would like us to cover, please contact us at any time.

And again, thank you to those contributing daily to our make beats website.

Question: Electronic music production tools?
ClickCutCrunchFilter. I'm an amateur musician who wants to start producing electronic music on my PC. I'm into glitchy, crunchy, clicky, organic-sounding electronic music -- think Mouse on Mars, Autechre, Sasha, Apparat, Dntel, Ellen Allien, etc., the type of grungy yet warm industrial-influenced electronica that's coming out of Europe these days. I'm not at all interested in the classic clean Casio synth sound. If anything I want to mess with and warp the sound like so much crepe paper. I suspect that the choice of VSTi-based synthesizers is less important than the various effects processors and filters and doodads and gizmos and machines that go ping that I can use to sculpt the sound. Do these artists use tools specifically designed to mash up and clickify their stuff? In stage performances these tools seem to be available in small mysterious boxes with knobs and dials -- are there equivalent software boxes available? I'm also interested in learning about which general-purpose production apps I should invest in. Reason, Cubase and Cakewalk seems to be the leading ones, but I'm not sure which would give me the most flexibility given the above. Reason looks cool, but I feel I might not be in the target demographic: to me, emulating the look and feel (including rack cables!) of real-world instruments is a step backwards, since a software program could produce a much better user interface; for example, the drum machine that comes with Reason has a fixed number of beat slots, just like the real thing.
By: Jairus
Speaking very generally, the magic knob boxes that glitch artists use live don't actually mash up and clickify sound, they just control software that does. If you're interested in software that doesn't emulate hardware limitations, I suggest Ableton Live and Tracktion. Cubase and Cakewalk are fantastic, but if you've never used them before they can be very counter-intuitive. Also, they're both based on hardware metaphors to some degree. (Tracktion's the most full-featured app that doesn't rely on hardware metaphor at all.) I know a couple artists working in click/glitch/etc, and they all have different ways of getting their sound. Some of them painstakingly compose every click and pop in a giant Fruity file, and others use the 'random' button in Reason. What I suggest is to download/borrow/etc as many VSTs and VSTis as your hard drive will allow, and spend a week or four playing around with them in different host applications to learn what kind of composition seems right for you. Then you can focus on the applications/effects that'll give you the sound you're looking for. Also, learn how to use Native Instruments Reaktor.
By: melissa may
<a href="http://www.computermusic.co.uk/reviews/cool/cool.asp">Cool Edit Pro.</a> Get ready to crepe it up, gentle.
By: loquacious
Ableton Live. Cubase. Reaktor. There's a lot of stuff that's "hand" edited stuff in IDM and clickcore, where waveforms and whatnot are being directly transformed, transposed, or displaced and sliced in a wave editor like Steinberg Wavelab, or ProTools. Some of it is multitracked. Some of it is edited after all the tracks have been laid down and composited into a single stereo pair track. I've done pro-quality remixes and mashups and cutups of single stereo pair stuff in nothing more than Microsoft's built in wave recorder/editor. I've mentioned this in another techno/eletronic/IDM creation AskMe thread somewhere, but a lot of uber-IDM folks like <a href="http://www.cycling74.com/products/maxmsp.html">Max/MSP</a>, but it's above and beyond most audio-specific programs. It's a whole multimedia toolkit to make more and more tools with. However it is probably more like an esoteric, high level, graphical programming language than an immediately obvious music tool or sequencer. There's apparently a pretty steep learning curve for it as well. (I haven't personally used it, but I've seen it in action and have sat in on some tutorials) Video DJs and other computer-based visual artists like it a lot as well. But if Reason seems like "a step backward" in it's hardware-centric emulation, it might be just the ticket. (I agree, frankly. I find most of the "hardware look/feel" wares like Reason, Fruityloops and numerous others to be rather cumbersome most of the time, especially when it comes to finite beatgrids and patterns) Also check out some of <a href="http://www.cycling74.com/products/index.html">Cycling '74s products.</a> What you're seeing on stage as far as small boxes with twiddly knobs are concerned, they could just be shell MIDI devices slaved to the computer and software, or they could be stand-alone MIDI devices that are producing their own sounds and effects in time with a master clock signal from the computer or other master device. Or they could be MIDI or non-MIDI devices purely for realtime filtering the output from the computer. (You can do a lot with a guitar fuzzbox/distortion and a delay/loop/feedback/echoplex pedal.) They could even be ghost boxes just there to look cool while a less than honest composer just lets a pre-tracked laptop set run, but I see that kind of assgrabbery less and less these days.
By: advil
(dntel is american)
By: benzo8
A good tool to have a look at is <a href=http://www.audiomulch.com/>AudioMulch</a> which isn't a plug-in for any of the sequencers previously mentioned, but will enable you to really mess up audio. I second the recommendation earlier of <a href=http://www.nativeinstruments.de/index.php?reaktor_us>Reaktor</a>, which, if you put the effort in, will reward you will hitherto unheard of noises, blips, glitches and whatnot. It is a plug-in, and will run neatly in something like Ableton Live, which is ideal for this kind of stuff, where you can effectively mix and remix you music in real time, choosing what sections to play when and interactively dropping sections in and out of the mix.
By: Savvas
Don't underestimate Reason's interface. The cables aren't a gimmick: real-time patching is an absolute godsend. As for redrum having a fixed number of notes, you can change the number of notes available within redrum itself if you want to sequence a drum pattern that way, or you can sequence individual drum instruments with much better granularity via the reason sequencer. You can also write drum patterns within redrum then transfer them to the sequencer and tweak them out, which is damn handy. Honestly, reason mixed with cubase / logic / nuendo / whatever midi sequencer you prefer via rewire is just about the best setup you could possibly want. And as further proof of what Reason is capable of, Liam Howlett just wrote the latest Prodigy album using it :) In the form of other software, I fully recommend you get your hands on a copy of absynth. The sounds you can push out of it will blow your fucking mind, just like the price tag will. Oh, and it's probably best to avoid fruityloops, or at least paying for it; it's pretty good fun and all but it's really just a bubblegum sequencer with a few gimmicks, and the sound quality can sometimes be quite iffy.
By: dirtynumbangelboy
I third the suggestion for Reaktor-- just make sure you have a week or two with absolutely nothign else to do. That program is addictive. Hint for Reason: yes, the drum machine only has 16 inputs, corresponding to 16th notes. The easy way around that is to use a Matrix pattern sequencer for each channel in the ReDrum machine, which allows for a much greater flexibility. Or just use MIDI data, a MIDI input device to trigger the samples, or draw it in the sequencer pane.
By: dirtynumbangelboy
Doh, should have read the preview. Savvas, the sound quality with Floops is an issue, generally, only when using the prepackaged samples and VSTi's. You call Floops bubblegum, I like the transparency of the interface, and the automatability (is that a word?) of every single parameter you can think of, in a simple and easy way.
By: pyramid termite
<a href=http://buzzmachines.com/>buzz</a> is a free tracker-like program that has a lot of abilities, once you get past the clunky interface ... it also can load some vst instruments ... it's a little dated and it's not the best, but it costs nothing to use
By: jeremias
Be sure to mine the depths of this <a href="http://www.soundonsound.com/sos/apr04/articles/autechre.htm">Autechre interview</a> to get info straight from the source.
By: dydecker
Oh, and it's probably best to avoid fruityloops, or at least paying for it; it's pretty good fun and all but it's really just a bubblegum sequencer with a few gimmicks, and the sound quality can sometimes be quite iffy. Absolutely wrong, wrong, wrong.
By: EvilKenji
And as further proof of what Reason is capable of, Liam Howlett just wrote the latest Prodigy album using it :) and as further proof of what fruityloops is capable of, Mike Oldfield uses it :-p
By: Nelson
Great thread. Everyone's talking about the software, but how do I learn to actually use it? I feel like a dummy, but I'd sure love to read a guide like "here's how to make the track Foil from <a href="http://www.amazon.com/exec/obidos/tg/detail/-/B000003RGY/">Amber by Autechre</a>".
By: aceyim
I know this isn't answering your question, but as far as FL being "bubblegum," check out 9th Wonder (of Little Brother fame) for some quality organic hip hop ish. I am also very intrigued by the glitchy, crunchy, or specifically the dusty-but-digital sound. From my experience and research, I don't think there is a holy grail as to its creation. I believe it depends on how much time you spend exploring different ways of working, i.e. methodology, software, sound sources, etc. and clear idea of what you are trying to produce. I lack most of these things, thus I can say I've never come close to being happy with anything I've created.
By: gentle
Wonderful answers so far! That Autechre article was a great read. Now I finally know how their name is supposed to be pronounced. I thought Max/MSP was all about building graphs, but apparently it's <a href="http://www.soundonsound.com/sos/apr04/images/autechremax2.s.jpg">more than that</a>. Max in particularly looks interesting to me, because, as a programmer, it looks similar to the process of writing code. I have in fact wondered whether there was a text-based sequencing/processing tool out there, to do algorithmic/generative audio production -- a purely text-based one would probably be too icky to deal with, but some combination, perhaps, with plenty of <a href="http://www.eclipse.org/">Eclipse</a>-style refactoring support and graphical views. Reaktor looks cool. As free tools, Buzz and AudioMulch look interesting, can't wait to try them out. I will check out the other recommendations right away. I agree with Nelson, though; these tools often have a steep learning curve that tries one's patience. There are lots of books and tutorials and what not out there. For example, there's <a href="http://www.reasonstation.net/tutorials/">this tutorial section</a>. And <a href="http://www.portlandmusiccompany.com/reasontut.html">here</a> is a CD-based Reason tutorial. (I know Dntel is American. But I didn't say he wasn't.) (Oh, and Telefon Tel Aviv are great, too.)
By: aceyim
I forgot to add that I've known people who swear by Audiomulch. The results (and flexibility) are impressive especially given it's free.
By: yeahyeahyeahwhoo
<a href="http://www.soundonsound.com/sos/jul03/articles/fourtet.asp">four tet's keiran hebden swears by audiomulch</a> he also goes into some of his production process in that interview. i think i've linked this interview in ASKME before. also, thanks for the autechre interview, theres some good stuff on sound on sound
By: soplerfo
The truth of the matter is that (in my opinion) there aren't really any "general-purpose" programs - Use what you're comfortable with - Pick a program that looks like it probably does what you want it to do and go with it - learn it as well as you can (by using it a lot). There are only two bits of software that I use with any regularity: Sonic Foundry's Soundforge (for straight up audio editing) and Emagic's Logic Audio (v5.1) - I don't do terribly complicated things with my multitracking (though I make pretty strange music) so the much out-of-date Logic works perfectly for me and I know it well because it's a multitracker/sequencer that I latched onto early on. To make nifty/cool/strange sounds I'll use anything I can get my hands on - Often I'll use audiomulch or <a href="http://www.crca.ucsd.edu/~msp/software.html">PD</a> (PD has grown into a very good alternative to MAX/MSP - and it's FREE). The most valuable things I've got in my studio though, are microphones and a good mixer and soundcard.
By: jefeweiss
As more alternatives, I also happened to run across this list on Del.icio.us this morning. <a href="http://making-music.blogspot.com/2006/01/big-list-of-free-music-making-software.html">Making Music: A big list of FREE music making software!</a>

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