How To Pitch Beats To Major Artists (Without A BeatStars Link)

What’s up, Lab Crew,

SO here is a simple infrastructure ‘hack’ that can instantly be taken seriously in circles where it matters.

Most producers think beat shopping is about volume: create your BeatStars and spam people with enough links; eventually something will stick. But the ones who break through aren’t doing more per se; they’re doing things differently. They built an infrastructure alongside connections.

This post will break down the exact approach I used as SOVLTRON to protect my beats, register rights, and always be ready to deliver a high-quality professional pitch while remaining humble.

Why The Best Producers Walked Away From Beat Leasing

Over the years, I noticed that a lot of the producers who made a big name for themselves went away from beat leasing and typically were working directly with artists. People like Superstar O, Anno Domini Beats, and Johnny Juliano were once dominating the SoundCsolick lane; now these guys were creating their own infrastructure, their own networks, and weren't relying on selling the same lease over and over. Even Soundcloud producers were choosing to stay within their ecosystem and weren't relying on beat leases. Even though DJ Pain1 is correct that selling leases is not dead, there is more than one approach to making money and getting placements.

The Cold Outreach Myth: Why Sending More Beats Gets You Nowhere

In the past, I've definitely sent out beat packs, sent cold DMs, emails, etc. And for the most part, all of that effort yielded very few results. I've sent beat packs or Dropbox links only to find the track has been used and credited to someone else. So along the way, I've learned valuable lessons about who to trust and how to present myself as a producer.

The issue with cold outreach isn’t just that people ignore your messages. It's the format altogether that signals the wrong message. A Dropbox link simply says ‘these are files, ’ not necessarily a body of work. A BeatStars link signals that your work is available to anyone with $30 (and they’ll be fighting these people for months to take their content down)

Neither method signals that you’re a serious producer with a real catalog, real dedication to your craft, and a real business behind the process of creating music. The producers who are getting placements at the major level aren't betting on some major artist seeing one of their thousands of emails. They aren't going harder on DM’s; rather, they built a system that takes care of the business first and lets the music do the talking second.

The Infrastructure Stack: Distribution, Rights, and SoundCloud Pro

So right now I'm currently releasing through my distributor, which hits all major platforms. Places like LANDR and Symphonic are phenomenal for this. Next, I registered with The MLC. This makes sure all streaming platforms can stream and pay out royalties from my music. SoundExchange makes sure that royalties are paid out on other platforms like XM radio and Pandora, which is important. Your music could be playing on some random person's Pandora, and you're not collecting your royalties.

The PRO step here is signing up for a SoundCloud Pro account. This allows you to connect your distributor, and all of your releases are now on SoundCloud as well.

Why is this important? SoundCloud has the reputation of being "the people's platform," so its branding is more familiar with indie artists or having a personal connection with the artist. Plus, SoundCloud allows for private playlisting, minus ads. So anything I put on a playlist is almost guaranteed to play instantly, and you can set up the player to allow downloads.

Sending a private playlist lets you quickly share beats with multiple people or update a running list, without worrying about someone stealing or uploading your music. Plus, having an artist presence on all platforms sends the message that you know what you're doing.

Why This Approach Beats BeatStars When A Real Opportunity Shows Up

BeatStars is built for volume sales to the general market. And there's nothing wrong with that; you can even think of it as a shortcut around a lot of the red tape in selling music. No middleman, just straight to whoever is willing to pay.

But let's say you’re dealing with a warm introduction to a major artist’s circle. Coming in with a BeatStars link makes you look more like a vendor than a producer. All of your work is publicly available- exclusives, non-exclusives, all on the marketplace for anyone and priced specifically for rappers at that budget. None of that communicates exclusivity.

The approach I’m describing communicates the opposites. Your catalog is distributed and live on DSP’s, which means the audio fingerprint is already in the system through your distributor. Any attempt to upload a beat to a platform for commercial purposes without clearing it first will immediately be flagged- no threatening, no fussy emails; just expose that your infrastructure handles it.

Meanwhile, your private SoundCloud playlist offers a clean, ad-free experience that feels more curated, not like some generic storefront. That simple presentation matters more than you’d think.

What To Do When You Actually Have The Connect

If you find yourself sending loops to random people, or constantly dropping WAVs and MP3s in someone's Dropbox, you may want to reconsider. There may come a day when someone wants to use your beat only to find out that several other people have recorded and tried to upload it to streaming. Don't blow it by sending a link to your Spotify or BeatStars — or even worse, an email.

Think about structuring your beat store even around your own site and using SoundCloud Pro to deliver your featured beats or exclusives. You still can maintain the artist-on-the-come-up vibe, while still taking care of all of your business on the backend.

The Pitch Ready Producer Stack: Step By Step

Refer a friend

QUESTIONS AND FAQs

Can I pitch Beats To Major Artists Without Industry Connections?

Honestly, cold outreach rarely works at the major label because their inboxes are usually gatekept by their management and A&Rs (if your email goes anywhere ). The realistic path is building through mid-tier artists or people right where you are. These build into co-signs and a track record that any major artist team will see and can verify, plus you’ll be building real relationships through real communities and eventually have mutual contacts.

Is Beatstars Good For Getting Major Placements?

BeatStars is effective for getting your sound out to the general independent market but will signal the wrong thing when yoiu pitch to a major artists. Beats available publicly on a lelase store dont carry any exclusivity or percieved professionalism (for some). If you’re looking for more serious opportunities, a curated private playlist is more appropriate.

How Does Distributing Beats Protect Them From Being Stolen?

When you upload your beats through a distributor like LANDR or Symphonic, or any similar service, the audio fingerprint is registered across DSPs. If someone tries to upload that audio commercially without your consent or clearing rights, it will be flagged almost immediately. This gives you control when negotiating your work

Why SoundCloud Pro Instead Of Just Sending A Spotify Link?

Spotify is an amazing fan-facing platform, but it doesn't have curated private ad-free playlists. SoundCloud Pro gives you private playlist functionality with zero ads and the option to download. Plus, it's commonly used amongst producer communities and is a better tool for a pitch than for discovery.

Do I Need To Register With The MLC, BMI/ASCAP and SoundExchange Separately?

Yes, outside of picking one rights organization (BMI or ASCAP) each covers a different revenute stream. BMI/ASCAPandle publishing and composition royalties. The MLC covers mechanicals from streaming . SoundExcange covers digital performance on platorfmrs like Pandora and Sirius XM. Missing one of thse means leaving money uncollected.

How Many Beats Should I Send In A Pitch Playlist?

Six to eight solid tracks is the right range. Enough to show consistency and the range of your talent, tight enough to not waste anyone’s time. Make sure your sequencing is intentional, strongest tracks first. Curate the pitch; don’t just dump beats on someone

Is Selling Beat Leases Still Worth It?

Absolutely yes, as a separate revenue stream running in the background. It doesn’t have to fully replace your direct placement approach. The smartest producers run both: passive leases generate income from the general market, and a curated infrastructure is dedicated for your strongest tracks for commercial opportunities.

What's The Difference Between an Exclusive Beat and A Lease?

A lease allows for multiple artists to use the same track under limited terms. Think of it like a limited license. An exclusive rights lease transferes the sole rights to one artists/buyer and removes that track from public availability. For major artist pitches, exclusives are expected, which is another reason why ony having a BeatStars undermins the approach.

Case Studies

But a curated playlist and setting up your business structure isnt the conclusion. If you’ve been on any FL Studio forum or have been at this a while, you know that there are countless approaches to making money from your music. I’m not saying that this ONE way will make the biggest difference in your efforts; however, this is a surefire way to start looking more professional, protecting your investment, and creating long-lasting industry contacts.

Alongside having a professional presences you HAVE to make actual connections. Theres countless producers with HEAT on BeatStars or on their Hard drives simply because they are not getting in the way of the traffic. As a bonus, here are some case studies of some producers that made things happen. Reverse their

Murda Beatz-Drake, Travis Scott, Migos, Gucci Mane

Murda Beatz connected with people over ocial media, but also made an effort to connect in person with people liek Chief Keep and Quavo. Rather than sendig beat packs over email, he cultivated relationships with people within their camps and expanded his network via word of mouth.

His placement on Drake’s - Views didn’t come from a cold pitch. Having a relationship with PartyNextDoor opened the door to placements on Views and Stimulus Package. Murda actually connected with Party in Toronto a year before the placement happened.

Same thing with Chief Keef and The Migos; he flew to Chicago and Atlanta and forged relationships with the crew. Rather than sitting at home making beats, he decided to get on the plane, get in the studio and build directly with the artits themselves.

TM808 (808 Mafia)- Travis Scott Drake

TM88 came up collaborating with local artists like Slim Dunkin, and formed 808 Mafia with Lex Luger and Southside.

After Lex left the Group, TM and Southside would go on to put a mixtape on Live Mixtapes to showcase their work.

Instead of waiting for things to happen, they created a local buzz by working with local artists with similar goals.

NDK - Brent Faiyaz

““Nobody is going to magically find the loops sitting on your computer, so you have to keep sharing, sending and pitching your work” - NDK

NDK shares in an exclusive interview with Studio Talks

He details working closely with Halfway but taking his time to produce lots of social content.

Instead of tagging everyone who he thought would like the beat, he focused on one single artist who would fit the sound.

He did this consistently for about three years.

But only after he became even more artist-focused in his approach did he get an approach from an AR, which would open the door to new opportunities. His music wasn't just what stood out; it was his work ethic.

Sound M.O.B. - Lil Wayne /Young Money

Beginning in high school, they started as longtime friends. Eventually winning big on a Red Bull Contest.

Staying true to form, they continued to work with local artists in Houston, eventually running into a then-unknown Kirko Bangz. After their hit “Drank In My Cup,” the duo would be catapulted into national prominence.

Fun fact: they actually gave Kirko Bangz his moniker.

Beats By Hod - Killer Mike, Pastor Troy, ATL overall Scene

Hod began networking with artists on Atlanta's Southside while attending high school. He drew inspiration from Shawty Redd and built relationships by being present in the local scene before any formal pitching happened.

MPC Sample vs MPC XL: Which One Actually Belongs in Your Setup?

All right, what’s up, lab crew? So we’ve had the MPC sample for almost a week now. And here are our thoughts on it.

So, a few weeks back, we saw the MPC sample leak. And my immediate reaction was that a guy was creating something that would directly compete with ESP 404. I knew it, not for a fact per se, but a lot of these leaks are, honestly, more than likely driven by a Kai. But that’s just me speculating. I think it’s a great marketing strategy if that’s what they’re doing. But I didn’t feel threatened by it.

I was actually excited. I felt like, instead of the blip box, this could be an alternative standalone music production device for my 9-year-old. Personally, I’m not interested in it. I think that I am more of an MPCXL guy. I like having a richer feature set and the ability to edit individual tracks. However, I do see the advantage of this. I don’t think it necessarily replaces anything we already have in the studio. However, I do see that it can augment what you already have. But before we go into, you know, my final opinion, let’s look at what the MPC sample is and what it isn’t.

What the MPC Sample Actually Is (And Isn’t)

So, the MPC sample is a very compact mobile music production device that brings the fun back into music-making, keeping it simple. I think Akai has done a very good job of capturing the essence of building a musical loop, or just a musical phrase, and turning it into something complex, or enriching it with new ideas after new ideas after new ideas. The MPC sample lets you do that. You can record or load any sound you want.

Online debates often miss the purpose of the MPC sample. The MPC sample is a lower-tier offering. It’s something for a younger producer who may not have the money to invest in an MPCXL or an MPC Live Free. Somebody who wants something that’s gonna let them make music. But it doesn’t necessarily have to get in the way of the music-making process.

So, the MPC sample is something anyone can pick up and start using immediately. This isn’t for the veterans who have had every iteration of the MPC. It doesn’t mean you can’t go out and get one, but this device isn’t specifically designed for vets. This device is made for the purest, the hobbyists, the people who want to grab something and go, pretty much the same crowd as the SP 404, except not just to run samples through the vinyl emulation, right? This is definitely a beginner machine.

And honestly, I think it is a companion machine, probably something entirely different. There is a small part of this machine that I think people are completely overlooking, which I will get to later. But I think that this machine is something that you can use by itself if it’s your 1st time music production, or you could use it alongside an MPC to get ideas out when you’re hanging out with the kids on the couch or watching shows with your lady, and then take them and turn them into full-fledged songs later when you have the time.

And then I think it is something you can look at as a completely different way of making music today in 2026 that will still be relevant. I think if you want to look in that direction, DB Asi and his cola sampler are a great example of how you can make amazing-sounding music with very simple tools.

So what AKai says is it’s a sketch pad. And I kind of agree. I think it is a place where the existing MPC and a Kai Forge, MPC live, where 3 users can sketch out ideas, then go back to their larger machine to figure them out fully. And even for someone who hasn’t experienced the MPC ecosystem before. It’s a good idea just to be able to create something that isn’t generated by a machine. This is something you can sketch with a pencil and a piece of paper, rather than prompting something pretty cool. So I definitely agree that this is a sketch pad.

Where the MPC XL Still Wins

The MPCXL wins on features like track management and channel strips, which aren’t possible on the MPC sample. I like the filters as quick, but just off of compression and channel strip, and the number of tracks, it’s, it’s, it’s hands down. You beat it. It beats it on the RAM for your work on my particular workflow.

I use multiple instruments, and sometimes I bounce them down, or I’ll record into multiple audio tracks, whereas the MPC sample is very cut-and-dry: you have one track, everything’s on that track. Now, eventually, you can take it into the DAW and break it down into its individual components. But when you’re working on the MPC sample, you’re strictly creating, you’re strictly sketching, versus being on the MPC, you can sketch and fully develop your ideas and go from pre-production to post-production and completely finalize the track.

The XL can do more: control other instruments, route signals, and support plugins. The MPC sample can’t. You don’t have any channel strips. And I live by my air channel strip. So it would be impossible for me to rely on this completely.

So, for those of you who say the MPC sample is unnecessary. You’re right. I mean, if you’re looking at it from that critical aspect, where your current MPC wins, yeah, absolutely, you don’t need it.

Where the MPC Sample Has the XL Beat

Now, in areas where the sample wins are, I believe, where all of us find challenges, you know, for us MPC heads, most of us are growing. Most of us have families or responsibilities beyond just making music. And the MPC sample excels at making music and turning ideas you may have on the fly into songs really quickly. Let’s say, for example, you’re humming a melody in your head. You can actually record that through the microphone, quickly on the MPC sample, lay some drums down, and then later turn it into a fully fledged song.

Now, there’s been plenty of times when we’ve had to pull out our phones. Now, granted, the MPC sample isn’t small enough to just fit in your pocket. However, it is small enough that if you were somewhere and had a small bag, you could take her travel bag with you. You could pull the Sample out, get some ideas down, and turn those ideas into songs relatively quickly without disrupting much of what’s happening in your current scenario.

So depending on what you have going on, you know, your life, I know for me, sometimes I’m hanging out with my lady or watching my kids. I am away from my music gear, and I may have ideas that end up in voice memos that I have to come back to and then turn into something, rather than being able to do it right there in the moment and then finish that idea later. So, in a very practical sense, having the built-in microphone, speaker, and sequencing capabilities is definitely a game-changer and one of the benefits the Sample has over the MPCXL.

And when it comes to price, to be able to do that for 400 bucks is exceptional. If someone came to me and said, “ Hey, man, I have 500 bucks, and I’m looking at buying my 1st hardware machine, what should I get, you know, and they gave me between the,, teenage, engineering, TB -KO 33, or the,, The Roland 404. I’d say the MPC sample. If possible, I’d suggest saving for the XL or Akai Force. But for those on a budget who want to learn and maybe earn money, start with this: learn the MPC system, get familiar with hardware, and then move to a more advanced system. So I think $399 is a fair price for what you get. Akai is pretty much hitting the sweet spot.

Here’s My Honest Take on Akai’s Strategy

Now, here’s my take on this. Akai has released many products recently. I don’t think that they’re necessarily cannibalizing their own lineup with the MPC sample. However, I do think a Kai might end up vibe-coding their way into a situation where they’re feeding too many segments of their customer base. I think what ends up happening in that scenario is that you have a company making so many different products that there’s 0 continuity between them. And that is a major weakness that a Kai is going to have to figure out before they start bringing so many people into the ecosystem who are going to want, have so many demands, and a Kai is not in a position to solve them.

And vibe coding that might end up requiring you to completely change the entire product lineup, which you’re going to piss off customers who just spent $400 and now have to spend another $ 400. They may not be in that position yet. So you’ve got to be careful in bringing those customers in because those customers. At the same time, they are great for business, and they do look like angels initially, but they can ultimately become little tiny devils in your business if you don’t have all your ducks in a row. And as someone who’s a major Akai fan, Akai does not have its ducks in a row, especially when you have something this capable at 399.

The XL, costing almost 3 grand via aKai foForcean, completely blows both of those things out of the water, right in the middle, as a completely different offering. and a seven-year-old offering at that. I think aKai has some offerings that are all over the place and don’t necessarily fit their current value ladder. And to mention products like the MPK series or the Akai Advanced series keyboards that are not 100% compatible in terms of features, feature integration with either the MPC or the Akai Force. So, a kind needs to integrate their products better because their customers will be looking for ways to augment their current setups. And if they don’t have that ability to use the features currently on all Akai products, Akai customers are going to be frustrated with their purchases because they’re going to have $300, $400 bricks sitting at home, like me.

3 Things People Are Getting Wrong About the MPC Sample

1. “It’s just a thingy”.

   1. - With 60 effect types, poly aftertouch, and full MPC3 project export, this is not a toy. It’s a focused tool with professional-grade bones that happens to fit in a backpack.

2. “It replaces the MPC XL for most producers.”

   1. — The absence of plugin support, 16 GB RAM, and the full MPC OS make the XL irreplaceable for anyone finishing records. The Sample was never meant to go that far.

3. “The MPC Sample is only for beginners.s”

   1. — Akai designed this as a companion device for working producers who need a portable capture tool. The field-to-studio pipeline it enables is a pro move, not a beginner crutch.

      Practical Audio Lab goes deep on the MPCXL ecosystem, AIR Music Plugins, and building real records in a home studio. Join free and get every post delivered to your inbox.

How I’d Use Both Together

All right. So, here’s how I’d use both of these together.
Let’s say I get the MPC sample and want to make a track with my daughter. Well, of course, I want to load up some of my favorite drum sounds, but I also want her to pick some. So we can either go to BandLab or find some good, legal, free drum wherever. And then, of course, start making an idea.

Nah, of course, now she’s going to have bedtime, and I have daddy time, so I can take that track that we both made. And then completely augment that with my new instruments, or my full instruments, on the XL or the Force. And so I think one of the 1st things you do when you open the sample project in Excel is try to split each of those sounds into its own track, which I don’t know how it’s going to work yet. I have not seen anyone convert a sample track to an XL track. So if you have that, please drop the link in the comments, because I haven’t seen anyone who’s done that.

I think that this is a fully capable device. I think that even in that scenario, if we make a reasonable track, I think that it’s totally plausible that you can take whatever you make on the MPC sample and turn that into a full track. I think we’re in the days now where if the music sounds good, it sounds good. We’re outside of the loudness wars. We are in the streaming wars, we are in the attention wars, and you’re in a place now where your music can be heard, no matter who your audience is. So you don’t necessarily have to spend all the time mixing everything down. If you’ve made something in the Sample that sounds amazing and you want to run with it, I think you can run with it 1000%.

The Bottom Line

Buy the MPC Sample if you need a portable idea-capture tool, you’re just starting, or you want a dedicated sketchpad that lives in your bag.

Keep your MPC XL if you’re finishing records, using plugins, or need the full MPC OS for complex project management.

Use both if you want a field-to-studio pipeline where the Sample feeds ideas into the XL — this is the power move.

Frequently Asked Questions

Is the MPC Sample a replacement for the MPC XL?

No. The MPC Sample is designed as a portable entry point and companion device, not a replacement. The XL offers significantly more RAM, plugin support, and the complete MPC OS capabilities that the Sample intentionally omits to keep its portable workflow focused.

Can the MPC Sample work with AIR Musplugins plugins?

Not directly. The Sample runs a streamlined engine focused on sampling and built-in effects. You can export projects to the MPC3 software, where plugins are fully accessible within the desktop workflow.

What’s the price difference between the MPC Sample and the MPC XL?

The MPC Sample retails for $399; the MPC XL retails around $2,999 — a difference of approximately $2,600. For producers on a budget, the Sample offers significant value as a starting point or field companion.

Does the MPC Sample support microSD cards?

Yes. The Sample ships with 8 GB internal storage and a microSD slot for expanded storage of samples, projects, and audio files.

Can I move a project from MPC Sample to MPC XL?

Yes. Projects created on the Sample are compatible with MPC3 software, which can then be continued within the MPC XL ecosystem — making it a practical bridge between field and studio workflows.

How does the MPC Sample compare to the Roland SP-404 MK2?

Both are portable samplers in a similar price range, but they target different workflows. The SP-404 MK2 leans into performance and lo-fi aesthetics; the MPC Sample prioritizes the MPC sequencer workflow and full AKAI ecosystem compatibility.

All right. So, here’s my final take on this. Is the MPC Sample the best portable sampler in 2028? Is this a ‘worth it’ addition to your DAW-less beatmaking setup?

well

If you’re sitting between, “am I gonna buy something affordable?” or “am I gonna go all in? What do I do?”

I recommend you ask yourself a realistic question. Are you going to earn money from this, or is this going to be a hobby for you? And you have to be realistic: when you say, ‘are you going to earn money,’ or ‘can you do everything you need to do to be successful in your endeavor,’ or is this a passion project for you, and are you looking to have more fun? If you’re looking to have fun, get the MPC sample. You’re going to have a lot of fun, and you can justify spending $400. If you’re looking to make money, get the MPC Excel. It’s something that’s going to Force you to do what you need to do to recoup your investment in your music.

Otherwise, I would say that there are 2 very capable devices that you can have a lot of fun making music on. And my question for you is: are you more of a hobbyist, or are you pursuing your passion while also trying to be compensated? I want to know. I want to know where my audience lies.

I think I’m going to get the MPC sample. I’m going to get it for my daughter. I think it’s a really cool device. How about you? Let’s talk about it in the comments. Peace.

💬 Got a take on MPC Sample vs your current setup? Drop it in the comments.

Leave a comment

Videos from around the web

Many times, we look at plugins like they are doing something magical. While in some cases this is true, in others, simple automation and creativity will do the trick.

If anything, plugins prove the workflow argument where you’re paying for not just software and/or hardware I/O and character but rather the workflow and convenience of features that enhance your sound.

Some people have dedicated their lives to debating that, myself, i’d rather have the conversation than get to doing the work.

Above you’ll find a video with several tips and tricks I’ve laid out in groups. (so you know that I really use these tips).

Subscribe now

The edit section of drum programs is a powerhouse full of tools for shaping your sound and performing some pretty cool automation tricks.

Today I show how to effectively use LFO’s to get that stutter effect you’ve probably heard in different genres of music. This is the simple way of using it, but if you really want to be a pro learn the frequencies of your machine and you’ll find you can speed up or slow down the LFO and get some cool Teflon-Tel Aviv-type stutters.

Essentially you’ll want to map any filter, resonance or LFO parameter to a knob. The awesome part of this is that you can do this with multiple parameters and come with some really good effects.

The video is kindof long +8mins so hopefully you’ve got the time today.

Thanks for watching,

Share

Having spent the better part of two decades as a fitness trainer, last year was the first time I truly understood the value of my health and fitness. Sure I lifted weights for years, however, by overlooking a few critical aspects of my health, I ended up paying the price big time.

I understand that taking time out of your day or even your workout routine may seem like a monumental task. As a fitness trainer, I can relate to this. Even though I hit the gym about six times per week, I used to neglect my deep core muscles and only stretched for a few minutes post-workout. This led to back problems in the past, and I suffered from a groin issue last year due to overstretching. Although I have recovered from it, I am still only at 90% now.


I know that my ailment was simply the result of years and years of avoiding simple things that could have completely prevented ALL of my back issues. And inadvertently it cost me a lot of productivity, my confidence, and of course, my bedroom life was impacted. For a while, I had pain just from sitting and was unable to sit for almost any period. My work suffered, my music suffered and all I wanted to do was curl up and disappear until the problem fixed itself. The issue was, and still is, that problems don’t just fix themselves, they require some sort of action.

So, let me share a few hacks from my year-long journey, and remember these aren’t quick fixes,

5 Simple Tips For Music Producer Mobility

Tip #1. Improve your core

One of the primary causes of poor posture, low confidence, hip pain, groin stiffness, lower back pain, etc is a weak core. Now this has nothing to do with six-pack abs, but rather the muscles that provide support continually throughout the day. Here are three ways to improve your core strength today.

1. Core Activation Drill #1 -
   Lie on your back with your feet flat and knees bent. Place your hands directly over your navel and using your stomach muscles draw your navel inward. Maintain normal breathing.
   

2. Core Activation Drill # 2 -
   While lying flat on your back with your legs bent and feet on the ground, tilt your pelvis backward and bring both legs up to a 90-degree angle. Slowly lower one heel to the ground while keeping your knee bent and slowly bring it back up to the starting position. Repeat with the other leg.
   

3. Core Activation Drill # 3 -
   While standing, maintain a neutral hip posture and draw the navel in and up. Again maintain normal breathing

Leave a comment

Tip #2. Active Sitting

If you’ve just invested in a gaming chair you may be pissed at me, but instead of using a chair, use something like this or an active chair/stability ball that forces you to keep your core engaged.

By sitting this way, much of the pressure typically placed on the lumbar spine is distributed throughout the core. Since this is how our bodies typically function you may find a reduction in lower back stiffness and pain.

If you’re like me and prefer standing at your desk I’ve got you covered.

Refer a friend

Tip #3. “Micro Stretching”

This is something that you may already do. Getting up periodically to stretch and do a few neck rolls or toe touches can go a long way. To take this a step further optimize your time based on your age. The older we are the longer we need to hold stretches so refer to the chart below to get an idea of how long you should be holding your stretches.

1. 20’s and 30’s - Hold each stretch for fifteen to thirty seconds. You should

2. 40’s and 50’s - Hold each stretch for thirty to sixty seconds. you’ll need to hold the stretch a little longer as our flexibility decreases a bit.

3. 60s and older - You’ll need to hold the stretch for almost two minutes. This allows the perfect time for muscles and connective tissues to relax.

Share

Tip #4. Daily Deep Stretching

Even if you do a bit of micro-stretching throughout the day, taking ten minutes of active deep stretching/mobility can increase your range of motion. Perform these movements for about sixty to ninety seconds each.

1. Child’s Pose - kneeling on the floor with toes together sit back on your heels. Resting your forehead on the floor, extend your arms out in front of you, and breathe in through the nose filling up your ribcage and slowly out of the mouth.

2. Downward facing dog - Start on all fours or quadruped position. Pushing your hips back straighten your legs. Keep your heels flat on the floor and breathe in through the nose filling up the ribs and slowly out of the mouth.

3. Side Lunge Adductor Stretch - Begin in a wide stance position. Shift your weight to one side bending your knee until you feel a stretch on the inside of the opposite leg. Hold then return to starting position. Maintain normal breathing.

4. Rounded back toe touch - While standing bring the feet together and round shoulders inward. Take a deep breath, tuck your chin, and while keeping your arms straight slowly exhale while sliding your fingertips down your legs. Hold and breathe deeply into the ribcage. Inhale while returning to the starting position

Subscribe now

Tip #5. Fix Your Hips

Having stiff hips affects almost everything in life. Legit, you need your hips for everything, Especially bedroom performance. It doesn’t take much other than a few simple movements per day to improve your hip mobility and reclaim your bedroom beast title.

1. Kneeling Hip Flexor Stretch - Begin in a half-kneeling] position with one knee bent in front of your body. Tighten your abdominals while tilting your hips backward. Gently pushing your hips forward draw in the breath and hold for about thirty seconds. Return to the starting position and repeat

2. “Dirty Dogs” - Begin in all fours position with knees directly under hips. Keeping your hips facing the floor and knees bent begin to move one leg up to the side of the body. Hold for a brief pause and return to the floor. Repeat for about fifteen repetitions or 20 seconds.

3. Single Leg Bridge - Begin lying on your back with your knees bent and feet on the floor. Lift one leg off of the floor bending the knee to a 90-degree angle. maintaining this position engage your core stomach muscles and slowly lift your hips off of the floor into a bridge position. Hold for a brief pause and return to the floor.

   ---

It may not seem obvious at first, but having poor posture, chronic pain, and even stiff muscles can affect your confidence, your performance, and your productivity big time. Combine that with working long hours, job insecurity, and the stresses of just trying to make music, it’s the perfect recipe for burnout and chronic issues.

Pain is the perfect stressor, it can be distracting from work life and relationships making you want to isolate yourself and disrupting your special time with loved ones. If you were anything like me, feeling stiffness, pain or any discomfort in your body can make you anxious and may even trigger depression.

By fixing some of the root causes of decreased mobility and muscle stiffness, you can start to reduce the probability and even the symptoms of ‘producer life’ or desk life. Just by addressing these simple things you CAN be more mobile in your off time, you WILL stay in your zone longer when working and you’ll be a BEAST in the bedroom.

Hope this helps

~Chill

One BIG thing that has changed for me is what im using to make music in the Force. .

I used to judge one-shots or avoid them like the plague. Computermusic/Futuremusic magazine would include a cd with multiple sample files, one-shots, loops, etc and I always felt that the one-shot instruments were low fidelity and kind of corny sounding..

I just kept the drums

I've been watching so many videos from the guys over at Producer Community, and other FL studio tutorials, and copying their methods over to the force in some roundabout way..

No these guys aren't some musical magicians, however, their approach to making melodies and tracks has inspired my workflow on the force.

One major thing i've noticed is that a lot of these guys are unabashedly using one-shots and creating one shot kits and making pretty dope music doing so..

I kindof feel bad for Akai, they spent so much time developing new software instruments only for this really unspoken jewel to be a powerhouse in the Force.

usin one shots and the methods from this post you can really create some great sounding tracks using a fraction of the CPU/Memory on the force.

Plus you can add more effects and really make some great sounds.

Im not familiar with the 80s, but im sure the older samplers had way less memory and great stuff was produced using that.

The method is simple... Find a good one shot kit or create your own using the force... The best method is to find a sound or create one that sounds amazing at C3 or middle C

As soon as you load a sample into a keygroup track , Force automatically pitches the sample up and down the keys.

You may be saying, that's not going to sound very realistic, but thats kindof the beauty behind it.

There are a few things that I recommend to get your workflow with 1 shots tight

• Use Mono files when you can.. Drums and single source instruments should be in mono.. You get more control in the mix down the line

• Use Stereo Width (preset: More) to create width when needed (pads , keys )

• Add great effects combinations (i try my best to copy these) Flangers , phasers etc

• Break the RULES!!!!

The BIGGEST takeaway from watching the guys in Internet Money, TRIFREEZE and some of the FL studio tutorials, is that they are not afraid to try some stuff out and mix and match until something works.. All using BASIC sounds and good processing

when it 'works' it works

So often we get caught up in the 'rules' or bad habits that we've developed over the years.

There are some general rules to follow, but for the most part, do whatever the heck you want... just use good sounds

Get creative with this little groove machine man.. There are some great plugins for mixing and making great track effects et.

Use onehsots.. theyre the wav..