SAE Hosts Sha Money XL of Island Def Jam Music Group

Last week, SAE’s NYC campus in Herald Square hosted Sha Money XL, SVP A&R of Island Def Jam Music Group, in a well-attended Urban School Partnership Event.

Speaking to inner-city students from Brooklyn, aged 11-15, Sha Money shared his inspirational life’s journey. The prolific producer emphasized the importance of education and staying with their dreams, then followed the talk with a Q&A. In addition, select students chose their favorite song to perform in the recording studio in front of their peers and Sha, who provided them with professional feedback.

Along with his current gig at Island Def Jam, Sha Money is known for being Executive Producer and Co-Founder of G-unit after discovering rapper 50 Cent, and produced singles for other artists including Snoop Dogg, 2Pac, Paul Wall, Juvenile, Scarface and more.

P. Diddy, Swizz Beats, Dr. Dre, Oh Land, The Roots & More Recording at Premier Studios, Times Square

Since their recent expansion, Premier Studios has been jumping. Here’s a recent sampling of sessions that have gone down in this multi-room Manhattan facility, equipped with two SSL 9000J rooms and two writing/production studios:

- P. Diddy, Swizz Beats and Lloyd Banks from G-Unit mixing with Pat Viala at the controls. Assistant engineers include Anthony Daniel & Kevin Geigel.

Viala also recently mixed upcoming releases for FAME on MBK Entertainment, Redman with Sha Money XL producing, and David Banner at Premier.

- Oh Land wrapped up writing and tracking for her new album on Epic Records, with Dave McCracken producing and Andros Rodriguez engineering, with Sam Giannelli assisting.

- Tu Phace on Epic Records was in writing with Dave McCracken. Engineered by Sam Giannelli and assisted by Kevin Geigel.

- The Roots with John Legend came through — these sessions were engineered by Steve Mandell, and assisted by Anthony Daniel and Chris Souverain.

- Jasmine V worked on songs for her new album with Dave Clauss engineering and Sam Giannelli assisting.

- Kat DeLuna was in doing songs for her new album with Ari Raskin engineering and Kevin Geigel assisting.

- Kerry “Krucial Keys” Brothers producing tracks with engineer Stuart White and Zeke MacUmber assisting.

- Young Jeezy came in with Maxwell, doing songs for Jeezy’s new album. Engineered by Carlos Oyanedel, and assisted by Kevin Geigel & Chris Souverain.

- Chris Brown doing tracks for his new album produced by Swizz Beats, with Kenny Lloyd engineering and Sam Giannelli assisting.

- Kim Kardashian and Victoria Secret model Jessica White were in with Chris Brown and Swizz Beats.

- Dr Dre. came in for several days producing his new artist Slim Da Mobster with engineer Charlie Garcia, assisted by Kevin Geigel.

- Songwriter August Rigo worked on some new songs with producer Carlos McKinney for various artists for Sony ATV Publishing.

- Lynn Pinto completed recordings for her Broadway Cares Foundation album featuring incredible Broadway Cast members and orchestra musicians. The record was engineered and mixed by Andros Rodriguez, assisted by Sam Giannelli.

- Sean Kingston was in doing songs for his new album with engineer Dave Clauss and assistant Kevin Geigel.

- And the Macy’s Day Parade producers were in doing all the kids vocals for the Thanksgiving Day Parade. This session was engineered by Alex Venguer.

For more information on Premier’s rooms and equipment, and to book time, visit www.premierstudiosny.com.

NYC Hip-Hop’s Next Wave: Illmind On Career, Community & New Collaborations

Those who know hip-hop understand that it is largely a community oriented music genre. With the help of global web agents like Okayplayer and blog sites like 2dopeboyz and HipHopDX, this community has been able to considerably expand its reach. At the forefront of this movement locally is hip-hop veteran Ramon Ibanga, Jr., better known as producer Illmind.

A tri-state-area native, Illmind has an ear for unique beats and an enviable work ethic, the magic combo that’s gotten him in the room with some of hip-hop’s brightest figures. Since beginning his production career with underground groups like Little Brother and Boot Camp Clik, Illmind has of late found success on the mainstream level with artists such as 50 Cent and Eminem.

In his rise to the top of the producer chain, Ill is quick to credit his relationships with other prominent members of the music industry, among those most notable, G-Unit Records president Sha Money XL.

Beyond his vast work as a producer — and recent projects with Brooklyn rapper Skyzoo and Redman — Ill has been working diligently to promote his recent event-planning venture, Beats Love Alcohol Party (B.L.A.P.), while also playing the role of professor at the Clive Davis School of Recorded Music in the Tisch School of the Arts at New York University.

With his B.L.A.P. showcase, which allows producers a unique opportunity to play their catalogs directly to live audiences, Illmind has created an environment in which professionals can get together while honing their craft. These events — billed “Where the MPC Becomes the Turntable” — foster a sense of community amongst producers, new and experienced.

We had a chance to talk to Illmind about some of his recent projects, collaborations, and how he has been able to successfully utilize community and industry relationships to create opportunities for himself and for those around him. Check it out:

Where did you grow up?
Early childhood was in Newark, NJ, then moved to Bloomfield, NJ.

How did you get started creating beats? What kind of equipment did you start on? What do you primarily work on now?
I started messing with beats when I was around 12 or 13 years old. My dad is a musician and he had all sorts of equipment. I remember he had a [Roland] KR-4500 performance keyboard, and that’s what I learned MIDI and sequencing on. When I got older (around 17) I got Cubase, an Akai S20, SP-1200, and soon after a Boss SP-303. Today, I still use the SP-303 and S-20, but do everything on my Ensoniq ASR-10 keyboard.

As an Asian American, you’re an obvious minority in the hip-hop community. How would you say your Asian background has impacted your work and ability to get work?
The Asian thing has actually been a blessing, believe it or not. It’s given me the ability to overcome greater odds. The stereotypes were always there, but I think people respected me more because there were very few of us doing it. It’s still pretty rare today (Asian producers), but we’ve come a long way and there’s definitely talent out there. All I know is, people remember me more because I’m Asian.

What was it like getting started; how did you promote your beats and gain contacts?

Back in like ’99 or 2000, I started posting my beats on various online forums, one being www.undergroundhiphop.com. People liked my stuff and I slowly got my name out there. One thing led to other things and the rest was history. Back then posting beats online was a new concept. I was literally on dial-up, uploading beats at low quality bit rates because them shits took too long if they were high quality.

After working with more underground or lesser-known emcees, what’s it like working with G-Unit?
It was life changing. I got down with D Prosper and Sha Money XL, who were both pretty much running a lot of G-Unit’s operations at that point. Sha Money XL managed me for a few years, and that was that. It was definitely a learning experience for me. I appreciate those guys so much, to this day.

Having worked with a lot of different style artists, how do you define your sound?
I can’t define my sound. What I can say is that it’s honest, musical, and inspired/channeled from a “feeling”. When I say feeling, it’s that feeling you get when you hear a song that you LOVE so much, but don’t quite know why. It’s an emotion that evokes when listening to sounds. I try to channel my inspiration from that emotion and translate it into the music that I create. I was always fascinated by music, feeling, and vision, all in one. When I’m creating music, I’m actually envisioning things as I’m going along, like places or people.

I want to shift a bit to the New York scene. How’d you get setup teaching at NYU? How was that experience?
A few years before I started working at NYU, I was teaching music production at a non-profit organization called Harlem Children’s Zone for a few years. I knew I had a passion for sharing my craft, and really wanted to take that side of me to the next level. A mutual friend of mine introduced me to the guys over at NYU. They had a position open, so I prepared for it, and got the gig. NYU is as official as official can get, so I’m appreciative of that opportunity. The kids are great and the staff is amazing. I learn something about myself every time I teach there.

Do NYC guys work together and collaborate often; is there a kind of NYC producers’ community?
Unfortunately, there isn’t much of that going on in NY. I think overall though, there is a sense of community amongst producers, globally. We respect each others’ crafts and continue to inspire each other. To me, if you got dope beats, you got dope beats. Doesn’t matter who you’ve worked with. I get inspired all the time.

Can you talk a little bit about the BLAP project you’ve been putting on?
B.L.A.P., which stands for Beats, Love, Alcohol, Party, Is a LIVE producer showcase that me and my team started. It’s open to ALL producers, in NYC or not. To piggy back on your last question, I started this showcase/party for that very reason. To create a platform of COMMUNITY amongst my fellow producers, whether up and coming or established.

The cool thing about my event is that it’s not your regular producer showcase. It gives producers the chance to play a large catalog of their music directly to the consumers, in a club/party atmosphere, just like a DJ would. It’s pretty addicting. If I had the choice, I would participate in my own event every month, but that wouldn’t be fair.

What local venues or studios have you been working with to promote BLAP and BRL?
Right now we’ve done showcases at Forbidden City, Katra, and PNC Radio, all in NYC. We definitely have BLAP lined up nationally in the coming months. [Last week, Illmind brought B.L.A.P. to Portland, Oregon] After that, we are taking it overseas.

What are you working on in the near future? Anything with local guys?
I have a lot of things going on right now. If I name them all, you might think I’m being pretentious, so bare with me, because I’m not trying to be! Me and Skyzoo have a full album dropping on Duckdown Records in October, called Live From The Tapedeck. Super proud of that project. [Watch the Skyzoo & Illmind "Speakers On Blast" music video!]

I have my first official instrumental album coming out in October as well, through [Brooklyn-based] Nature Sounds Records, called Beh!nd The Curta!n.

Also, I’m working on a handful of major placements, most of which I can’t comment on right now. I have a huge record with Redman dropping in the next month, which is his first official single to his upcoming album on Def Jam. I’m working with a brand new super group called Sun Tzu, consisting of MC Roscoe Umali, and two of the biggest pop stars in Korea right now, Drunken Tiger & Yoon Mirae. Look out for that single soon.

I just released a free project called Smokey Robotic, along with four other members. It’s pop, dance, electro, and hip-hop, which means we had a hell of a good time creating it! I’m also releasing a project with my crew, FORTILIVE, which consists of me (on the beats), MC Mushmouf and MC Slo-Mo, both from Hawaii. This is long so I’m going to stop right there, but I do have a handful of projects from some up and coming artists that I’m very excited about. Stay tuned!

— Alex Edelstein

For more on !llmind, visit www.illmind.biz and follow him on Twitter @IllmindProducer!

Recording Sweet Spot: KMA Music

Facility Name: KMA Music

Website: www.kmamusic.com

Location: The Brill Building, Midtown, Manhattan

Neighborhood Advantages: There are amazing views of Times Square here, a great selection of food, and our studio is located in a landmark building.

Date of Birth: 2007

Facility Focus: Tracking and mixing!

Mission Statement: “Bringing the music back to the Brill.”

Clients/Credits: 50 Cent, Alicia Keys, Birdman, Black Thought, Bow Wow, Bravo TV, Britney Spears, Cash Money Records, Claude Kelly, Clipse, DJ Clue, DJ Khaled, DJ Swivel, David Cook, David Foster, Demi Lovato, Duro, Eric Hudson, Estelle, Eve, Fabolous, Fantasia, Flo Rida, G-Unit, G-Unit Records, Geffen Records, George Clinton, Ghostface Killah, Gloria Gaynor, Gym Class Heroes, Honor Society, Ice Cube, Interscope Geffen A&M, Island Def Jam Music Group, J Records, J-Cole, J-Lo, Jamie Foxx, Jay Sean, Jay-Z, Jazmine Sullivan, Jennifer Hudson, Jeremih, John Legend, Jonas Brothers, Jordin Sparks, Joss Stone, Justin Bieber, Kelly Rowland, Kristin Chenoweth, LMFAO, Little Steven, Lil Wayne, Ludacris, Mariah Carey, Mary J. Blige, Michael Jackson, Mos Def, Nas, Nelly, Nick Cannon, Paul Simon, Phil Ramone, Rihanna, Roc Nation, Sean Paul, Sesame Street, Shaggy, Snoop Dogg, Sony Music, Sting, Swizz Beatz, T.I., The Neptunes, Tiesto, Twista, Universal Motown, Universal Republic Records, Warner Bros. Records, Whitney Houston, Wyclef Jean, Yung Joc

Some of our recent credits include: Mixed: “Empire State of Mind” by Jay-Z ft. Alicia Keys from The Blueprint 3, “Do You Remember” by Jay Sean ft. Sean Paul & Lil Jon from All or Nothing,  “Throw It In The Bag” & “My Time” by Fabolous from Loso’s Way,”Baby” by Ghostface Killah from Ghostdini: Wizard of Poetry in Emerald City, “Bittersweet” by Fantasia, “Work Hard Play Hard” by DJ Tiesto, “Who Dat” by J. Cole, 12 out of 16 tracks on Fabolous’ Loso’s Ways, 11 out of 14 tracks on Jay Sean’s All or Nothing. Recorded and Produced “Worth It” by Whitney Houston from I Look To You.

Key Personnel: David “Roz” Rosner – Studio Manager , James M. Spano – Asst. Studio Manager, Casey R. Flynn – Chief of Operations

System Highlights: We have a lot on hand, including AKG C12 VR, API 3124, Avalon 737, Digidesign Control 24, Digidesign Icon, Focusrite Red 7, Griffin G 1.5, Griffin LFE 18”, Lexicon 960L, Logic Pro 9, Neumann U87, Pro Tools HD 8.0, SSL XLogic E Signature Channel, SSL XLogic SuperAnalogue, Sony C-800G, Tube-Tech MP-1A, Teletronix LA-2A,, Universal Audio 1176, Yamaha Disclavier 6 Grand Piano

Distinguishing Characteristics: We are a boutique studio with a vibe like no other.  Our entire facility has panoramic views of Times Square.  KMA was designed by famed studio designer, Fran Manzella (The Palms Studio, The Barber Shop Studios, Sterling Sound) who built our flagship A room around his very own Griffin monitors.  This is why clients such as Duro and DJ Swivel (Jay-Z, Jay Sean, Nas, Mariah Carey, Fabolous, Mary J. Blige, T.I., Britney Spears, The Neptunes, Ludacris, The Beastie Boys, Diddy, Ashanti and Will Smith, etc.) choose to record and mix their projects in our extremely quiet and sonically accurate rooms.

The building is on fire, you only have time to grab ONE thing to save, what is it? Our tech, Casey R Flynn haha… and the hard drives!

Rave Reviews: Our sound, our service, our staff, the views of Times Square, the vibe and the stripper pole (always a conversation piece!).

Most Memorable Session Ever: We’ve had many memorable sessions at KMA, but probably the most notable session was with the legendary Paul Simon and Phil Ramone while recording Paul’s single “Questions for the Angels.”

Session You’d Like to Forget: N/A!

Dream Session: We can’t narrow it down, so pick one for us: The Rat Pack, Michael Jackson,
Van Halen, U2, Johnny Cash. [SonicScoop selects ALL OF THE ABOVE laying down a slammin’ version of “We Want the Funk”.]

– David “Roz” Rosner, Studio Manager KMA Studios

MSR Studios Hosts Kid Cudi, Evanescence, Lloyd Banks, + Cast Recordings

MSR Studios has had a wide range of projects over the last few months.

Steve Lillywhite produced Evanescence in studio A from February to April.

Def Jam artist Kid Cudi has made frequent visits with engineer Ryan West tracking vocals in studio C.

The recent hit “Beamers, Benz, or Bentley” by G-Unit artist Lloyd Banks was mixed in studio A by Pat Viala.

The Addams Family cast recording (Universal/Decca) was produced by Andrew Lippa and engineered by Frank Filipetti in studios A and B. Meanwhile the Promises Promises cast recording (Sony Masterworks), was produced by David Caddick and engineered by Todd Whitelock. The recording process for both Broadway albums were complex, involving interfacing multiple studios with video and audio tielines.

In addition, the cast album for Bloody Bloody Andrew Jackson, was recently recorded in studio A by Dean Sharenow.