Born to a military family in Maryland, Kayla experienced life in places such as Spain and Ireland, the North Carolina country, and New Jersey. These experiences have helped shape her love for music, art, and culture. Kayla Jay is a driven, passionate, and charismatic artist with a unique approach to her blend of Pop and R&B.
The video for her single, “I Don’t Care”, is a tribute to being yourself, despite what anyone else thinks or says. Watch it at the link below.
Buy the single on ITunes, google play, and Amazon! Check the links below the video for all her social media.
As opposed to solely performing, Kayla composes, writes and produces all of her content, allowing a deeper involvement of the artist at the most important stages of the creation and production process- she’s a true triple threat. Kayla Jay’s music is can be uplifting, even while at times utilizing dark melodies, with thought-provoking lyrics. Her voice delivers smooth, soulful Pop and R&B vocals over ballads and dance tracks alike.
The mastering engineer is the final step of the creative phase, and the first step of the manufacturing phase. It’s the final moment to hear your work, polish, and make a change in the sonic presentation. It is also the first step of the manufacturing phase, because it prepares the master in the way that best suits the needs of the manufacturer.
The goal is to listen to the broad picture; the actual content is immaterial. The mastering engineer is paying attention to EQ presentation, to level presentation, to dynamics presentation It’s taking a collection of songs, and creating a catalogue of body of work.
In other words it’s the flavor to what you are cooking in the pot. it makes the main ingredients in your craft taste good to the ears.
Preparing Your Mix for Mastering
When you show up at the session, it’s essential that you are prepared. You should clearly label which are the final mixes you’d like the engineer to use. You should have all the details of the file finalized such as song titles, sequencing, and metadata such as ISRC codes and CD text. It’s also important to have documentation of any known problems with the files as well. Accurately note the existence and location of glitches, digital errors, distortion, bad edits, and level problems. This will save a lot of time and money during the mastering stage.
Additionally, you should know who the manufacturer will be, and what their requirements are for type of master and method of delivery. Make sure the songs have been accurately timed out, so that they will comfortably fit the size of the intended format(s). If you are supplying the pre-master mixes on an analog format (like tape), it is very important to include full reference tones and documentation of the specifics. This assures that the material will be played back at proper levels and bias.
2) Provide Alternate Mixes
A preferable way to present files is for the mix engineer to include alternative versions of the mix: vocal up, vocal down, solo up, solo down, etc. Remember it is important keep these alternate mixes well marked, organized, and documented.
With the advent of DAWs, one question that has come up is whether it is preferable to have stems as part of the delivery. Some engineers prefer stems to allow more tweaking and flexibility in the mastering process. However, there are also several potential drawbacks to this.
Including stems can blur the line between mixing and mastering. The mastering engineer can start to lose objectivity, because he or she is now tasked with balancing the final mix. Another concern is that the character of the whole doesn’t necessarily translate to the character of each of the stems. In trying to optimize each individual stem, the result is often detrimental to the nature of the final mix.
3) How Much Should You Compress Your Mix
Digital audio files should be delivered at the same resolution as the recording. It’s important that the mixes include some headroom to allow the mastering engineer room to work. An efficent technique is to have peaks at around -3 dBfs with an average (rms) around -10 to -14 dBfs. Final buss compression should remain minimal, because it’s not something the mastering engineer can undo. A standard practice can include final compression of the mixes as a reference file to the artist, but it’s wise when that’s not included in the delivered files for mastering. With high-resolution audio there is no benifit to maxing out the levels.
It’s benificial to not have fades included on the final mixes. The mastering engineer can make fades shorter, but can’t make them longer. Sometimes in the sequencing you realize you want it longer than you thought you did, just to keep things flowing properly.
Don’t Let Your Ears Deceive You
There’s been a lot of speculation about the issue of loudness. There are yay”s and nay”s to having high levels, but there’s a point where it can be too loud or too quiet. A misconception about a loud file is that it will sound louder on the radio, when in fact the opposite is true. Going through all the compressors on the broadcast can clamp onto a signal and hold it back. The louder a song, the smaller it will sound on the radio.
Similarly, a misconception about MP3s is that the louder the song, the better they sound. The purpose of an MP3 is essentially to shrink the file size, which occurs by eliminating data. The algorithms are designed to throw away data below a certain threshold. Low-level information is discarded. A highly compressed song has no low-level content, therefore the algorithm is throwing away information you can hear.
4) Gear Is Great; the Room Is Better
The most important piece of equipment for a mastering engineer, besides his or her own ears, is the room. The feedback given by the room affects the perspective and opinions of mastering engineers, which in turn influence the decisions they make. A revealing monitoring environment tells everything about the mix — the good and the bad. This is necessary for mastering engineers to be able to make accurate changes that affect the final translatability of the audio. One of the goals of mastering is to ensure that the project sounds as good as it can on a wide variety of playback systems.
5) Don’t Master Your Own Work
If you are too close to the material, it is hard to emotionally separate yourself from the content, and accurately hear things like level, EQ, and dynamics. This is not because you don’t have the skills, but because it is extremely difficult to have the emotional detachment necessary when you are listening to your own work. An essential role of the mastering engineer is to be emotionally unbiased. The mastering engineer and the mix engineer should be two separate people, in two separate environments.
It is always best if you can involve your mastering house early in the process. Get the specifics for submittal before the final mixes if possible. If they are willing and time permits, submitting your mixes ahead of the mastering session can allow for detection of problems and suggestions for improvement.
Mastering is the final creative step to take your mixes to the next level. The specialized equipment, finely tuned monitoring environment, and most importantly, the unbiased experience of a pro will help you hone your material to a competitive edge.
Following these suggestions can help you enter this final stage with confidence, and help you maximize your time for a smooth and productive session. This will ultimately save you time and money, prepping the way for a productive and hopefully enjoyable experience.
Hi thanks for stopping buy and taking the time to check out this very informative and helpful series of how to get the exposure that you want. Everyone has tips here and there but I like to keep things simple and plain, I find that to be useful and more effective. So you have been doing music for quite some time now only to feel frustrated and almost ready to quit. Well honestly don’t quit, success does not come over nite.
It is a process and requires work. Below will be some helpful tips that I have found to be of great help. Apply this and stick with it
step #1. YouTube. Record a video of what you do and what your supplying your audience with. If you are a producer I highly recomend you recording a video of you producing a beat, are you can make a simple backdrop while the beat is playing. This requires simple editing. This is an example of what one would look like.
Step # 2. Website.A website will set you apart from artist who do not have one, honestly it looks more professional when someone sees that you have a website. It allows people to really get a feel for who you are as an artist. Make sure when you purchase a website you have a dependable web developer who will do good honest work. If the website strikes you as something appealing and you are in need of a web developer visit http://www.sebaad.com.This is a good way of putting yourself out there.
Step # 3. Have a sample of your work on you at all times. This can be a simple 1 minute display of your work. Once people see you are good and can tell you have a catalog of creativity it can really change how they look at you. Here is a sample of the music I have produced.
Step 4 # Facebook. Connect with artist on Facebook. Get the word out about you as an artist. The social world has really became a great place for connections with all different types of individuals you normally would not have the opportunity to connect with. Feel free to connect with myself as well. Remember you can connect with the world one person at a time.
If you found these tips helpful please comment below.
Bieng a productive producer is more than just producing a hot beat!
Producing entails much more than that for sure, producing doesn’t mean your around an artist hoping he will blow up. If you are dealing with a new artist that’s new to the game this particular artist needs guidance. Producing is a serious job that requires chemistry and patience. Don’t expect someone to know your musical terms and look at them funny because they don’t. Music was created to connect people and is extremely fun. It’s positive and connects us all through the world. That to me is powerful. Your producer should be fun to work with and should be teaching you as well
so how do you know if you have a good producer
1. Does your producer care about your project as much as you do?
your producer should be in the studio with you at all times, it shouldn’t be a here and there thing. Songs are important and if your producer does not take your song serious it can mean a number of things. This is really important because your producers opinion matters. Although every option does not have to be considered. Either way your producer should be there to guide and to help oversee the project. Remember it’s going to be his work out there as well come promotion time.
2. Is your producer really paying attention to the music that you record and is the producer giving you feedback. Is the producer engaging in your project. Producing is more than hitting record. It requires attention to the artist. If your producer is not paying attention it may be time you find a new one.
3. Growth. Are you growing as an artist ? Has your music developed since you and your producer began working together ?. There should be some growth. The producer should be easy to work with and should challenge you at the same time which should play a big role in the development in your skill.
4. Is more so about you as an artist. Can you follow directions lol in all seriousness can you ?. Some artist want to tell there producer what to do and this is the wrong way. Remember your producer is there to guide you. There is nothing wrong with suggestions.
5. This is a big one. Chemistry! This is serious because this really shows up in the quality aspect of your music. If chemistry is there you are more like to make a hot track which is honestly what your goal should be. Chemistry is definitely a serious quality that music should have.
Everyone deals with different ways to make a good song and it isn’t always easy but if you found a producer who is good and he is open minded. And can understand you as an artist than your music will be that much better, please let us know any technique that has helped you while Bieng in the studio
if you have any questions are concerns pls feel free to contact me at www.uniquecustombeats.com or via email Chris@uniquecustombeats.com. #619-609-4169
If you are a singer are rapper you should definitely have a strong stage pressence, the crowd is your house and every house needs to be under the influence of leadership, having a stage pressence is more than releasing songs on Facebook and hoping people will just begin to pay attention to you over night. This type of influence takes time to develope. Performing is just apart of your job. This blog will help you in just some short but effective ways of beginning your journey to a strong and effective stage pressence. For example Eminem began battling,performing,recording and also recording certain battles and performances. People need to see that your human.
This is where respect comes in to play, once you overcome your journey in search for your compelling influence imagine how strong your stage pressence will be. It’s simply a game of sticking with it. Below will be a short step plan of obtaining your goals as an influential singer are writer.
1) preform but not only preform, record your performances so that you can critique your work. This gives you a good chance to see what mistakes you may have are may have not made. This will allow you to also get real feedback from close ones who you concider to be in your corner, make sure it’s someone you trust who can also point out certain things you may have not noticed
2) Study artist who already have a stage pressence. Look at how they engage the crowd when performing, use these artist as teachers to better help you along the way. This is a simple process that can be done right in front of YouTube. Honestly it may also be good to go to a concert every now and than to get the real feel of a controlled crowd. When I say controlled crowd, it simply means does the artist have there complete attention and is there a thrill. If so this is a good sign that the artist is controlling the crowd. I could embellish on this but I believe you get the idea.
3) Get at least one producer on your team. I think this step is for obvious reasons. The producer if he is a real one will guide you and mentor your music career, not the other way around. Remember the producer here’s to guide you in the studio and produces the beat. He should have some type of connection with you to help this process become more successful. A rapper are singer unfortunately are not suppose to be in complete control during this process, this is a time set to sharpen your craft and requires a high level of guidance. If your producer is not guiding you, honestly it may be time you find a new one
4) make a video. With social media on the rise this is a good time to take advantage of all the sites such as Facebook,MySpace,Twitter,YouTube etc. this can help your stage pressence out tremendously. Post your videos on Facebook join groups that share similarities and ask people to like and share. Create a YouTube Chanel. Give fans a little bit of you, earn there trust by letting them see you.
There is much more you can do but take these steps in slowly. Remember you may not see a big turn around right away but each day is an opportunity to engage with people who may find your talent interesting enough to follow you and become a fan of your craft.