Post-COVID I’ve decided to release more of my music library online and that includes over 260 rap beats and instrumentals that I produced for Rap Track back in 1999-2004. The new YouTube channel for some of these rap instrumentals is currently called Rap Dogs Rap Beats.

Rap Track was one of my audio lines. It started when so many rap artists recording with me in the studio would ask me to listen to different beats in the studio to find the best one for their song. This was time consuming for me to sit with them, so back in 1997 I started creating studio sample CD’s they could listen to on their own to select the best track for their recording. Word spread on these CD’s, so I started releasing volumes under the “Rap Track” product line name. By 2004 I had produced 26 volumes of hip hop instrumentals and they were very popular. We were shipping these CD’s worldwide.

In 2010 I shifted a lot of my audio library online and released some tracks under the Rap Track name, but also others under Rap Instrumental, 760 Crew and other pseudonyms. Now that YouTube has gained popularity as a destination for people to listen to music, it seems the best thing is to just release it all on YouTube.

Some of my favorite rap instrumentals will be released on my personal artist YouTube channel at https://www.youtube.com/c/ConradAskland  There is a playlist on my personal artist channel just for Rap Beats and Hip Hop instrumentals.

“Rap Dogs” was the name of a rap artist hip hop online discussion forum that I ran from 2000-2017. Especially in the early days it was an extremely busy forum and an important virtual connection for many up-and-coming hip hop artists. I loved the Rap Dogs community that had the motto of “Be RapDoggy” and always tried to encourage “RapDog Love” in supporting fellow rap artists.

One of my favorite hip hop instrumentals from back in 2003 is now released on YouTube and called “Sad Clown”

Here’s a playlist from the Rap Dogs Rap Beats YouTube channel:

“Search For Me” – Words and Music by Gailyn Addis and Conrad Askland.

“Search For Me” was a song collaboration with Gailyn Addis. We wrote the words and music together, recorded the song and it was released through Orchard Music on the 1999 Gailyn Addis self-titled debut album. Gailyn was one of my all-time favorite vocal artists to record with and this is one of my favorite songs that we wrote together in preparation for her 1999 album release.

This was one of the last albums I recorded before switching over to the digital ProTools recording software around 2000. For this recording I was using 24 tracks of digital ADAT tape machines with a WR-DA7 Panasonic digital automated console. The automation of the console made the final mixes smooth, but the process of recording vocals was still done in the analog way of punching in and punching out (i.e. no digital cut-and-paste editing). All of the electronica MIDI tracks were run live through a sync track on one of the ADAT channels so mixes had to run in real time rather than the current DAW approaches where final audio is rendered through the computer. In short, these mixes were very time consuming and laborious to create. I loved all the time spent on my productions in the 1990’s, but when I switched to ProTools in 2000 my output increased probably six to ten fold through the improved work-flow and speed of editing in ProTools. It’s easy to take the current state of DAW systems (Digital Audio Workstations) for granted, but I remember well the days before that and how time-consuming it was to create finished song mixes.

I met Gailyn Addis when I was working as music director for “Hollywood Superstars” back around 1996-1999. This was a tribute performer show like “Legends” of Vegas with tribute performances of Elvis Presley, Marilyn Monroe, Tina Turner, Buddy Holly, John Lennon, Frank Sinatra and the “Rat Pack” and others. We did a lot of corporate events and gigs in Las Vegas, Reno and a tour of Japan (where I performed in Hiroshima for the first time and got to experience the Hiroshima memorial museum). Gailyn Addis was the Marilyn Monroe impersonator in that group. While on tour we started talking about recording original music and after the Japan tour we started working on her songs, a couple of mine and then some collaborations for inclusion on her album. It was a very creative and enjoyable experience working with her.

I had a very close friend pass away around the time of writing “Search For Me” so my vantage point in this song was writing about my experience of being separated from them and hoping to be reunited one day. It was not a romantic relationship. It was someone who was extremely supportive of my artistic path in my early years. That relationship was very intertwined with my artistic path at the time and I thought of them often while I was creating new songs and music.

Hope you enjoy this song and the lyric video that was made for it.

LYRICS – Search For Me

This world
is lost without you
You’re gone
so far away
I will follow someday…

Search for me in every constellation
Search for me where ancient worlds collide
Please don’t leave me stranded here
without you by my side

Your soul flew
to the heavens
All I ask
when I pray
Will you still love me
in the same way…

Search for me in every constellation
Search for me where ancient worlds collide
Please don’t leave me stranded here
without you by my side

Here in this earth
Behind…

Search for me in every constellation
Search for me where ancient worlds collide
Please don’t leave me stranded here without you
Search for me in every constellation
Search for me where ancient worlds collide
Please don’t leave me stranded here
without you by my side

“Search for Me” © 1999 Gailyn Addis and Conrad Askland

I’ve been going crazy trying to remember where the battery compartment is for my Shure VP88 microphone. I could not find any info online to open up the battery and put in a new battery for the VP88.

The Shure user manual says to twist the bottom to open the battery case and sure enough it’s just that easy. You do not have to undo the philips style scree on the chassis. Just twist the bottom section.

I’ve included a photo here in case anyone else has the same problem, so you can see which section to twist in order to open the battery compartment.

The Shure VP88 takes camera style batteries. Here is the correct type of battery on Amazon:

I’ve had my Shure VP88 for almost 15 years now. I use it primarily for field recordings where I need a wide stereo ambient pickup and details in the recording. I’ve read that many people use these as drum overheads and for studio recording. My VP88 has been used solely for nature recordings and is my #1 pick for all ambient recordings. It also does Mid Side (M/S) recording.

Here is the Shure VP88 on Amazon:

http://www.bristol.ac.uk/news/2012/8210.html

Excerpt:

The love song of an extinct cricket that lived 165 million years ago has been brought back to life by scientists at the University of Bristol. The song – possibly the most ancient known musical song documented to date – was reconstructed from microscopic wing features on a fossil discovered in North East China. It allows us to listen to one of the sounds that would have been heard by dinosaurs and other creatures roaming Jurassic forests at night.

httpv://www.youtube.com/watch?v=pT9PlgoXXhk

no problem getting my site to play mp3 files, but what do you do if you’ve got an AAC file that you want people to hear.

************************

Response:

Hey there, great question! What I found is that Adobe Flash supports AAC, so you could use a flashplayer to stream your AAC music files. From what I read it appears there are some other players also but they only support internet explorer. I’m assuming that you want your solution to be cross platform. It also looks like Orbis may have some players but you have to purchase them.

This is not a definitive answer; just what I could find for you searching online. If another reader has info on this please let us know!

For readers that don’t know about the AAC format, it’s the format for Itunes audio downloads as of May 2007. In general it has a better sound than MP3 due to a lot of reasons that I understand, and many that are just frankly over my head (For example, I didn’t know what was a “Kaiser-Bessel derived window to eliminate spectral leakage”).

You can read about the AAC audio format here:
http://ipod.about.com/od/glossary/g/what_is_aac.htm

And you can read about the AAC vs Mp3 encoding differences here:
http://en.wikipedia.org/wiki/Advanced_Audio_Coding

Here is a highlight of the differences between AAC audio and Mp3 audio:

• More sample frequencies (from 8 to 96 kHz) than MP3 (16 to 48 kHz)
• Up to 48 channels (MP3 supports up to two channels in MPEG-1 mode and up to 5.1 channels in MPEG-2 mode)
• Arbitrary bit-rates and variable frame length. Standardized constant bit rate with bit reservoir.
• Higher efficiency and simpler filterbank (rather than MP3’s hybrid coding, AAC uses a pure MDCT)
• Higher coding efficiency for stationary signals (AAC uses a blocksize of 1024 or 960 samples, allowing more efficient coding than MP3’s 576 sample blocks)
• Higher coding accuracy for transient signals (AAC uses a blocksize of 128 or 120 samples, allowing more accurate coding than MP3’s 192 sample blocks)
• Can use Kaiser-Bessel derived window function to eliminate spectral leakage at the expense of widening the main lobe
• Much better handling of audio frequencies above 16 kHz
• More flexible joint stereo (different methods can be used in different frequency ranges)
• Adds additional modules (tools) to increase compression efficiency: TNS, Backwards Prediction, PNS etc… These modules can be combined to constitute different encoding profiles.

As part of my Critical Listening class with Berklee Music Online I’ve been spending a lot of time tweaking my audio mixing room. The point is to level out the environment at the listening position for an audio response that minimizes comb filtering and nodes that cancel out frequencies. If the problem is not minimized, at least knowing the frequency problem areas can give you crucial information so you don’t over adjust in the final mixes.

Here’s the short run down for others that want to do acoustic treatment for the audio mixing position:

• Play sine tones all set to the same level through your speakers. Measure those with an SPL to see which frequencies are playing softer. These may be frequencies where some cancellation is happening. Be sure to check your speakers frequency response; frequency changes below 500Hz and above 8Khz may be due to speaker specs.
• Tones below 500Hz are the most difficult to treat because of the length of the waves. For example a 40Hz signal wave is in the ballpark of 20 feet. For this reason, most absorption materials are only going to effect the higher frequencies that can impact shorter waves. For example 10k is around three inches. wavelength = (propagation speed) / frequency
• Main Treatment Areas – As a starter, main treatment areas are wall behind speakers, side wall reflections (use mirror on wall to see reflection point) and back wall diffusion and/or absorption. Take care not to overdo absorption. Overall, opt for a reflective floor and diffusive/absorptive ceiling rather than vice versa. Beyond that, bass traps can be used in corners and back wall where lower bass frequencies tend to gather. Diffusion is most commonly used on ceiling and back wall but will probably only affect mid and higher frequencies.
• Homemade Treatments – If you have the patience, skill and time it’s possible to make your own diffusors and absorbers. There are many examples online using rock wool and other materials. For premade solutions check out RPG and Auralex.
• Speaker Positioning – Speakers should form an equilateral triangle to listening position, away from wall to minimize bass frequency reflection, preferably on their own stands behind desk or console to minimize reflection from mixing surface area, tweeters at ear level, rotated symmetrically inward 30 degrees toward listening position.

httpv://www.youtube.com/watch?v=I3q5kQjMAbc

* Photo at beginning of post is not MY audio mixing room – just an example of applied panels.

Audio engineer Bruce Swedien talks about keeping the mix primitive. Years ago I had his video series on microphone usage. The big tip I picked up from that was to use microphones to capture part of the room. Using microphone pairs to combine the source and ambient reflections. Also started to record keyboard parts going through amps rather than direct to the console.

I think it’s a wonderful approach to sound design and engineering. I’ve also always enjoyed Bruce Swedien’s low profile presentation. Most of us producing music these days are guilty at one point or another of getting too involved in the gear. I guess like with most studies the key is to study the details and geeky procedures as much as you can – but then forget all that and do your thing when it comes to your productions. Swedien really emphasizes the important of not losing the root passion of the music.

The importance of any musical sound lies not in any inherent acoustical value but in what it signifies to the soul of the listener

No one ever left the record store humming the control console, or the tape machine or any piece of recording equipment.

I think we have a tendency to get wrapped up in the equipment and in numbers. My advice to you all is to forget all that. It’s bullshit. It’s meaningless. I mean we have to have a working knowledge of the equipment and how to make it do what we want it to do. But it’s not that important. I would go so far as to say I think it’s when the technical covers the primitive, in other words when we get so wrapped up in the numbers and the buttons and the dials that we don’t get the primitive part of the music out, then we lose the passion of the music.

http://en.wikipedia.org/wiki/Bruce_Swedien

Bruce Swedien is a Grammy Award-winning audio engineer and music producer. He is known for his work with Quincy Jones.

Swedien is a five-time Grammy winner and has been nominated 13 times. He recorded, mixed, and assisted in producing the best-sold album in the world, Thriller by Michael Jackson. He was the primary sound engineer for Jackson’s studio recordings from 1978 to 2001.

He also recorded and mixed for jazz artists such as Count Basie, Duke Ellington, Dizzy Gillespie, Lionel Hampton, Quincy Jones, Oscar Peterson, Herbie Hancock and Jeff Oster. His pop work includes Patti Austin, Natalie Cole, Roberta Flack, Mick Jagger, Jennifer Lopez, Paul McCartney, Diana Ross, Rufus, Chaka Khan, Barbra Streisand, Donna Summer, Sarah Vaughan, and the zouk band Kassav’. He worked on the scores for Night Shift, The Color Purple and Running Scared.

On 10 November 2001, he was awarded an honorary doctorate in philosophy from the Luleå University of Technology, Sweden for his achievements as a sound engineer. Swedien also held “masterclasses” at the Swedish National Radio for practicing sound engineers.

Swedien is notable for pioneering the ‘Acusonic Recording Process’ which involves pairing up microphones together on vocals and instruments when making recordings. This achieved an enhanced roomy ambient sound, some of which is evident on albums produced in collaboration with Quincy Jones on tracks such as “Sounds And Stuff Like That!!”, George Benson’s “Give Me the Night”, and the Michael Jackson albums he worked on.

Read the Wikipedia link below for more details. (Actual change is 6.02db for perfect response and perfect acoustics, but practical application for most speaker setups is to think 3db).

Read more at: http://en.wikipedia.org/wiki/Pan_law

Let’s go back to 1988 when I started with a four track recorder and a single Yamaha keyboard (DX10?). My first jobs were people wanting piano backup tracks which was fine. But very quickly clients would want a little more like strings or a drum beat. So then you purchased a drum machine. Then you need better strings (back then Kurzweil was king of strings) so you bought a string tone module ($1,000 at the time on special – a great deal).

Then clients want full arrangements so now you upgrade to nice Tascam 1/2 inch 8 track reel to reel. That was awesome. Around 1993 I was running this with a midi sync on track 8 so I had all the midi tracks I needed (and by then I had an arsenal of modules) and another 7 tracks for guitar and vocals. This was still the era where punching in and out on vocals was an art. I would keep lyric sheets and mark the problem areas as we recorded so I could punch in those vocal spots later on another take. Wires everywhere! I wish I had photos.

Around 2000 I upgraded to the Pro Tools TDM system with a MAC and Waves plugins ($20,000). By this time I had a thirty space rack filled with midi gear. So all my midi gear ran live into protools and freed up all the internal processing for dedicated audio. I could run something like 24 tracks of audio (many of these composite tracks from maybe 50 tracks or more of audio) and virtually unlimited midi tracks. This was heaven! And vocal composite tracks were awesome: have the vocalist record 5 vocal takes and edit from there. Very low emotional and physical wear and tear on the vocalist. And I could focus on production and editing.

Of course now with so many tracks available I started doing larger projects. So now the cost goes up again as you invest in microphones and outboard gear. And of course you HAVE to have an expensive tube preamp, etc.

I closed my public studio in 2005 and started pursuing live theater. So I got out of the recording biz for a few years (a very nice break!). Everything went into storage. How much invested in gear over the years? I had my studio for about 15 years and I’d say that easily there was $200,000 invested in gear. Current value? I don’t want to know because I’d probably cry.

Now fast forward to 2011. I’m living in China and all my gear is in storage back in the US. So I start with a Macbook Pro, Protools, Sibelius, Kontakt 4 (Komplete 7), Ableton Live Suite, East West composer bundle, an Apogee Duet (audio interface), MTP AV (midi interface), a Neumann TLM103 and a midi keyboard.

Let’s break down these prices (assuming your buying the real thing and not downloading cracks):

• $3,000 USD – Macbook Pro (8 gigs RAM)
• $600 USD – Protools
• $500 USD- Sibelius
• $500 USD – Kontakt 4 (Komplete 7)
• $600 USD – Ableton Live Suite
• $1200 USD – East West composer bundle
• $600 USD – Apogee Duet (audio interface)
• $400 USD (Ebay) – MTP AV (midi interface)
• $1000 USD – Neumann TLM103
• $300 USD – midi keyboard.

I think that’s $8,700 USD. Those individual prices are just ballpark and you can do a lot better if you shop around. Most of you don’t even need Sibelius (I use it for scoring) or the more expensive midi interface.

Now that I’ve been working with these programs again I’ve been amazed how much a current Macbook Pro will handle on processing. I’m able to have ProTools 9 open with 15 audio tracks, 5 virtual instruments, processing on each track, video sync – AND at the same time have my Sibelius score open and my internet browsing windows. Pretty crazy stuff to me.

Of course now I want to get a dedicated Mac tower all beefed up and the high end protools so I’m not limited at all with processing. I really don’t like submixing. It reminds me of the old 4-track days.

For those of you not laying down midi tracks – you can skip the midi keyboard, MTP AV (midi interface) and Sibelius (notation software). You could even skip Ableton – but I think you’ll really enjoy what it has to offer for sound design and arranging.

Originally I was writing this post to show how much money you can save. But who am I kidding – I’m still dreaming about getting all my old analog gear setup alongside a new beefed up digital system so I can go to town. Argh…………….

I came across your stie looking for sound effects to the musical “Annie”.
Do you know where I could find some?

Thanks!

Reply:

www.SoundDogs.com – I’ve been very surprised how many live theater productions I’ve done where the sound techs totally dropped the ball on sound effects. I mean like they hadn’t even thought of it. So as a rule I’ve gotten in the habit of going through the whole script and marking every possible sound effect idea I have to present to the director for consideration. And I get even more ideas if I can watch one live run through of the cast.

I can usually get most of what I need at SoundDogs.com – and then create the rest with Protools and my personal sound effects libraries.

SoundDogs.com prices are reasonable, the site is not rocket science to use. One time I didn’t get my download, contacted customer support and they had it fixed within like 30 minutes. They rock.