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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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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 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.

Monoprint
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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Keyshia Cole stopped by Patchwerk early last week to share her new album, Calling All Hearts, that is in stores now. Check out what she had to say about her latest project.

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The following list of 'keywords' are, apparently, the qualities that music business A&R people tend to look for. This is a list of things that rightly or wrongly they think audiences look for. (But, 'people who try to give you what they think you want to hear, in my experience, always fall short of being special. Do it from the heart and for the right reasons' -quote from a music business A&R person)...

Creativity...
Originality...
Difference...
Committment...
An Individual Style...
An Unmistakable Quality...
Integrity...
Honesty...
Passion...

So...

If you do a cover version of someone else's music, make it 'your own' by doing it in your own chosen way that expresses your own style.
If you've got access to expensive gadgetry, don't fall into the trap of over-using that, as in producing or arranging out the passion from originally simple and strong material.
A little time (and money) spent on packaging can be important, since 'if you care about the music, you care about it's presentation'. (Also you might be wanting to try and catch the eye of someone with 50 demo tapes to plough through...).
Always remember to put yourself behind the ears of a (mostly) non-musical audience. People pick up on 'feel', they pick up on originality, and they pick up on passion.
Even A&R people generally want to hear the artist as opposed to the producer.
Don't neglect the vocals, they are VERY important. (If there are vocals, that is!). Lyrics are important too.
If you make a demo tape, limit it to two, three or four songs. People in 'the business' are very unlikely to listen to more than that, so make sure you get their attention with those few well-chosen pieces.
An A&R person will want to know not only how you sound, but they are also likely to want to know what you look like (ie from a photograph) plus they will want to know little on who you are, so a short biography on you, the band, or band members will not go amiss.
Don't forget your CONTACT address/phone number with your demo tape! (Put this on the tape box, the photograph and anything else you send in case they get separated...).
Follow up your demo tapes with the occasional (once a week?) phone call.
Read appropriate music press publications, and try and get some idea of who might be interested in your style of music. Try sending them a demo tape.
If you do get reviewed (even in the local press, say) then include choice quotes from that with your demo 'package'.
'Network'! Get to know people. Keep up your own list of contacts.
Don't sit back too much expecting things to happen. Until your career takes off it will be you that's got to make it happen.

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YOU CAN SPEND YEARS developing a distinctive sound and style before finally getting the opportunity to record your first album professionally. All the hard work you’ve put into creating a unique, original sound, however, may not be enough to create a successful record. Producing a great album is an art form in itself, and it requires the assistance of an experienced professional producer—a producer can actually make or break your career. The right collaboration can take you to creative places you never imagined, but the wrong one can be a nightmare whose implications are far-reaching. Understanding a few things about how to choose the right record producer can therefore be vital to your career!

Below are twenty important tips to consider when choosing your record producer. Logically, not every topic can apply to both “signed” and “unsigned” recording artists, so pick the points that best suit your needs.

http://www.getsigned.com/want3.html

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SESSION REPORT For Immediate Release Contact: Toya Elise Brown 404-874-9880 DECEMBER 2010 SESSION REPORT Who Werked in STUDIO 9000? This past December at PatchWerk Studios Keyshia Cole held a listening party for her fourth studio album Calling All Hearts. The album's first single is entitled, I Ain't Thru, featuring Nicki Minaj and it's second single is entitled Long Way Down. The album contains production from Krucial Keyz, The Runners, Kanye West, and Missy Elliott. I Pledge Allegiance to the Grind 3 is the third entry in Mike Bigga's acclaimed album series. It's his first since switching his name to Mike Bigga from Killer Mike in 2009. The album additionally represents his first since 2009's bloated Underground Atlanta. For I Pledge Allegiance to the Grind 3, Mike linked up with like-minded rappers in his area such as T.I. and Rock D. But he's also looked outside ATL for help behind the boards from No I.D. and Flying Lotus . Recently Mike was in Patchwerk Studios working alongside Guest Engineer Brad and PatchWerk Studios engineer Dee Brown. Akon's fourth studio album, Akonic, was 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 December, Akon was in PatchWerk Studios having songs mixed by Leslie Brathwaite assisted by PatchWerk engineer Muzzy Solis. Other Sessions in Studio 9000 included those for Gucci Mane (K. Anders), ASCAP/Woodson Elementary (M. Wilson), Jackie/Jazze Pha (L. Banks), Shareefa (M. Carter), Don Cannon (L. Banks), Wyld Money (S. Firkins/ L. Banks), Memph Hitz (C. Hammond), Jil (B. Friesen), Young Boyz (L. Brathwaite), Fiasco (M. Wilson), Kevin Lawrence (M. Wilson) (TO BOOK A SESSION IN PATCHWERK'S STUDIO 9000 CALL 404-874-9880) Who Werked in STUDIO 995? Former Blackstreet member Dave Hollister is working on his 7th solo album overall and 5th R&B album Chicago Winds: The Saga Continues looking to be released 1st quarter 2011. He's working with Eric Dawkins, Steven Russell of R&B Group Troop, Stevie J., Mike City and others. Hollister was in PatchWerk Studios for several days this past December working alongside PatchWerk engineer Dee Brown. Rapper Gucci Mane has revealed that his album The State Vs. Radric Davis was only the first installment of a three-part series of albums. Gucci Mane revealed that the third and final album will be titled The Final Verdict. Gucci was in PatchWerk Studios for almost the entire month of December having several songs recorded and mixed for the album by PatchWerk engineer Kori Anders. Other sessions in 995 included those for Gail Scott (L. Banks), Dirty Dave (M. Wilson), CDR (M. Wilson), K-Slimm (Planet 9/B. Friesen), Trick Trick (L. Banks), Mr Good (R. Seay), 2win (N. Solis/M.Carter), Prophecy Child (M. Wilson), Heed (D. Brown), Lil Twist (L. Banks), PJ (M Carter), J Rich (K. Anders/L. Banks), HD (M. Wilson), Daryl Dickerson (Jimmy/D. Brown) TO BOOK A SESSION IN PATCHWERK'S STUDIO 995 CALL 404-874-9880 Who's Werking in STUDIO 1019? The newest breakout artist from the music Mecca -Atlanta, GA-is known professionally as Young Dose. Dose has been crafting his style since he was a kid and is already being compared to ATL superstars T.I. & Young Jeezy. His debut project titled Genesis has some of the best young producers in the ATL. With production by platinum producers Nitti, Shawty Red, Midnite Black, Teddy Bishop, Zaytoven. This past December, Dose was in PatchWerk Studios for several days working with PatchWerk engineer Charles Hammond. Other session in 1019 included those for Nicole (D. Brown), Blaze 1 (D. Brown), Yelawolf (M. Carter), J Wezz (M. Wilson), Holotka (M. Wilson), Hector Fernandez (L. Banks), J Bean (D. Brown), Spade Kosta (L. Banks), Netta Ellis (L. Banks), 34 (M. Wilson), Marco (D. Brown), Webbie (D. Brown) TO BOOK A SESSION IN PATCHWERK'S STUDIO 1019 CALL 404-874-9880 PatchWerk Recording Studios (www.patchwerk.com) is a world-class recording facility that has catered to the national entertainment industry since opening in 1995. The company, which is centrally located in the heart of Midtown Atlanta, has earned a reputation for its excellent sound quality and superb customer service. PatchWerk features Georgia's only SSL 48-channel Duality Console as well as Georgia's only SSL 9000 J Series Console. The larger of the two studio rooms, Studio 9000, features design by industry leader Russ Berger (RBDG). PatchWerk has continuously serviced the top record labels from around the world and has accomodated an endless array of world-renowned talent, including TLC, Beyonce Knowles, Outkast, Usher, Ludacris, the Neptunes, Rodney Darkchild Jerkins and Bow Wow.

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 Today the announcement was made letting the world know Verizon and Apple intend on launching the iPhone on the VZW Network February 10th. The excitement is shared by many but the question we want to know is how does this effect the music lovers?

We have listed a few key ares to make note of.

Unlimited Data

This is probably the most important item on this list where music fans are concerned, because streaming music from the cloud to your music apps can consume lots of data — and that means financial penalties, unless you have an unlimited data plan. Even if you’re not going to hit your limit, you don’t even want to have to think about it.

The Chicago Sun-Times confirmed early reports that Verizon would offer an unlimited data plan for the iPhone. even though Verizon didn’t mention unlimited data during its presentation, and no mention of the phrase exists in either Verizon’s or Apple’s press release.

Still, a Verizon representative confirmed that the company will offer iPhone users its unlimited data plan, which currently costs $30 per month. AT&T’s 2GB-limited data plan costs $25. If you want to download or stream lots of music to your phone without incurring overage charges, the Verizon iPhone is for you, unless one of the following areas is more important.

Country(-wide) Music

Verizon bills itself as “the nation’s largest” 3G network, and it’s right, by all accounts. If you spend lots of time in places where Verizon offers 3G service and AT&T doesn’t, you should obviously go with the Verizon iPhone.

Verizon also bills itself as the “most reliable” 3G network in the U.S., and it’s true, AT&T takes a lot of heat for the quality of its service. However, that’s partially the fault of all those iPhone users. These networks have finite capacity, so it matters how many other data-hungry people are using the network,, and iPhone users are notoriously data-hungry. A flood of new 3G Verizon customers in your area could cause problems in all of the network-related categories listed here, even though Verizon’s coverage map is largest.

CDMA vs. GSM

The Verizon iPhone connects via CDMA, which drops the data connection should you receive a voice call, unlike AT&T’s GSM radio, which can keep both connections alive. Depending on how you use your phone, Verizon’s configuration could either be a minor nuisance or a major distraction (for instance, if receive lots of calls and like to stream music to your phone).

Speed Counts (Plus iPhone 5)

The speed of these two networks matters a great deal — not only for getting the best sound quality from music streams and downloading songs quickly to your phone’s local memory, but for caching music. Streaming services such as MOG and Pandora buffer music on the phone’s memory, so that your music doesn’t skip when your phone switches to a new cell tower — something that happens quite frequently when you’re driving on a highway, for instance. A faster connection not only saves time, but can help prevent skipping by allowing music to buffer quickly in areas with spotty reception.

Verizon exec Dan Dee called his company’s network “the nation’s most reliable” during today’s announcement. However, AT&T is considered the nation’s fastest, so it takes this round. (As just one example, it swept PC Magazine’s 18-city test last summer.)

Verizon could win this battle in a heartbeat by selling a version of the iPhone that worked on its faster 4G LTE network. We have a feeling you’ll have to wait for the iPhone 5 before that happens though — after all, the 3G model isn’t even on sale yet.

“This is just the beginning of a relationship between Apple and Verizon,” said Apple chief operating officer Tim Cook during the announcement, hinting at possible future collaborations to come, including the potential Verizon 4G LTE iPhone 5 that would dominate this field. “I’m very optimistic about what the future holds.”

Tethering Other Devices

Verizon wins this round handily. If you want to tether other Wi-Fi devices (i.e. connect WiFi-capable MP3 players, Wi-Fi cameras for uploading gig photos, internet radios, and eventually car radios) to your iPhone, Verizon is for you.

The Verizon iPhone can tether to up to five devices right out of the box, whereas AT&T charges iPhone owners $20 per month for the same thing. In addition, tethering renders AT&T’s legacy unlimited plan, available only to longtime users of the iPhone, null and void.

Device Capacity, App Selection, Flash Support, Audio Hardware

The two iPhones are tied in these categories. AT&T and Verizon both sell the 16GB and 32GB versions of the iPhone for $199 or $299 respectively.  (Verizon lacks the 8GB model that AT&T offers, but music fans need more capacity than that anyway.)

In addition, you get the same apps with either phone — whatever Apple lets into the iTunes App Store.
Neither phone supports Flash audio or video, so if you want to play all of the web-embedded music you come across on your phone’s browser (music blogs, etc.), you should ignore both iPhones and probably consider an Android.

Finally, we don’t expect any real sound quality difference between the two models. Any audiophiles capable of discerning between the audio interference caused by AT&T’s GSM radio signal vs. Verizon’s CDMA radio signal would not be caught dead listening to music on a phone anyway.

Conclusion: Verizon Wins, If Its Network Backs Up Its Talk

AT&T’s speed is a necessity for a high-quality music experience, but Verizon’s unlimited data plan trumps just about everything else on this list where music fans are concerned. After all, that $10/month MOG subscription is pretty meaningless if you feel nervous about using it for fear of hitting your data limit. And while Verizon’s inability to maintain a data connection during a voice call will be a problem for some music fans, it’s unlikely to be a deal-breaker for most.

So, Verizon takes it — for now.
The real test will occur after the initial flood of iPhone subscribers appears on Verizon’s network. AT&T, too, once offered unlimited data to iPhone users, a policy it ceased in order to cope with iPhone users’ intensive data usage. Verizon had better be as ready for the iPhone as it says it is (and not as ill-prepared as AT&T claims Verizon to be). Otherwise, Verizon will either be forced to limit iPhone owner’s data as AT&T did or offer service so slow that it becomes all but useless, especially from a music perspective.

Source: Evolver.fm

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The Consumer Electronic Show held in Las Vegas, Nevada always has the latest in technology and this year was no different. It is amazing to see where technology has evolved today's dj. Numark iDJ Live is the latest hardware device utilizing for the iPad with two turntables and a mixer, which controls an DJ app on the iPad.

What appears to be a toy is actually quite a powerful device. It has the ability needed for scratching, cross fading, setting cue points and tapping the touch sensitive vinyl to stop it from "spinning."

The iPad acts as the brain, processor, and touchscreen of the system. All that is needed is the hardware which is being retailed at $99.

How do you feel about this new piece of technology? Will we have a league of iPad Dj's soon?

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