Mike Will

All About Copyrights

  • History of Copyrights

    printing press.jpgThe 1710 Statute of Anne established the principles of authors’ ownership of copyright and a fourteen year term of protection. The law prevented a monopoly on the part of the booksellers and created a “public domain” for literature after the expiration of the copyright and ensured that once a work was purchased the copyright owner no longer had complete control over its use. For the first time, the law provided for an author’s copyright.

    Then in 1787, the framers of the United States Constitution wrote in Article I, Section 8, “the Congress shall have power . . . to promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries.”

    victrola.jpgA major revision of the U.S. Copyright Act was completed in 1909, among other things to address the needs of the brand new recording industry. “The bill broadened the scope of categories protected to include all works of authorship, and extended the term of protection to twenty-eight years with a possible renewal of twenty-eight. The main object to be desired in expanding copyright protection accorded to music has been to give the composer an adequate return for the value of his composition, and it has been a serious and difficult task to combine the protection of the composer with the protection of the public, and to so frame an act that it would accomplish the double purpose of securing to the composer an adequate return for all use made of his composition and at the same time prevent the formation of oppressive monopolies, which might be founded upon the very rights granted to the composer for the purpose of protecting his interests” (H.R. Rep. No. 2222, 60th Cong., 2nd Sess., p. 7 [1909]).

  • The History of Digital Piracy

    bill gates open letter.jpgThe personal computer debuted on the cover of Popular Electronics in January 1975 and a year later Bill Gates of Microsoft was battling piracy as he was trying to get his fledgling company Microsoft off the ground. In his letter to software pirates of that era, he wrote “Who cares if the people who worked on it get paid?”

  • The Arrival of P2P

    Shawn  Fanning, while a student at Northeastern University in Boston, changed  the  music and media industry with his creation of a digital  file‐sharing program called  Napster. In 1999, he created a software program that allowed computer users to  share and  exchange files.  Napster had several hundred thousand users by the  spring of 2000, and had grown to over 50 million users by February 2001.  This technology is called Peer-to-peer or P2P because it allows “peers”, ordinary computers to exchange files between themselves.

    By 2008, P2P traffic had become 44% of all consumer internet traffic globally and according to “P2P Traffic to Grow Almost 400% over the Next 5 Years, as Legitimate P2P Applications Become a Meaningful Segment” from MultiMedia Intelligence, P2P traffic would grow by 400% by 2013.

    By 2010, according to “Verizon Gets Ahead of the Broadband Crunch” in The Wall Street Journal, file sharing accounted for approximately 35% of all global internet traffic, more than twice as much as web browsing and is forecast to nearly double from 2010 to 2013 to almost 10 Petabytes a month.

    growth of p2p.jpg

    The chart above was generated from data by Cisco in its “Global IP Traffic Forecast and Methodology, 2006-2011” and featured at www.satmagazine.com.

  • The Digital Millennium Copyright Act

    us capitol.jpgIn the United States, the law is strongly in favor of protecting the interests of copyright holders. The Digital Millennium Copyright Act (DMCA), passed in 1997, heightened the penalties for copyright infringement on the Internet and established the liability of the providers of on-line services for copyright infringement by their users. The DMCA made illegal the manufacture, sale, or distribution of code-cracking devices used to illegally copy software, e.g. Limewire, eDonkey and BitTorrent. Additionally, the DMCA states that service providers may not allow the illegal downloading of copyrighted materials via their systems.

    The United States Code 17 U.S.C. 504. states as follows:

    “Remedies for infringement: Damages and profits (2) In a case where the copyright owner sustains the burden of proving, and the court finds, that infringement was committed willfully, the court in its discretion may increase the award of statutory damages to a sum of not more than $150,000.”

    The music industry has spent millions of dollars searching for a technology breakthrough to protect copyrighted works. These technologies were often referred to as Digital Rights Management (DRM). DRM technologies attempt to prevent digital music player technology from allowing reproduction. These efforts failed to stem the tide of illegal downloading.

    • Beginning in 2002, the Recording Industry Association of America (RIAA), the trade group that represents the U.S Music Industry, filed the first lawsuits against individuals who were suspected of illegally downloading music.
    • In 2006, Free Peers Inc. closed its business due to a $30 million settlement with the recording industry.  Under the DMCA, the industry has won lawsuits against Napster, Grokster, Bearshare, Limewire and many others.
    • By October 2008, RIAA had filed 30,000 lawsuits against individual downloaders.

    Even with 30,000 lawsuits filed and millions of dollars collected, P2P traffic had still grown worldwide to represent more than 40% of all consumer internet traffic.

    ISPs Have Liability If They Do Not Act

    If ISPs are required to make a reasonable effort to curtail illegal activity on their networks. ISPs are given “Safe Harbor” protection as long as once the ISP is notified of a copyright infringement, they forward the notice to their customer.

    Additionally, the DMCA requires ISPs to suspend the service of “repeat infringers.”

  • How P2P Is Misused

    p2p network.jpgA February 2010 study done by Sauhard Sahi at Princeton University found that only 1% of files transferred on Bittorrent did not infringe on copyrighted material.

    P2P is Profitable for Pirates

    In 2008, it was revealed that just one BitTorrent hosting/tracker site was making $4 million a year on advertising.

    Additionally, these sites are making money scraping user’s data from their hard drives and selling it for marketing and even identity theft purposes.

    In February 2010, The Federal Trade Commission sent letters to almost 100 organizations notifying them that personal information, including sensitive data about customers and employees, had been shared from their computer networks and was available on peer -to-peer (P2P) file-sharing networks to any users of those networks, who could use it to commit identity theft or fraud.

    How File Sharing Works

    First, a user downloads Frostwire software or any number of other free Gnutella Peer-to-Peer (P2P) applications, installs the application on their computer, and searches for a song, movie or game. The Gnutella application then sends a request to the Gnutella network, a voluntary network of all users of Gnutella applications.

    The application uses the network to create a list of all of the available versions of the requested content, which is then displayed. The user selects the version and source of the content that they want to download. The Gnutella application then sends a request for the content out to the network. Usually, the previous users who have downloaded the content have the content available on their computer for the next person who wants it.  After downloading, they would specifically have to disable the application from offering it back to the network. The Gnutella clients literally “talk amongst themselves” without any involvement from the user and the full piece of content gets sent to the requested user in many small pieces from many individual user’s computers. Very quickly, the user has the desired content in moments.  An entire discography can take as little as five minute to download on ordinary connections, for free.

    By contrast, the BitTorrent P2P network works in a different way.  First, the user locates a “torrent” file that contains the detailed location of the computers that have the source files. Think of almost any popular old or new recording artists or movie and enter the name into Google. Google will often display a drop down list that will contain the word “discography.” Within the first page of search results you will see the links to the torrent site for the artist or movie. These torrent pages also create revenue from serving advertisements.

    Public torrent hosting sites such as The Pirate Bay allow users to search and download from their collection of torrent files. Users can typically also upload torrent files for content they wish to distribute. Often, these sites also run BitTorrent trackers for their hosted torrent files, but these two functions are not mutually dependent: a torrent file could be hosted on one site and tracked by another, unrelated site.

    The industry has developed its own terminology. Seeders are people who have finished downloading 100% of a file and are sharing it for download. Leachers are people who are downloading the file and sharing a small part of it at the same time.

    In order to obtain and maintain rapid downloads; a user usually must allow their computer to upload desired content back to the network.

    BitTorrent Private host/tracker sites such as Demonoid operate like public ones except that they restrict access to registered users and keep track of the amount of data each user uploads and downloads, in an attempt to reduce leeching.

    BitTorrent search engines allow the discovery of torrent files that are hosted and tracked on other sites; examples include Mininova, BTJunkie, Torrentz, The Pirate Bay, Eztorrent and isoHunt. These sites allow the user to ask for content meeting specific criteria (such as containing a given word or phrase) and retrieve a list of links to torrent files matching those criteria.

– See more at: http://www.rightscorp.com/notices/about-copyrights#sthash.aCZP1nI0.dpuf

 

How Music Publishing Works

You need a leader like Sound Saves to be your guide in music publishing because of our excellent systems and strategies to get you to success.

The business of music publishing is concerned with marketing, developing, managing, protecting and valuing music. It’s diverse and demands a variety of our skills. Music publishers play a vital role in the development of new music and in taking care of the business side, allowing composers and songwriters to concentrate on their creative work.

music publisher is responsible for ensuring the songwriters and composers receive payment when their compositions are used commercially. Through agreements that address publishing, a songwriter or composer “assigns” the copyright of their composition to us. In return, our company licenses compositions, helps monitor where compositions are used, collects royalties and distributes them to the composers. We also secure payments and commissions for music and promote existing compositions to recording artists, film and television.

We seek out great music, great composers and songwriters; supports composers and songwriters in the creative process; promote their catalogs across a variety of platforms; and manage the business exploitation of the catalogs. This many times includes management and marketing type activity. We step in and book shows, design web sites, distribute and sell music online, handle all administration, reporting, the registration of music, and the collection and onward payment of all due royalties. Lead Alliance generally seeks to protect and enhance the value of their works with passion and professional commitment.

What does a music publisher do?

The business is diverse and demands a variety of skills. The role of a music publisher involves:

  • Finding new and talented songwriters and composers and encouraging and supporting them as they develop their skills, whether through helping with their living expenses, providing them with the facilities they need to produce music or offering advice and guidance in writing for particular markets
  • Securing commissions for new works and helping to coordinate work flow
  • Registering the works of songwriters and composers with all appropriate collecting societies and agencies like ASCAP and BMI
  • Producing demo recordings
  • Producing and licensing the production of printed music
  • Producing promotional materials, graphic design, web sites, banner ads, and more
  • Promoting producers and songwriters and their music to venues, performers, broadcasters, record companies and others who use music on a commercial basis, both nationally and internationally
  • Licensing the use of music, whether directly in the case of individual and special usages (eg synchronisation deals) or via the collecting society network
  • Responding to new licensing opportunities that flow from technological developments
  • Monitoring and tracking the use of the music you own and ensuring that proper payment is made for all licensed uses
  • Making royalty payments to songwriters and producers in respect of the usage of their music
  • Taking appropriate action against anyone using music without the necessary licence

 

 

Music Sample Clearance

Everything You Need To Know About Clearing Samples


We routinely dig through our old emails here at Sound Hype headquarters, looking to find better, more effective ways to teach and help our clientele. One of the most popular questions we’ve had through the years is about how to clear samples for production.

If you’ve ever wondered if you had to clear a sample, when you have to clear a sample or how you go about clearing a sample, read on.

First things first: In the eyes of the law, there are two kinds of sampling. 

1. Sampling – Taking another piece of music (aka the master recording) and creating a new, derivative work, and

2. Interpolation – Replaying a part of another piece of music (aka the composition) and incorporating it into your own music

Depending on which of the above you do, there will be different factors to consider due to the two different forms of music copyrights

1. Copyright for the master recording (the original recorded music), and

2. Copyright for the musical composition (the melodies and lyrics)

If you sample a master recording, you will need to get clearance from the record label for the rights to use the master recording AND clearance from the original publishers of the composition. If you interpolate a sample, you no longer need to get clearance for the rights to the master, but you will still need to get clearance from the publishers.

So those are the basics. Here’s where it starts getting tricky.

When should you actually begin clearing samples?

NOTE: We are not lawyers, so this is not legal advice. We have, however, been around the proverbial legal block a time or two, so we speak from experience and feel comfortable making some common sense observations.

Things to consider:

A high-profile rapper like 50 Cent puts out “mixtapes” for free which contain a ton of samples. Hundreds of thousands of people download them for promotional purposes, but he doesn’t clear the samples on these mixtapes, because he is not profiting from the music itself. As far as we’re aware, he’s never been sued for this.

-If you head over to Best Buy and take a look at the CD racks, you’ll find thousands of CDs that contain uncleared samples.

-This may be a bit of a stretch, but one of our guys had a long conversation with a certain executive who worked very closely on the creation of a certain album released in the late 90s. This exec informed us that they never cleared a few of the samples on the album, and it had multi-platinum sales.

– Before you begin, you should know that this can be an extremely expensive proposition. Sample clearance houses can charge a few hundred dollars just to find out how much it will cost you to clear a sample. Not exactly economical.  Plus, you may pay that $400 and find out that the artist you want to sample won’t allow you to use the sample  you want.  So if you’ve been wondering whether you should clear the beats on your beat CD, while we won’t tell you “no,” we will say that you should consider all the factors involved.

It is nearly impossible to bear down and do the research yourself, but if you approach the creator of the track as opposed to a big clearance house, you may end up with the sample you want and giving up less in the long run. However, if you’re not dealing with a track that you think will make significant waves – and by that, we mean you’re fairly confident the track you want to put out there will be a significant addition to the music world – any of this is likely to be too expensive for your return on investment.

The facts presented here show that clearing samples is mostly unnecessary. If you’re doing this for a hobby, it’s a non-starter. If you’re planning on having a hit record, nothing should stand in your way of getting it made and getting it out there.

That being said, making any money off a sample or using it as promotional material is illegal… but so is jay walking.

Use your head. Be safe out there. And cover your assets.

10 Things You Didn’t Know About Sound

Most of us have become so used to suppressing noise that we don’t think much about what we’re hearing, or about how we listen. Yet our well-being is now being seriously damaged by modern sound. Here are 10 things about sound and health that you may not know:

1.) You are a chord. This is obvious from physics, though it’s admittedly somewhat metaphorical to call the combined rhythms and vibrations within a human being a chord, which we usually understand to be an aesthetically pleasant audible collection of tones. But “the fundamental characteristic of nature is periodic functioning in frequency, or musical pitch,” according to C.T. Eagle. Matter is vibrating energy; therefore, we are a collection of vibrations of many kinds, which can be considered a chord.

2.) One definition of health may be that chord is in complete harmony. The World Health Organization defines health as “a state of complete physical, mental, and social well-being and not merely the absence of disease or infirmity” which opens at least three dimensions to the concept. On a philosophical level, Plato, Socrates, Pythagoras and Confucius all wrote at length about the relationship between harmony, music and health (both social and physical). Here’s Socrates: “Rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten, imparting grace, and making the soul of him who is rightly educated graceful, or of him who is ill-educated ungraceful.”

3.) We see one octave; we hear ten. An octave is a doubling in frequency. The visual spectrum in frequency terms is 400-790 THz, so it’s just under one octave. Humans with great hearing can hear from 20 Hz to 20 KHz, which is ten octaves.

4.) We adopt listening positions. Listening positions are a useful set of perspectives that can help people to be more conscious and effective in communication — because expert listening can be just as powerful as speaking. For example, men typically adopt a reductive listening position, listening for something, often a point or solution.

Women, by contrast, typically adopt an expansive listening position, enjoying the journey, going with the flow. When unconscious, this mismatch causes a lot of arguments.

Other listening positions include judgmental (or critical), active (or reflective), passive (or meditative) and so on. Some are well known and widely used; for example, active listening is trained into many therapists, counselors and educators.

5.) Noise harms and even kills. There is now wealth of evidence about the harmful effect of noise, and yet most people still consider noise a local matter, not the major global issue it has become.

According to a 1999 U.S. Census report, Americans named noise as the number one problem in neighborhoods. Of the households surveyed, 11.3 percent stated that street or traffic noise was bothersome, and 4.4 percent said it was so bad that they wanted to move. More Americans are bothered by noise than by crime, odors and other problems listed under “other bothersome conditions.”

The European Union says: “Around 20% of the Union’s population or close on 80 million people suffer from noise levels that scientists and health experts consider to be unacceptable, where most people become annoyed, where sleep is disturbed and where adverse health effects are to be feared. An additional 170 million citizens are living in so-called ‘grey areas’ where the noise levels are such to cause serious annoyance during the daytime.”

The World Health Organization says: “Traffic noise alone is harming the health of almost every third person in the WHO European Region. One in five Europeans is regularly exposed to sound levels at night that could significantly damage health.”

The WHO is also the source for the startling statistic about noise killing 200,000 people a year. Its findings (LARES report) estimate that 3 percent of deaths from ischemic heart disease result from long-term exposure to noise. With 7 million deaths a year globally, that means 210,000 people are dying of noise every year.

The cost of noise to society is astronomical. The EU again: “Present economic estimates of the annual damage in the EU due to environmental noise range from EUR 13 billion to 38 billion. Elements that contribute are a reduction of housing prices, medical costs, reduced possibilities of land use and cost of lost labour days.” (Future Noise Policy European Commission Green Paper 1996).

Then there is the effect of noise on social behavior. The U.S. report “Noise and its effects” (Administrative Conference of the United States, Alice Suter, 1991) says: “Even moderate noise levels can increase anxiety, decrease the incidence of helping behavior, and increase the risk of hostile behavior in experimental subjects. These effects may, to some extent, help explain the “dehumanization” of today’s urban environment.”

Perhaps Confucius and Socrates have a point.

6.) Schizophonia is unhealthy. “Schizophonia” describes a state where what you hear and what you see are unrelated. The word was coined by the great Canadian audiologist Murray Schafer and was intended to communicate unhealthiness. Schafer explains: “I coined the term schizophonia intending it to be a nervous word. Related to schizophrenia, I wanted it to convey the same sense of aberration and drama.”

My assertion that continual schizophonia is unhealthy is a hypothesis that science could and should test, both at personal and also a social level. You have only to consider the bizarre jollity of train carriages now — full of lively conversation but none of it with anyone else in the carriage — to entertain the possibility that this is somehow unnatural. Old-style silence at least had the virtue of being an honest lack of connection with those around us. Now we ignore our neighbors, merrily discussing intimate details of our lives as if the people around us simply don’t exist. Surely this is not a positive social phenomenon.

7. Compressed music makes you tired. However clever the technology and the psychoacoustic algorithms applied, there are many issues with data compression of music, as discussed in this excellent article by Robert Harley back in 1991. My assertion that listening to highly compressed music makes people tired and irritable is based on personal and anecdotal experience – again it’s one that I hope will be tested by researchers.

8. Headphone abuse is creating deaf kids. Over 19 percent of American 12 to 19 years old exhibited some hearing loss in 2005-2006, an increase of almost 5 percent since 1988-94 (according to a study in the Journal of the American Medical Association by Josef Shargorodsky et al, reported with comments from the researchers here). One university study found that 61 percent of freshmen showed hearing loss (Leeds 2001).

Many audiologists use the rule of thumb that your headphones are too loud if you can’t hear someone talking loudly to you. For example, Robert Fifer, an associate professor of audiology and speech pathology at the University of Miami Leonard M. Miller School of Medicine, says: “If you can still hear what people are saying around you, you are at a safe level. If the volume is turned so loudly that you can no longer hear conversation around you, or if someone has to shout at you at a distance of about 2 or 3 feet to get your attention, then you are up in the hazardous noise range.”

9. Natural sound and silence are good for you. These assertions seem to be uncontroversial. Perhaps they resonate with everyone’s experience or instinct.

10. Sound can heal. Both music therapy and sound therapy can be categorized as “sound healing.” Music therapy (the use of music to improve health) is a well-established form of treatment in the context of mainstream medicine for many conditions, including dementia and autism.

Less mainstream, though intellectually no more difficult to accept, is sound therapy: the use of tones or sounds to improve health through entrainment (affecting one oscillator with a stronger one). This is long-established: shamanic and community chant and the use of various resonators like bells and gongs, date back thousands of years and are still in use in many cultures around the world.

Just because something is pre-Enlightenment and not done in hospitals doesn’t mean that it’s new-age BS. Doubtless there are charlatans offering snake oil (as in many fields), but I suspect there is also much to learn, and just as herbal medicine gave rise to many of the drugs we use today, I suspect there are rich resources and fascinating insights to be gleaned when science starts to unpack the traditions of sound healing.

I hope these thoughts make a contribution to raising awareness of sound and its effects on health. I welcome your reaction, and I will check this forum and respond.

The opinions expressed in this commentary are solely those of Julian Treasure.

How To Get Your Music Accepted by Artists and Repertoire

Understanding why your music isn’t being accepted by Artists and A&R’s will help you overcome the frustrations many producers face. Here is a list of the of 7 common reasons why your beats are not being accepted.

The beat needs to fit the artist style

Do your research prior to sending out your work to artist’s and A&R’s . Know what kind of tracks the artist likes and what kind of tracks they recently recorded too. This will help you gauge the type of sound and the quality of music they are currently looking for.

Don’t put more than one tag on a beat

Many producers like to feature their i.d. tag throughout the beats they send out.  The reality is you only have 15-20 seconds to keep the artist attention and to intrigue them into listening to more of your track. You do not  want to waste any of this time by featuring an element in the track that will not be present if the track is accepted.

Instead you should always include your contact info in the meta data of the mp3′s and in the emails you send out. Also you should always take the proper steps to copyright your material especially if you don’t feel comfortable sending your tracks to the recipient.

Share a vision with the artist 

As a producer you know exactly how a artist should perform on your track. But a lot of times a artist will not have the same vision as you and that means you will need to articulate your vision to them.

A great way of doing this is by working with a skilled songwriter and have them record scratch lyrics or simply add a chorus idea on the track.  This gives the artist a blueprint of how they should perform on your track.

Use samples that are easy to clear 

Maybe you got a hot track but its features a sample that will be difficult and expensive to get cleared.
Depending on the type of sample used it may be best to work with some skilled instrumentalists to replay the sample and to add your own twist to it.

Send High quality, mixed tracks

If your engineering skills are not up to par, it will be a good idea to work with  good engineer to mix your tracks down before you send your tracks out. Artist and A&R’s use high quality speakers and headphones and a properly mixed track will definitely help you stand out from the crowd. It will also make it convenient for the artist as now they can record to your track instantly.

Make sure your sound is current

You don’t want to send tracks that sound like last years sound and for that matter you don’t want to send tracks that sound like today’s sound. (As the producers who made whats on the radio right now were tracks created over a year ago.)
Being  a producer in this industry you have to stay on the cutting edge and constantly push the envelope of your sound . To stand out you need a sound that is new and unique while still  maintaining the elements that are popular in today’s production.

Ensure the artist and A & R listens to your track 

Their email could of gotten flooded by other aspiring producers and your track may have gotten lost in the shuffle. Whenever a opportunity to get a track placed arrives you must act quickly before the artist email is bombarded.
Also this is where having some form of representation can come in handy. Artist and A&R’s give first priority to Producers and Managers whom they have already built a working relationship with.

Conclusion

Patience and persistence is key when trying to get music placements. Making sure your music isn’t falling into the above “7 reasons” will  definitely improve your chances of getting your music placed. Are you taking the proper steps to help your music stand out from the crowd?

New Single Gives Positive Spin on Monday Morning

‘Monday Morning’s slick production, spectacular singing / rap performances, and memorable pop / reggae infused beat make this a radio-ready track with real crossover appeal. ‘Monday Morning’ is a tour de force with an upbeat tempo and mainstream sound produced by Alex Alexander and Revolution Entertainment  with verses rapped by Demario SB and the chorus sung by Alex Alexander.

Download at Soundcloud: https://soundcloud.com/revolutionentertainment/mondaymorning 

ToneDen: http://get.tndn.io/l/7Cat8d-2N2

Itunes: https://itunes.apple.com/us/album/monday-morning-radio-edit/id1032334435

Spotify: https://open.spotify.com/track/0V5cCFBCqHmZv5fEbNneDH

Google play: https://play.google.com/store/music/album?id=B36q3th3atnw43wgdfjscbxjzx4&tid=song-Tipbrtnudkniyhbmszyr3fkg7tq&hl=en

Interviews:     High quality file and media requests can be facilitated by emailing rock@rev-ent.com

About Revolution Entertainment:

Artist development, production, music licensing and publishing company that specializes in song recording, music video production, artist management, product,

brand development, touring and merchandising. http://www.Rev-Ent.com 

About Alex Alexander

Alex Alexander is a Swedish pop/rock/electronic solo recording artist and guitarist that has professionally played all over Asia, the Middle East, and Europe starting at the age of 19.

As a crossover artist, Alex has already managed to earn great attention and awards from the industry for his songwriting and producing skills; writing songs for some of the market’s biggest superstars- currently in Asia; with scouted submissions for American Top40 Pop Stars. http://www.alexalexanderlive.com/

About Demario SB

Demario SB is an Independent Artist / Song-Writer and Entrepreneur. Originally from Buffalo, NY, he moved to Chatsworth Ca. at a very young age where he found his passion for music. As founding member of AYB (Ambitious Young Brothaz), Demario fine-tuned his craft on the journey to pursue a solo career. He creatively fuses music in genre’s as diverse as: HIP HOP, POP, ROCK, R&B, and EDM and TRAP.

Working closely with Revolution Entertainment, Dream Records and One Moment Productions, Demario continues to expand, and has worked alongside and performed with a plethora of artists such as Cali Swag District, Too Short, Houston, T. Mills, The Game, Warren G and Tyga.

A successful artist always leaves a positive lasting impression. They also create a connection with their audience while staying true to themselves. Demario SB, has the gift and the power to do just that. Already a ten-year veteran in the game, he is only just getting started and will definitely remain a force to be reckoned with in the years to come… http://www.demariosb.com/

‘Monday Morning’  Lyrics:

Intro

Monday Morning and my phone keeps calling

What happened on the weekend it was straight up ballin’

I don’t wanna wake up today

I’m closing my eyes hope it goes away

What did i do what did i say

Heads banging harder than a drum today

Wanna hear what I got to say

Listen up closely while I kick my game

Verse 1:

What happened to the weekend? DAMN it went fast

Friday don’t remember but the party must’ve been a blast

Saturday I was reminded of what took place that night I was blinded by

Jack and Patron

Now I feel the pain tossin’ turnin’ on the floor

Sunday Funday came, but my brain was drained

By the time I hit the sheets, I was feeling some type of way

Now it’s Monday Morning and the sun’s high

Sunrise, makes me feel as if I just died

My body’s moving slower than a zombie

Nothing left behind, today just makes me vomit

Thankful I’m alive but DAMN I hate waking to the…

Chorus

Monday Morning don’t wanna wake up.

I hear you calling but were heading for a break up

Weekend, yeah I party till the late night

One little kiss and you know were gonna make up

Monday Morning staring at the Ceiling

Clothes gone so I got this bad feeling

Last night? we ain’t got no clue

So just hit rewind and redo

Monday morning

Woah Oh, Woah Oh, Woah Oh Oh Oh,

Woah Oh Oh Whoa Oh Whoa Oh

I wrote this song on

Monday morning

Woah Oh Woah Oh Woah Oh Oh Oh

Oh Oh Oh, Woah

Dont wake me up on Monday Morning

Verse 2:

Can somebody help me?

I’m walking like I’m still drunk

Thinking how I’ma make through the next week

Hearing from my boss is a drag though

Blah Blah is what I hear when I’m in the zone

I don’t care what you doing, just go and live it up

And be ready, the weekend we’re bout sip it up

Double the fun we’re gonna mix it up

To all my who party and couldn’t get enough

Working like a slave, that’s ROOTS baby

But I party like a rockstar TOO baby

Alex, they wanna RAGE like it’s EDC

Let’s give it to em, let em know that’s it’s free to be

Who you want, on the weekend, then it’s back to the…

Chorus

Monday Morning don’t wanna wake up.

I hear you calling but were heading for a break up

Weekend, yeah I party till the late night

One little kiss and you know were gonna make up

Monday Morning staring at the Ceiling

Clothes gone so I got this bad feeling

Last night? we ain’t got no clue

So just hit rewind and redo

Monday morning

Woah Oh, Woah Oh, Woah Oh Oh Oh,

Woah Oh Oh Whoa Oh Whoa Oh

I wrote this song on

Monday morning

Woah Oh Woah Oh Woah Oh Oh Oh

Oh Oh Oh, Woah

Dont wake me up on Monday Morning

Get High and Heal (Without Drugs) With Binaural Beats

When two tones of specific frequencies are played through headphones, the brain can become confused and produce its own, imagined tone—a three-dimensional audio hallucination heard only within the head of the listener. The frequencies that produce this phenomenon are known as Binaural Beats.

What is happening is that the brain is not used to hearing frequencies in each ear so close together and with such intensity—these sounds do not occur in nature and so a mechanism in our brains has not evolved to understand them. Instead, the superior olivary nucleus, the area of the brain which controls aspects of three-dimensional sound perception, bridges the difference between the varying frequencies in Binaural Beats with a common “third tone” in an attempt to normalize this audio into something we can understand. What’s weirder is that each person hears the “third tone” differently: People with Parkinson’s disease can’t hear it at all; women will hear different tones as they move through their menstrual cycle.

Binaural Beats were discovered in 1839 by Prussian physicist Heinrich Wilhelm Dove (1803 – 1879) but they didn’t gain much public interest until the early 1970s. Then, scientist Gerald Oster postulated that the brain wasn’t solely affected by Binaural Beats. He tested this theory with fMRIs and found he was right. The neurological system as well as other parts of the body responded to the frequencies.

Since Oster’s discovery, Binaural Beats have been used as cure-alls for everything from impotence to bulimia. Spurious, right? Sure, but the difference between Binaural Beats, and, say, magic healing crystals, is that Binaural Beats have been clinically shown to physically affect the listener’s brain and body, even triggering the pituitary gland to flood the body with good-feeling hormones like dopamine. In other words, Binaural Beats are proven to get us mentally, physically, physiologically, biologically, scientifically, inextricably high.

WARNING: DO NOT listen to Binaural Beats while driving, operating equipment, or any other task that requires concentration. DO NOT listen to Binaural Beats if you have experienced seizures in the past or have epilepsy. Those with heart disorders or taking mood-altering pharmaceutical drugs should consult a doctor before trying. Use common sense.

Binaural beats are auditory brainstem responses which originate in the superior olivary nucleus of each hemisphere. They result from the interaction of two different auditory impulses, originating in opposite ears, below 1000 Hz and which differ in frequency between one and 30 Hz (Oster, 1973).For example, if a pure tone of 400 Hz is presented to the right ear and a pure tone of 410 Hz is presented simultaneously to the left ear, an amplitude modulated standing wave of 10 Hz, the difference between the two tones, is experienced as the two wave forms mesh in and out of phase within the superior olivary nuclei. This binaural beat is not heard in the ordinary sense of the word (the human range of hearing is from 20-20,000 Hz). It is perceived as an auditory beat and theoretically can be used to entrain specific neural rhythms through the frequency-following response (FFR)–the tendency for cortical potentials to entrain to or resonate at the frequency of an external stimulus. Thus, it is theoretically possible to utilize a specific binaural-beat frequency as a consciousness management technique to entrain a specific cortical rhythm.

Binaural beats, or binaural tones, are auditory processing artifacts, or apparent sounds, caused by specific physical stimuli. This effect was discovered in 1839 by Heinrich Wilhelm Dove and earned greater public awareness in the late 20th century based on claims coming from the alternative medicine community that binaural beats could help induce relaxation, meditation, creativity and other desirable mental states. The effect on the brainwaves depends on the difference in frequencies of each tone: for example, if 300 Hz was played in one ear and 310 in the other, then the binaural beat would have a frequency of 10 Hz.[1][2]

The brain produces a phenomenon resulting in low-frequency pulsations in the amplitude and sound localization of a perceived sound when two tones at slightly different frequencies are presented separately, one to each of a subject’s ears, using stereo headphones. A beating tone will be perceived, as if the two tones mixed naturally, out of the brain. The frequencies of the tones must be below 1,000 hertz for the beating to be noticeable.[3] The difference between the two frequencies must be small (less than or equal to 30 Hz) for the effect to occur; otherwise, the two tones will be heard separately, and no beat will be perceived.

Binaural beats are of interest to neurophysiologists investigating the sense of hearing.[4][5][6][7]

Binaural beats reportedly influence the brain in more subtle ways through the entrainment of brainwaves[3][8][9] and provide other health benefits such as control over pain

The “frequency-following response” effect.

The binaural-beat appears to be associated with an electroencephalographic (EEG) frequency-following response in the brain(3). Many studies have demonstrated the presence of a frequency-following response to auditory stimuli, recorded at the vertex of the human brain (top of the head). This EEG activity was termed “frequency-following response” because its period corresponds to the fundamental frequency of the stimulus (Smith, Marsh, & Brown, 1975). Binaural-beat stimulation appears to encourage access to altered states of consciousness.

 

Various Uses Of Audio With Embedded Binaural Beats

Uses of audio with embedded binaural beats that are mixed with music or various pink or background sound are diverse. They range from relaxation, meditation, stress reduction, pain management, improved sleep quality, decrease in sleep requirements, super learning, enhanced creativity and intuition, remote viewing, telepathy, and out-of-body experience and lucid dreaming. Audio embedded with binaural beats is often combined with various meditation techniques, as well as positive affirmations and visualization.

 

Resonant entrainment of oscillating systems

Resonant entrainment of oscillating systems is a well-understood principle within the physical sciences. If a tuning fork designed to produce a frequency of 440 Hz is struck (causing it to oscillate) and then brought into the vicinity of another 440 Hz tuning fork, the second tuning fork will begin to oscillate. The first tuning fork is said to have entrained the second or caused it to resonate. The physics of entrainment apply to biosystems as well. Of interest here are the electromagnetic brain waves. The electrochemical activity of the brain results in the production of electromagnetic wave forms which can be objectively measured with sensitive equipment. Brain waves change frequencies based on neural activity within the brain. Because neural activity is electrochemical, brain function can be modified through the introduction of specific chemicals (drugs), by altering the brain’s electromagnetic

The Discovery Of Binaural Beats

Binaural beats were discovered in 1839 by a German experimenter, H. W. Dove. The human ability to “hear” binaural beats appears to be the result of evolutionary adaptation. Many evolved species can detect binaural beats because of their brain structure. The frequencies at which binaural beats can be detected change depending upon the size of the species’ cranium. In the human, binaural beats can be detected when carrier waves are below approximately 1000 Hz (Oster, 1973). Below 1000 Hz the wave length of the signal is longer than the diameter of the human skull. Thus, signals below 1000 Hz curve around the skull by diffraction. The same effect can be observed with radio wave propagation. Lower-frequency (longer wave length) radio waves (such as AM radio) travel around the earth over and in between mountains and structures. Higher-frequency (shorter wave length) radio waves (such as FM radio, TV, and microwaves) travel in a straight line and can’t curve around the earth. Mountains and structures block these high-frequency signals. Because frequencies below 1000 Hz curve around the skull, incoming signals below 1000 Hz are heard by both ears. But due to the distance between the ears, the brain “hears” the inputs from the ears as out of phase with each other. As the sound wave passes around the skull, each ear gets a different portion of the wave. It is this waveform phase difference that allows for accurate location of sounds below 1000 Hz(9). Audio direction finding at higher frequencies is less accurate than it is for frequencies below 1000 Hz. At 8000 Hz the pinna (external ear) becomes effective as an aid to localization. In summary it’s the ability of the brain to detect a waveform phase difference is what enables it to perceive binaural beats.

Effects On The Brain

When signals of two different frequencies are presented, one to each ear, the brain detects phase differences between these signals. “Under natural circumstances a detected phase difference would provide directional information. The brain processes this anomalous information differently when these phase differences are heard with stereo headphones or speakers. A perceptual integration of the two signals takes place, producing the sensation of a third “beat” frequency. The difference between the signals waxes and wanes as the two different input frequencies mesh in and out of phase. As a result of these constantly increasing and decreasing differences, an amplitude-modulated standing wave -the binaural beat- is heard. The binaural beat is perceived as a fluctuating rhythm at the frequency of the difference between the two auditory inputs. Evidence suggests that the binaural beats are generated in the brainstem’s superior olivary nucleus, the first site of contralateral integration in the auditory system (Oster, 1973). Studies also suggest that the frequency-following response originates from the inferior colliculus (Smith, Marsh, & Brown, 1975)” (Owens & Atwater, 1995). This activity is conducted to the cortex where it can be recorded by scalp electrodes.

 

Altered States

Binaural beats can easily be heard at the low frequencies (< 30 Hz) that are characteristic of the EEG spectrum (Oster, 1973). This perceptual phenomenon of binaural beating and the objective measurement of the frequency-following response (Hink, Kodera, Yamada, Kaga, & Suzuki, 1980) suggest conditions which facilitate entrainment of brain waves and altered states of consciousness. There have been numerous anecdotal reports and a growing number of research efforts reporting changes in consciousness associated with binaural-beats. “The subjective effect of listening to binaural beats may be relaxing or stimulating, depending on the frequency of the binaural-beat stimulation” (Owens & Atwater, 1995). Binaural beats in the delta (1 to 4 Hz) and theta (4 to 8 Hz) ranges have been associated with reports of relaxed, meditative, and creative states (Hiew, 1995), and used as an aid to falling asleep. Binaural beats in the alpha frequencies (8 to 12 Hz) have increased alpha brain waves (Foster, 1990) and binaural beats in the beta frequencies (typically 16 to 24 Hz) have been associated with reports of increased concentration or alertness (Monroe, 1985) and improved memory (Kennerly, 1994).

Passively listening to binaural beats may not spontaneously propel you into an altered state of consciousness. One’s subjective experience in response to binaural-beat stimulation may also be influenced by a number of mediating factors. For example, the willingness and ability of the listener to relax and focus attention may contribute to binaural-beat effectiveness in inducing state changes. “Ultradian rhythms in the nervous system are characterized by periodic changes in arousal and states of consciousness (Rossi, 1986;

Shannahoff-Khalsa, 1991; Webb & Dube, 1981). These naturally occurring shifts may underlie the anecdotal reports of fluctuations in the effectiveness of binaural beats. External factors are also thought to play roles in mediating the effects of binaural beats” (Owens & Atwater, 1995). The perception of a binaural beat is, for example, said to be heightened by the addition of white noise to the carrier signal (Oster, 1973), so white noise is often used as background. “Music, relaxation exercises, guided imagery, and verbal suggestion have all been used to enhance the state-changing effects of the binaural beat” (Owens & Atwater, 1995). Other practices such as humming, toning, breathing exercises, autogenic training, and/or biofeedback can also be used to interrupt the homeostasis of resistant subjects (Tart, 1975).

Brain Waves and Consciousness

Controversies concerning the brain, mind, and consciousness have existed since the early Greek philosophers argued about the nature of the mind-body relationship, and none of these disputes has been resolved. Modern neurologists have located the mind in the brain and have said that consciousness is the result of electrochemical neurological activity. There are, however, growing observations to the contrary. There is no neurophysiological research which conclusively shows that the higher levels of mind (intuition, insight, creativity, imagination, understanding, thought, reasoning, intent, decision, knowing, will, spirit, or soul) are located in brain tissue (Hunt, 1995). A resolution to the controversies surrounding the higher mind and consciousness and the mind-body problem in general may need to involve an epistemological shift to include extra-rational ways of knowing (de Quincey, 1994) and cannot be comprehended by neurochemical brain studies alone. We are in the midst of a revolution focusing on the study of consciousness (Owens, 1995). Penfield, an eminent contemporary neurophysiologist, found that the human mind continued to work in spite of the brain’s reduced activity under anesthesia. Brain waves were nearly absent while the mind was just as active as in the waking state. The only difference was in the content of the conscious experience. Following Penfield’s work, other researchers have reported awareness in comatose patients (Hunt, 1995) and there is a growing body of evidence which suggests that reduced cortical arousal while maintaining conscious awareness is possible (Fischer, 1971;West 1980; Delmonte, 1984; Goleman 1988; Jevning, Wallace, & Beidenbach, 1992; Wallace, 1986; Mavromatis, 1991). These states are variously referred to as meditative, trance, altered, hypnogogic, hypnotic, and twilight-learning states (Budzynski, 1986). Broadly defined, the various forms of altered states rest on the maintenance of conscious awareness in a physiologically reduced state of arousal marked by parasympathetic dominance (Mavromatis, 1991). Recent physiological studies of highly hypnotizable subjects and adept meditators indicate that maintaining awareness with reduced cortical arousal is indeed possible in selected individuals as a natural ability or as an acquired skill (Sabourin, Cutcomb, Crawford, & Pribram, 1993). More and more scientists are expressing doubts about the neurologists’ brain-mind model because it fails to answer so many questions about our ordinary experiences, as well as evading our mystical and spiritual ones. The scientific evidence supporting the phenomenon of remote viewing alone is sufficient to show that mind-consciousness is not a local phenomenon (McMoneagle, 1993).

If mind-consciousness is not the brain, why then does science relate states of consciousness and mental functioning to brain-wave frequencies? And how is it that audio with embedded binaural beats alters brain waves? The first question can be answered in terms of instrumentation. There is no objective way to measure mind or consciousness with an instrument. Mind-consciousness appears to be a field phenomenon which interfaces with the body and the neurological structures of the brain (Hunt, 1995). One cannot measure this field directly with current instrumentation. On the other hand, the electrical potentials of brain waves can be measured and easily quantified. Contemporary science likes things that can be measured and quantified. The problem here lies in oversimplification of the observations. EEG patterns measured on the cortex are the result of electroneurological activity of the brain. But the brain’s electroneurological activity is not mind-consciousness. EEG measurements then are only an indirect means of assessing the mind-consciousness interface with the neurological structures of the brain. As crude as this may seem, the EEG has been a reliable way for researchers to estimate states of consciousness based on the relative proportions of EEG frequencies. Stated another way, certain EEG patterns have been historically associated with specific states of consciousness. It is reasonable to assume, given the current EEG literature, that if a specific EEG pattern emerges it is probably accompanied by a particular state of consciousness.

As to the second question raised in the above paragraph, audio with embedded binaural beats alters the electrochemical environment of the brain. This allows mind-consciousness to have different experiences. When the brain is entrained to lower frequencies and awareness is maintained, a unique state of consciousness emerges. This state is often referred to as hypnogogia “mind awake/body asleep.” Slightly higher-frequency entrainment can lead to hyper suggestive states of consciousness. Still higher-frequency EEG states are associated with alert and focused mental activity needed for the optimal performance of many tasks. Perceived reality changes depending on the state of consciousness of the perceiver (Tart, 1975). Some states of consciousness provide limited views of reality, while others provide an expanded awareness of reality. For the most part, states of consciousness change in response to the ever-changing internal environment and surrounding stimulation. For example, states of consciousness are subject to influences like drugs and circadian and ultradian rhythms (Rossi, 1986; Shannahoff-Khalsa, 1991; Webb & Dube, 1981). Specific states of consciousness can also be learned as adaptive behaviors to demanding circumstances (Green and Green, 1986).

Synchronized brain waves

Synchronized brain waves have long been associated with meditative and hypnogogic states, and audio with embedded binaural beats has the ability to induce and improve such states of consciousness. The reason for this is physiological. Each ear is “hardwired” (so to speak) to both hemispheres of the brain (Rosenzweig, 1961). Each hemisphere has its own olivary nucleus (sound-processing center) which receives signals from each ear. In keeping with this physiological structure, when a binaural beat is perceived there are actually two standing waves of equal amplitude and frequency present, one in each hemisphere. So, there are two separate standing waves entraining portions of each hemisphere to the same frequency. The binaural beats appear to contribute to the hemispheric synchronization evidenced in meditative and hypnogogic states of consciousness. Brain function is also enhanced through the increase of cross-collosal communication between the left and right hemispheres of the brain.

Resetting Your Brains Sodium/Potassium Ratio In Theta

Your brain cells reset their sodium & potassium ratios when the brain is in Theta state. The sodium & potassium levels are involved in osmosis which is the chemical process that transports chemicals into and out of your brain cells. After an extended period in the Beta state the ratio between potassium and sodium is out of balance. This the main cause of what is known as “mental fatigue”. A brief period in Theta (about 5 – 15min) can restore the ratio to normal resulting in mental refreshment.

Bay Area’s DecadeZ Scores Placements with E-40, Danny Brown, Tyga, & Management Deal

After years of producing, touring with his underground group “The Local Celebrities” & building his brand within the California music scene from the Bay Area as far down as Los Angeles it was in 2008 that, DecadeZ (then age 17), by chance met Mugzi & E-40. That chance encounter created a multitude of opportunities in which DecadeZ’s name began to spread even more rapidly than before. As time went on, his relationship grew with both Mugzi & E-40. Being as young as DecadeZ was at the time,  it intrigued Mugzi in particular due to the fact that DecadeZ was originally from Bakersfield,CA and had found his way all the way to the bay to network out of his element. This fire inside of DecadeZ made Mugzi & E-40 take him in as one of their own & from there…. the rest has been history.

DecadeZ hails out of the west coast as one of the most creative artists to emerge in years. Working with artists such as E-40, Bone Thugs-N-Harmony, Keak Da Sneak, The Pack (The group who created the 2006 hit “Vans”), & more, he shows that he can be a main staple in the music business and that he brings another dimension to the table.

As a lyricist, he’s comes with his brash delivery and punchlines that come off almost ignorant in a way (much like Ludacris) On the other end of the spectrum, he is also a very versatile vocalist and songwriter who’s songs hold a place very near to the heart of individuals using past experiences that common people go through and allowing them to share the emotion with him as an artist.

Hailing as one of the most creative artist to emerge in years, DecadeZ comes off as a crowd favorite and the team player everyone likes to be around. Overall DecadeZ has created a consistent brand and signature sound via his music and his signature trademark tag “He’s Been Hot For DecadeZ”.

As a Producer, he holds a sixth sense-like ability to fully envision,embrace,and create a complete record for an artist.

DecadeZ in short means forever .. and the field he is in is “music”.

Forever In Music

– DecadeZ

For PR, marketing, management, and beat sales contact Mike @ SoundSaves .com or 310-514-6820 or Lauren Michaels 619-218-6615
Official Website:
www.beatsondec.com

http://www.twitter.com/decadez

Videos DecadeZ is featured in:

Remembering Big G.

39047_1576378854627_860498_nAs the Founder of Sound Saves, a social impact music publishing company. I started the company as a way to help spread my former business partner’s (Gregory Evans aka “G”) vision of empowering positivity and love.

My best friend and business partner Gregory Evans passed away this year. He is the muse of Sound Saves as he originally funded the company, as well as discovering Kajmir Royale. G was my rock. He held the company together despite financial loss, employee fall-outs, and was the only person that offered unconditional emotional support as he listened to all my problems with an unbiased ear. Everyone wants to be heard, understood, and appreciated. He truly gave everyone the chance at being heard.

His unwavering support in Sound Saves, as well as vision to spread truth and wake people up to consciousness led me to use this platform of ‘music is medicine’, allowing me to connect human emotions with the healing power of music.  His passing made me realize how short life is. G was responsible for my involvement in the music business. He left a legacy through Sound Saves by envisioning an awakened world united in truth. He told me a story about his rock bottom moment while in Colorado Springs, 12 years ago on a stormy night, drove to the snowy mountains of Pikes Peak with plans to drive off the mountain, feeling hopeless. Divine intervention saved his life as he was touched by “God” with his vision, ultimately leading him to abandon plans of ending his life.

1400806_10202594365205577_1122186763_oGregory Evans. G. Preston Tyiir. Big G.

A best friend. A mentor. A business partner. A guardian angel. You saved my life and the lives of so many others.

You overcame huge challenges and obstacles in life. You asked questions and took genuine interest in us. You treated everyone equally, like family. You had a confident spirit and a big vision.

When we met, you were drawn to my orange office wall and we got along right away talking about life. You were managing a team of rappers led by Kajmir Royale and made a song for my sports company. I would volunteer to help you with music videos, write scripts, share movies that opened us up to new knowledge, work in the studio in downtown Denver, put on concerts, move office desks and chairs from place to place, and watch Broncos football games. We were always discussing life and business.

You allowed me the opportunity to read your journals where you poured out your soul on paper about your life growing up, your family, daughter, and your found spirituality. It hurt you so much to be away from your family for awhile. Your hope was to evolve into God’s purpose.

Your soul sought balance, spirituality, and compassion, knowing a soul’s compassion was achieved over time through error and extremes.

From his journal in 1998 G wrote “I thank you father, in the name of love for sharing and showing me how to live a life of positivity and dedication to what’s right and just.”

You were always quick to lend a hand, stayed on the phone with me when I was going through tough times. You were a strong man.

You were supportive of my new relationship with my girlfriend, another troubled soul. On New Years eve this year we told you that we loved you and we meant it with all our heart and soul.

10535579_10204842957578981_5821209309688937111_oYou strove for Love, Truth, Peace, Freedom, and Justice. You were consistent: a rock. You taught dedication and perseverance. In business and life you wanted to have the merit of doing good honest business. You started a foundation for a vision and concept in the entertainment industry called Don’t Sleep. You poured your energy, heart, and soul to bring oxygen to this vision. Through dedication and perseverance the dream came true in Denver and eventually moved the operations to Hollywood.

You wanted us to stand on our own two legs. You had exceptional character, gave everyone a second chance, sometimes a third or a forth chance.

Your heart was refined in fire, fighting off the evils in the world, staying strong through it all. You had A Golden Heart.

“No matter how negative the experience, within it are the seeds of an equivalent or greater benefit.” You wrote those words and it couldn’t be truer now.

We must fulfill G’s vision and wake up the world.

Here’s a poem from G’s journals called Rainy days and smiling ways.

“My child it’s no secret we are from the same place. I asked the Lord to show me your face. He said, lay back, close your eyes, and your smile will appear. Many years have passed but our time is very near. Always remember the good things for the clouds make rain but the heavens must open to relieve our pains. Hurt only lasts for a little while, and joy is a lifetime thing.

Smell the sweetness of the flowers, spring time, and let’s sing. Look up to the sky, see the moon and the sun, the stars, the black night, just touch your precious heart and know everything will be alright. Love is forever, I must thank the Lord he brought us together. My love is in you.

As you reflect upon the past of confusion or look in the mirror and know your future stands bright. In you there, I am always.”

In conclusion, here’s what you can do to live on his legacy. Be curious always searching for the truth, unsatisfied with the mainstream knowledge that is fed to us. Always have an open mind and heart. Support others, helping them get their feet solid on the ground. Most of all love yourself, love others, and love music! Don’t Sleep. Big G Rest in Peace. We love you. – Mike Will Downey





10934000_10206073404859394_6780525603903952139_n

Kajmir Royale Releases Beat Album ‘Metamorphosis’ Vol. 1

Kajmir Royale (MIR) is a music producer, songwriter, and rapper known for creating a unique style of music combining hip hop, pop, and dance music. With over 200 million views in seven years he’s sold over 15,000 instrumentals to artists globally. Kajmir has major placements with recording artist from Kid Ink, grammy winner Lecrae, Ray J., Wiz Khalifa, Dj I’ll Will, Crooked I, Sean Kingston, Soulja Boy, Bow Wow, Red Cafe, Lil Twist, Ya Boy, De La Soul, Rytmus, Mistah Fab, Jae Millz, Yung Berg, Hell Rell, JR Writer, DMX, and many more.

“I’m raising the bar for other music entrepreneurs to have a positive impact on this world. I can’t read about our environmental issues and not want to do something about it. I want to goto the situation and make a difference. I also want to learn a new language and be helpful to more charities this year.”

 

Key Highlights:
* 200 Million+ Downloads, Shares & Listens
* Produced and Rapped on 4k+ songs
* Grammy Nomination for Rehab (Lecrae)
* 200k+ Email Subscribers
* 65k+ Total Social Subscribers (3 pages)
* 1M word Rhyme Dictionary

Kajmir Royale has been featured in Westword, Hot New Hip Hop, Dat Piff, World Star Hip Hop, & many more. Kajmir Royale has performed over 200 times including:
Lakers vs. Nuggets Halftime Show, STS9, Fort Collins Wine Festival, Mammoth Mountain, People’s Fair, & Lotus Entertainment Group.

Download Kajmir Royale’s New album ‘Metamorphosis’ here: https://itunes.apple.com/mz/album/metamorphosis-vol.-1/id1009462799

Stream on Spotify:

For more information contact Mike@ SoundSaves.com or 310-514-6820