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Tuesday, 09 November 2010 17:36

Events: The World Famous Mic Club

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Looking to find your hip hop fix on a weekly basis? One event I suggest checking out is THE WORLD FAMOUS MIC CLUB WEDNESDAYS
186 1/2 Auburn Ave. NE
(off of Corner of Auburn Ave & Piedmont Ave)

Hosted by D.R.E.S. tha BEATnik

DJ's Edward Scizzahandz, Razah & Solomon Grundy
w/ the A.S.O.

Doors Open @ 10p
for more info call 404.399.7187
or This email address is being protected from spambots. You need JavaScript enabled to view it.


1st Wednesdays: the MIGHTY MIGHTY BEAT DOWN Producer Battle

2nd Wednesdays: The WORLD FAMOUS MIC CLUB Freestyle Battle

3rd Wednesdays: The Mp3 MASSACRE iPod Battle b/w FINAL SCRATCH DJ Battle

4th Wednesdays: CROWD CONTROL Performance Battle

Registration begins @ 8:30p EVERY WEEK!!!
Registration Fee: $25


Here's the Promo Video for The Show: http://www.youtube.com/watch?v=lWk9OMtiiRE

For more information contact D.R.E.S tha BEATnik

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Wednesday, 10 November 2010 14:30

A Conversation Between Two Bands

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Red Bull Sound Clash Event, This coming Sunday! The Roots VS. Shiny Toy Gus... Don't miss it. Should be interesting!

(Click Flyer For Details)

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Wednesday, 10 November 2010 14:35

SESAC Presents: S.W.I.T.C.H for Writers & Producers

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Another great upcoming networking opportunity you don't want to miss!! (Click Flyer For Details)

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Wednesday, 10 November 2010 19:16

Who's Werking: October 2010 Session Report

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Who's Werking in Studio 995?

Atlanta-based music producer, Polow Da Don rose to fame in late 2005, early 2006 with a string of hit singles for artists including Ludacris, Jamie Foxx, Pussycat Dolls, Fergie, and Kelis. He has created his own label Zone 4 Inc. - an offshoot of Interscope Records - on which he has several artists signed, most prominently southern rapper Rich Boy. In 2010, Polow Da Don has produced hits for Rich Boy, Usher, Lloyd, Monica and Nelly. As of this past October he has added P. Diddy to his credit list. Polow was in PatchWerk studios this past October working with guest engineer J. Stevenson alongside PatchWerk engineer Matheis "Stafa" Carter producing and mixing a record for Diddy.
"Don Omar Presents: Meet the Orphans" is a compilation album by reggaeton artist, Don Omar, released on November 2, 2010. The album features artists under the "Orfanato Music Group" label as well as other reggaeton artists. Besides the single "Danza Kuduro", the album will also include the #1 Latin Rhythm hit "Hasta Abajo" as well as collaborations from Omar's Orfanato Music Group artists including Kendo Kaponi and Syko as well as Plan B, Zion & Lennox, and Yaga & Mackie. Don Omar was at PatchWerk for several days having songs recorded and mixed by guest engineer/producer A&X, assisted by PatchWerk engineer Dee Brown.
In addition to the release of Gucci Mane's new album "The Appeal" this past SeptemBURR, Gucci also has a new official mixtape out, entitled "Mr. Zone 6" with some of his new 2010 singles featured on the project. Gucci was in PatchWerk Studios this past month having several songs recorded and mixed by PatchWerk Engineer Kori Anders.
Other sessions in 995 included those for Jabar (D. Brown)Sean Garrett (M. Miller)Keyah Hinton(M. Wilson), Lil Twist (D. Brown)Mr. Bigg Time (M. Wilson) Zone (K. Anders), J Harden (M. Wilson), Yelawolf (D. Brown), Jamaica (D. Brown), Cornelia Gail (D. Brown), Lil Hot (K. Anders),Lil Twist (D. Brown), Latice (M. Miller), D Rick (K. Anders)Jay Rush (D. Brown)Ish (M. Wilson)


Who's Werking in Studio 9000?

Akon's fourth studio album, Akonic, is set to be released on November 29, 2010. The album's lead single, "Angel", was released to US radio stations on September 14, 2010 and was released as a single on September 27, 2010. This past October, Akon was in PatchWerk Studios with having songs mixed by Leslie Brathwaite assisted by Muzzy Solis
Young Jeezy is currently working on his latest LP "Thug Motivation 103". The project is the fourth studio album by rapper Young Jeezy. It has no confirmed collaborations yet. Production will include tracks by Shawty Redd, JR Rotem, Midnight Black, Scott Storch, Just Blaze, J.U.S.T.I.C.E. League, Beewirks, Kanye West, Sakwe, and The Inkredibles.. This past October, Jeezy was in PatchWerk Studios having songs mixed by Leslie Brathwaite assisted by Muzzy Solis
The Inkwell is a mixtape by singer-producer-rapper Sean Garrett. It is hosted by DJ Green Lantern. It was released on August 24, 2010. The mixtape is available for free-legal download.The mixtape features Soulja Boy, Roscoe Dash, Drake, Tyga, Gucci Mane, Nicki Minaj, and Lil Wayne. This past October Garrett was in PatchWerk Studios with having songs mixed by Leslie Brathwaite assisted by Muzzy Solis
Other sessions in 9000 included those for Spillman Choir (D. Brown), Don Omar (A&X/D.Brown),Yelawolf (M. Solis), Gucci Mane (K. Anders)


Who's Werking in Studio 1019?

Twista just recently dropped his eighth album, The Perfect Storm, on October 26th. Tracks include Make A Movie Call The Police (feat. Ray J)Cocaine ,and The Heat (feat. Raekwon)produced by Chicago producers NO I.D. and Traxster. This past October Twista stopped by PatchWerk Studios to record alongside PatchWerk engineer Dee Brown.
Composed of brothers Theron a.k.a. Da Spokesman and Timothy a.k.a. Don't Talk Much, the creative duo
R. City offers international flair combined with a Hip-Hop aesthetic. Their most successful songs : Mario's "Music For Love", Sean Kingston's "Take You There", The Pussycat Dolls' "When I Grow Up" have topped Billboard. This past October R. City dropped Their new mixtape No Off Days and they are currently busy working on a new reggae mixtape which will be called Struggles and Love songs. Along with Songwriter J. Hart of Rondor Music Publishing, Rock City was in PAtchWerk Studios this past October with PatchWerk engineer Luther Banks.
Other sessions in 1019 included those for The Democratic Party of Georgia (L. Banks), Maryann Hopper (B. Friesen), Arthur Trotzky (C. Hammond), Lanski (D. Brown), Hit Boy (L. Banks),LEP/The Bizness (L. Banks/D. Brown), Willie (J. Brown), Don Omar (A&X/C. Hammond), Young Jeezy (M. Solis), Young Rich T (L. Banks), Lundon Knighten (M. Wilson), Brandon Hines (M. Wilson), J Harden (M. Wilson), E (K. Anders), Stephen Dye (D. Brown), Jywaun (L. Banks),Protajae (L. Banks), E-40 (B. Friesen)


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Friday, 12 November 2010 13:16

GEM: Developing New Talent In Georgia

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Friday, 12 November 2010 23:22

REVIEW: Music University 2010 Fall Semester @ PWR

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Music University Fall 2010 Semester

Review by "The Broken Record"

Patchwerk Recording Studios is not just your ordinary studio. They strive to not only stay sonically superior but also to aid aspiring artists and musicians in gaining a better grasp of the music industry. On November 7th Patchwerk and IdOMusic® hosted the Fall 2010 Semester of their bi-annual Music University Event. There were 4 “classes” that “students” were involved in throughout the day including Business Class, Marketing Class, Creators Class, and a Listening Lab. For a relatively small cost, attendees were filled with information ranging from “Making Money in the New Music Business” to “The Anatomy of a HIT” all from esteemed members of the music community.

MU Panelists or “Instructors”
Business Class: Crystal Jones-Consulting & Creative Design Firm at Silver Starr Art Studios LLC, Janet Wade-Music Clearance & Licensing for TV/Film at Turner Entertainment Group, Catherine Brewton-VP of Urban Music at BMI, Johnnie Cabbell-Manager/Booking Agent at Hitt Afta Hitt Entertainment

Marketing Class: Cannon Kent-Southeast Promotions Manager at Atlantic Records, Kevin Rivers-Founder & CEO at Watunes, Ms. Rivercity-Editor of Ozone Magazine

Creators Class: Dondria-So So Def Recording Artist, Midnight Black-Award-winning producer/songwriter, Ray Seay-Award-winning recording engineer

Listening Lab: Lee Cagle-Program Director at Cox Radio, DJ Trauma-Disc Jockey, DJ Rasta Root-Hip Hop DJ

The Business Class panelists discussed various ways of making money to finance your musical dream. When asked what exactly does an independent artist gain by signing to a major label, it was a resounding “Not much.”

The main points in this class:
-Go into internships as if they were a paid gig and SHOW OUT!
-Don’t wait to blow up with a major label because you can actually do more on your own.
-Formula to succeed on a budget…build a fan base, create a brand virally through YouTube, merchandising, etc.), look beyond a deal for success, do as many open mics as possible to get known, and use club promoter connections to build your rep.
*The #1 reason for artists failing in the industry: Letting the money and fame get to their head.*

Next on the syllabus was the all important Marketing Class. The panelists were on hand to discuss how to adapt to the ever-changing digital marketing environment. The do’s & don’ts of Twitter and other social media sites were explained in depth such as DO interact with people via Twitter vs. just following them and DON’T just engage your followers…tweet new people and interact to build your fanbase and get acknowledgement from other industry professionals. Mobile marketing is new now…getting your app’ on phones.

Creators Panel - Led by a panel comprised of an artist, a producer, and an engineer, this discussion was fueled by all the creative juices that were flowing in the room. When asked how to keep business as an engineer, Ray Seay reminded us to not be “out of site, out of mind.” Have a weekly call list to producers and artists to see if they need your work. Also, engineers must be more open-minded to producers and more conscious of the creative process to incorporate all ideas. One of the main points stated by singer/songwriter Dondria was that “when you get on, you have to still work like you’re not on.”

Probably the most fun part of the entire day was the Listening Lab in which attendees of MU got their own music reviewed by prominent industry professionals. You may ask, “What does a radio program director look for in hit songs for radio?” The answer from Lee Cagle…local sales numbers, if the clubs like the record, and are other radio stations playing it. Tip for DJs to play your record…talk to the DJs that go on before the main DJ. You have a better shot with them to get your records played if you come with clean/radio edit material. Overall, make sure that you are getting non-biased opinions about your music when people listen and be able to take constructive criticism well.

To find out when the next Music University will be held subscribe to our email list HERE

Read the FULL REVIEW at The Broken Record

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Wednesday, 17 November 2010 13:35

Do You Engineer? Here's Some Advice...

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Click on the HERE to watch exclusive footage from PatchWerk Recording Studios engineers talking about everything from getting internships, to recording and mixing techniques

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PatchWerk Recording Studios has been known in the music business for its top-of-the-line mixing and recording, and soon it will be adding mastering to its service list . Now when clients work at the legendary Atlanta recording facility they will leave with a totally finished product ready for press and distribution! "Adding a mastering studio to the facility, allows clients to complete full audio projects under one roof while maintaining that "Sonically Superior" PatchWerk quality", says Operating Manager / Owner, Curtis Daniel III. PatchWerk's brand new Mastering Studio will be open  officially in just a couple weeks and to celebrate they're giving artists first dibs on their early-bird mastering specials when you book before the official opening.

PatchWerk's Mastering Studio Equipment List (Partial)

Magix Sequoia 11 mastering
EAW Smaart Live

Outboard Gear

Manley Backbone mastering switcher
Tube Tech SMC-2B stereo mastering compressor
 Summit DCL-200 stereo compressor
 Avalon AD 2044 stereo compressor
 Daking 91579 dual mono compressors
 Manley Massive Passive mastering equalizer
 Avalon AD2055 stereo equalizer
 GML 8200 stereo equalizer
 DBX Quantum II mastering processor
 Crane Song HEDD 192 digital converter
 Waves L2 UltraMaximizer
 Alesis Masterlink
 HHB CDR-850 CD recorder
  Tascam DA-40 DAT recorder

Monitor System

Grace Designs M904B monitor controller with remote
JBL LSR6328P monitors with JBLLSR6312P subwoofer
Sennheiser HD600 headphones
Custom Mogami and Monster cabling throughout
To find out about PatchWerk's  early-bird mastering specials Email This email address is being protected from spambots. You need JavaScript enabled to view it.

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Wednesday, 15 December 2010 20:49

M Marks the Spot- Streaming Music From Cloud to iPhones

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The ability to stream your music from your computer to the iPhone, without needing to wire the two together. That  is what folks have been looking for from Apple. Well looks like someone else figured it out. mSpot has entered the ball game and ready to make some moves.

It's a partially free service that's already garnered a lot of media attention (including from us, when it launched back in June), and over a million downloads to Android phones. mSpot works by effectively hosting your iTunes library in its own servers--there's a 2GB slot available for free, and 40GBs will cost you $4 per month. Once you've uploaded your library, mSpot's system streams the content on demand to any compatible device that's linked to your mSpot account.

While that was already a very powerful solution, the addition of the iPhone to the mSpot stable is incredibly significant given the prominence of the iPhone in the smartphone market, and the fact that iTunes is leading digital music sales but won't let you stream them. This fact isn't missed by mSpot's CEO Daren Tsui in the press release, as he notes the move means mSpot is "giving you the 'next generation' iTunes experience" and adding "listening to your music on multiple devices is now truly easy; it doesn't require manual syncing and troublesome cords."

Will Apple take a leaf out of mSpot's book and actually use that huge (and expanding) new data center in North Carolina for something exactly like this? Soon? Everyone's hoping so, since it makes sense in a large number of ways and would add significantly more vavavoom to the iTunes experience than the poorly received Ping social networking add-on. One sticking point for Apple is apparently the music labels themselves--they're content to license Apple to sell you copies based on a download business model, but are seemingly reluctant to cede control over streaming licenses to Apple without a fight. Google is planning something similar with its iTunes challenger Google Music, and is now reportedly ready to "write huge checks" to pay the labels for permissions to perform a similar cloud-based music "locker" streaming solution to mSpot, and to what we presume iTunes.com may be like.

With rich solutions like Rhapsody already in place, which lets users stream content they don't even own (instead they're "renting" it) from the cloud--and big names like Spotify en-route to the U.S. too--the digital music streaming space is getting ever more complex. Maybe small players like mSpot will have enough time to steal marketshare, while the bigger players fight with the record labels.

Source: Fast Company

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Thursday, 16 December 2010 12:00

Right On Q- Mind Of Quincy Jones

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 This excerpt is taken from Q on Producing by Quincy Jones.

My daddy used to say to my brother, Lloyd, and me, “Once a task is just begun, never leave it ’til it’s done. Be the labor great or small, do it well or not at all.” Every day he said that. That has stuck with me through everything I’ve done.

Preparation and Luck
There’s nothing in the world worse than having an opportunity that you’re not prepared for. Good luck usually follows the collision of opportunity and preparation – it’s a result of that collision. You’ve got to be prepared. So, make your mistakes now and make them quickly. If you’ve made the mistakes, you know what to expect the next time. That’s how you become valuable.

One day, when I was working in Paris for Eddie Barclay’s record company, Barclay Disques, Eddie’s secretary walked in the room and said, “Grace Kelly’s office called today and said Mr. Sinatra would like you to bring 55 musicians to the Sporting Club in Monaco for a charity fundraiser.” He wanted me to bring my house band, which included Kenny Clarke, Don Byas, and Stephan Grappelli along with the Blue Stars, who later became the Double-Six (Mimi Perrin, Christiann LeGrand, and Wards Swingle). Obviously, I said, “Hell yes!”

We played with Frank that night. I think maybe six or eight words were exchanged between Frank and me the whole night. I’d never seen anything like him before – he was like something from another planet. It was so magical. That was 1958, and I didn’t hear from him until 1962; he called me from Kauai, where he was directing None But the Brave. He says, “Q!” – nobody had ever called me that before – “I just heard the record that you arranged for Basie. I’ve always wanted to do Bart Howard’s ‘In Other Words’ ['Fly Me to the Moon'] the way you arranged it, instead of like the original 3/4 version. Would you consider working with Basie and me and our band?” I couldn’t have said yes fast enough! Especially since I had come up with that arrangement in my hotel room, without a piano, when I couldn’t get the notes on the page fast enough.

It all just came together. After Basie practically adopted me when I was 13 years old and we became so very close, who would ever have guessed that I’d be writing hits for him later and working with Frank Sinatra and all that? You can’t control it, you know, you can’t pick it, that’s for sure. It’s not in your hands. You’re judged on the last thing you do, and you need to just keep on doing your thing, developing your skill, and then let what happens happen. I was just fortunate that I was able to work with, I think, the greatest artists from the last 60 years of American his- tory. All of them: Lionel Hampton, Louis Armstrong, Billie Holiday, Basie, Duke, Ella, Michael, and everybody else, all the way up to the rappers today!

It would have never happened if I wasn’t ready – if I wasn’t prepared for what was to come. If I wasn’t ready, I wouldn’t have lasted 20 minutes with Frank. Trust me! Frank would either love you or he’d run over you with a Mack truck. There was no in between. And if you ask Frank Sinatra to jump without a net, you’d better have your stuff together!

Core Skills of a Musician
On one of my first compositions/arrangements, entitled “The Four Winds,” which got me in the door with both Hampton and Basie, I printed an asterisk with a little note on the Bs throughout the chart that said, “Attention! Play all of these a half-step lower because they sound funny if you play them natural.” The guys in the band said, “You just put a flat on the third line at the beginning and then you don’t have to write all that stuff all day.” But you know, I was 13 years old – I didn’t know what I was doing. Passion for something is just not enough. You need to put your time in on the core skills – there’s no way around it.

In Malcolm Gladwell’s book Blink, he talks about knowing something instinctively about a person or a situation. He calls them slices of insight. He followed that book up with Outliers, in which he makes the important point that the secret to making those instinctive determinations resides in 10,000 hours of study – 10,000 hours of practice. So, your insight is guided by your experience. I believe it! I don’t care what you do, whether you’re a doctor or a carpenter or a musician, if you don’t have the science together (practice), your soul (passion) just doesn’t have a clue how to get where it wants to go!

If you want to be great, put your time in on the fundamentals. Learn the basics of music and build on that. Learn how to read music. Learn about harmony, counterpoint, leitmotifs, constructing a melody, and definitely orchestration. If it has to do with music, learn it! Learn everything about the kind of music you’re into and about every other kind of music. Master your craft. Put your time in!

Some of the rappers are coming to me for help. They’re already making money at music, but they’re not totally satisfied artistically. I tell them the same things: Learn the fundamentals! Great musicians put a lot of energy into what they do. They put their 10,000 hours in, and more, practicing scales and developing their skills.

They learn about music and songwriting and arranging. They study the thing they want to be great at. Then, all of a sudden their soul is released to express itself. Music engages the left and right brain simultaneously without fail. It’s an absolute, right along with mathematics. Music affects the emotions and the intellect; always, it pulls at each side. That’s why music has a healing effect. Music can positively affect people with Down’s syndrome, autism, dyslexia, and more, because it stimulates both right and left sides of the brain, simultaneously.

Core Skills of a Producer
The producer has to be able to take charge of virtually every phase of the creative process. He or she must be able to find and recognize a good song, get the right instrumentalists and background singers, and find the right engineer and studio. You have to be the conductor of everything from the bottom to the top of the project. And, you have to be able to help the artist realize their musical vision and personality while you do everything else. You have to learn about marketing, covers, liner notes, and you have to know enough about all of the instruments to be able to communicate effectively with the players. On top of everything, you need to be a psychiatrist in the studio so you know when to tell the artist to take a break or to keep pushing through. You have to push them, but you can never let them fall. If you have studied and know what you’re doing, you can be confident that you can handle whatever comes up.

As a music producer you have got to be extremely proficient with music. If you expect to have the kind of confidence you’ll need as a producer in the studio, you must be proficient in your core musical skills in addition to being able to handle all of the organizational and relational demands placed on the producer.

Whether it was Michael or Frank or Ray Charles, I had no insecurities – I was ready because I had worked so hard. When Frank would say, “That’s just a little too dense up front in the first eight, Q,” in five minutes I’d fix it. That’s what I was born for, man. I’d go to flugelhorns so the high end would mellow out and get out of the way of the vocal or go straight to one of my favorite sounds: four flugelhorns, three alto horns, double bass, four French horns, four trombones, and a tuba. I’d have them all play soft, with no vibrato. That’s sexy, man. It’s the warmest sound on the planet. It’s like painting, man, and you have to be able to respond on a dime.

The people in China wouldn’t like a painting of a bowl of fruit, even if Rembrandt or van Gogh painted it. I find that fascinating. I noticed that the longer I looked at many of their paintings, the more things I’d see. For example, what seemed at first to be an organized pattern of small oblong shapes, could turn into a rabbit, or a little girl’s face, or any number of things. Everything was intertwining to form one piece of art, but it was built from connected individual pieces.
I knew there had to be some science involved, so I asked Nate Giorgio, an artist that I deeply admire. He told me that it’s called monoprint and that it is indeed produced using a scientific process. The Chinese think art should come from the abstraction of the artist’s mind, which I love because that’s the same way I think about musical voicing and color.

Charcoal, Watercolors, and Oil
I used to do cartoons and sketches – I was really a junkie and I was actually into art before music. Producing music always reminds me of painting. I would always start with charcoal sketches, then I’d add watercolors, and finally oil. The charcoal sketch defines the basic shapes and proportion in broad terms – that’s the way I like to start a production. The trick is to not get locked in right away – that mind-set draws from the jazz mentality. Go with what you feel, but then give everyone else the same canvas. Benefit from the creativity that they bring to the palette. Find the structure on the canvas by defining dynamics, colors, density, and so on.

Sometimes people have a hard time getting started. Steer clear of “paralysis from analysis.” Just get started. A lot of times, you just need to stop thinking about it and get started with a contour or a shape or something like that. Start with an image in your soul, and let it out. As the sketch takes shape, we can lay on the watercolors. Charcoal and watercolors can always be changed, but as the structure becomes more established, when the background lines and other basic components are nailed down, it’s time to commit and put it in oil. When you get to the oils, that means you’ve got the background nailed, you’ve got the melody nailed, you’ve got countermelodies in place, and you’re able to commit. Once it’s in oil, it’s final – you’re closing in on it because you know where you’re going. It’s just a psychological trick, but it works.

If you take your music from charcoal to watercolors to oil, you leave room for creativity. One of my favorite sayings is “Let’s always leave some space for God to walk through the room.” I believe in that. The studio is a sacred place, which is why I never wanted a studio in my home.

You’re looking for something very special to happen in that studio, very mystical and special – something spiritual. That special thing has to happen for the music to be really powerful – for it to have a powerful effect on the listener.

I can’t think about what the listener is going to say or about focus groups and all that nonsense. I don’t want to hear about what 40 people who are not even involved in music think. Can you really tell me you’re going to go against what you feel in your soul and make changes based on that? I don’t think so. Go with what you feel in your gut. Listen to the whispers from God. I just go by the goose bumps I get when I hear the music. If the music moves me, it’ll move somebody else, too. If it doesn’t move you but you think it might move someone else, that just doesn’t work. On every project I’ve produced, from the biggest-selling to the least, I just started out saying, “Let’s do the best we can.” Nobody knows what’s gonna happen, ever. All we can do is use everything at our disposal, all of our resources, to make the best music possible – music that touches our soul and our mind.

Source: Discmakers

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