beat making software – Timbaland unleashes beats in music-making application for PlayStation Portable – Yahoo! Canada News
Timbaland unleashes beats in music-making application for PlayStation Portable – Yahoo! Canada News
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Fri Sep 4, 6:18 AM
By Derrik J. Lang, The Associated Press
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LOS ANGELES – Timbaland is not afraid of wannabes stealing his flow.
The producer-singer, who has collaborated with musicians ranging from Justin Timberlake to Nelly, has found a new duet partner in Rockstar Games.
Timbaland is teaming up with the developer behind the “Grand Theft Auto” franchise on the handheld music-making application “Beaterator,” but the hip-hop impresario doesn’t think the app will put him out of a job.
“I can give you everything,” he teases, “but you’re not gonna think like I would think.”
“Beaterator” features nearly 1,300 sounds and loops created by Timbaland and about another 2,000 from the developers at Rockstar Games. The application is split into three modes: Live Play, Studio Sessions and Song Crafter. Unlike rhythm titles like “Guitar Hero” and “Rock Band,” there’s no game element to “Beaterator.” Everything is unlocked from the outset.
Amateur mixmasters can layer vocals, drum machine sounds, kicks, snares, bass loops, synth sounds and a myriad of other noises to create unique beats and melodies. The only game-like aspect of “Beaterator” is Live Play, which allows users to create a song by mashing buttons alongside a virtual Timbaland, who the real Timbaland insists could use some more muscles.
The Grammy winner – whose real name is Tim Mosley – wasn’t prepared for how long it took to transform “Beaterator” from a simple application that originally appeared on Rockstar Games’ Web site in 2005 into a full-blown beat machine program that will be available for the PlayStation Portable on Sept. 29 and the iPhone and iPod Touch later this fall.
“They broke it down and said, ‘Tim, this is not like music. It’s gonna take three to four years. Are you prepared for that?”‘ says Timbaland. “I thought about it just like this – let me try it. And so here we are today. It’s all about timing. Sometimes you look at those years and think it’s a long time, but it’s really not. It’s really not.”
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Sales begin from the bottom-up or the top-down. They can begin internally from a perceived need, or they can begin externally from a marketing presentation. No matter how the sale initiates it ends with the executive in charge of the decision saying yes or no.
Sales can turn into large accounts if the executives impacted associate you and your company with solutions that benefit each of them. If so, you will be able to use this credibility for more sales and referrals, quicker and easier. If not, your stuff will be considered a commodity and the subordinates will be under tremendous pressure to reduce your price and/or switch vendors. Therefore your goal is to be recognized by the leaders.
Executive Make Decisions. Subordinates Recommend
Most sales people believe that sales, especially technical sales, are made at lower levels. They argue that the executive is just a rubber stamp. If the executive is so perfunctory, then why is the information about your offering taken to him or her for approval? It’s because this executive is intimately involved in the outcome. He or she may have been the thrust behind the bigger solution of which your product plays a part. Most importantly s/he will take the hit if it fails.
If one believes that the senior techie or subordinate makes the decision, then you have relinquished control of your sale to the techie. What if the boss says no to the techie’s recommendation? What if this subordinate doesn’t understand the bigger picture? Then you’re dead. Subordinates are important to you because they can affect you positively or negatively, but they do not call the shots. They approve the spec’s and requirements.
Senior managers approve the deal and being connected in where they live gives sales people the opportunity to influence the real issues. Being connected in the executive living quarters also gives sales people the opportunity to influence other associates. These associates are important because at the upper levels they talk and listen to each other. Subordinates can be dismissed, but same and higher levels will not be dismissed. Exec’s eat lunch together. They sit in staff meetings and discuss strategies that involve your solutions. The better known you are by these suite members, the better your chances for success.
How Executives Decide
Decisions are based on risk and effort involved compared to the perceived benefit to the individual executives. They hate risk and avoid unnecessary battles. If something is working, why change? 80% of high level managers are risk avoiders. So knowing what each fears is critical to understanding what it will take to overcome a no or a stalled decision. Additionally, leaders seek concurrence from their associates. Rarely will they go it alone or without trial balloons. Politics are crucial and personal gains are the root of politics. All the more reason to know what the other executives are thinking.
Executives are paid to make decisions to help the company prosper and/or survive. If they make good decisions they keep their job and all its rewards or move up the organizational ladder to more rewards. While making their decisions, they gather information, analyze it, filter it through their intelligence/experience and political mechanisms and then decide. Decisions they make are good for the company, but real good for themselves. Even those really nice, salts of the earth, corporate team players, decide based on what’s in it for her/him. If they say no to a decision, they may use the company, the economy or budgets, as excuses. Bottom line, the gain is not big enough for the risk and/or effort involved.
Think about a sale you worked on hard and didn’t get. If you knew what the executive in charge of the decision feared or was afraid of losing, you would have had the real reason the sale stalled, stopped or was lost. If you knew, you could have possibly built a strategy to relieve the fear and/or perceived effort. You probably rationalized the loss on price. Sales are not lost on price. Price is an easy justification – usually passed-on by the subordinate.
So What Do You Do?
Understanding what’s good for the executive, from the executive’s perspective, is going to be your #1 key to winning over executives. To do this you must gain access to the executives and learn what’s in it for each, the risk for each and the effort for each.. The magnitude of these and the impact to each will dictate the involvement/influence of the particular associates. Have you made sales in the past without doing this? Absolutely. However, you were lucky. Someone else delivered your message or the executive figured out by her/himself that the win/fear ratio was the best with you.
To get to the leaders clubhouse use the subordinates. If you sell the subordinates, they will help you. If you don’t they will block you. Once in the “members only” area, learn the results, expectations, benefits and fears of the members you meet. Without this first hand knowledge of each executive you will never really know what’s important and what’s holding up the decision going your way.
After getting there and interviewing each executive, you can now do what you know how to do best. Present your solutions. However, now you’ll know how to fit your solution to each executive so s/he will personally gain or avoid loss without risk. Remember each member has his/her own agenda. This is why individual meeting are far better than group presentations. These people do not want to sound self-serving in front of their associates. But you will never get their vote unless each sees the win for him/herself.
Fear of the Subordinates
If you’re still hung up, on the subordinate, purchasing agents, brokers, and administrators being the decision-maker, consider this. These people can maintain a sale – meaning they can continue to approve buying the same product. They cannot approve new initiatives or system changes. They can not spend money without a budget. Matter of fact they usually have to get approval to spend their budget money. These people can only solicit bids, beat you silly for price and finally recommend. Call me crazy, but this is the way it is. You can not ignore the techie or circumvent them or they’ll hurt you. If they keep you from moving up, they have not yet bought into you.
If you’re the incumbent, keep these people happy. However, make sure you get introduced to the executives and develop a positive relationship. Your competition is hammering away trying to find an in. The one that appeals to the executives, wins. The one that stays low, eventually loses.
Click either link for More Articles on www.SamManfer.com
see http:///www.sammanfer.com/article.htm
About The Author
Sam Manfer is a sales consultant and author with many decades of experience. Author of the book, “TAKE ME TO YOUR LEADER$,” Sam helps clients like Apple, Marriott and Fidelity develop high level customer relationships, improve sales and prospecting skills, and learn how to negotiate and communicate effectively. Previously, he held management positions with British Petroleum, Fisher Price Toys and Gemcor. To learn more on C-Level Selling, read Sam’s book – visit: http://www.sammanfer.com/productpage.htm . Subscribe to his monthly Ezine of fresh Selling Wisdoms. Follow Sam’s C-Level Selling Blog at http://www.sammanfer.typepad.com
Learning To Play Ode To Joy On The Keyboard
You have never played the keyboard. Your task is to start learning the keyboard and to perform “Ode To Joy” at the mid-year concert.
You will have one term of learning and ten half hour private lessons with a teacher before the concert.
So what is a keyboard?
A keyboard is an electronic piano-like instrument which has many functions to create varying sounds and rhythms. The most popular keyboards have four or five octaves
and the keys are the same size as the piano. Keyboards vary so it is best to follow the manual to work what does what.
Step By Step Learning Guide
You can follow this guide, a teacher to show , play and guide you and a suitable tutor book which has information, exercises and pieces, including “Ode To Joy”.
Step 1: Introduction To Music
You will learn the following:
1. The musical alphabet: A B C D E F G
2. The white and black keys: The black notes are grouped in Twos and Threes in the same repeating pattern.
3. Your first note(s) C: ‘C’ is found to the left side of the Two Black Notes. Find all ‘C’s and play them.
4. Numbering your fingers: Start with the thumb as number 1, then work through the fingers 2, 3, 4 with the little finger as 5.
5. Basic Notation: clef signs: treble clef – use right hand
-bass clef – use left hand
-grand staff: the set of five horizontal lines used to read notes in the treble clef joined with a vertical line to another set of five lines underneath, used for the bass clef
-bar lines: the horizontal lines seen regularly on the grand staff
-bar or measure: the music written between two bar lines
-double bar lines: two thin double bar lines indicate a change of theme in the music
-one thin and one thick double bar line indicates the end of a piece
6. Time Signatures: The figure after the clef sign tells us how many counts there are in each bar. To begin with we only need to read the top figure.
eg 4 count 4 in each bar 3 count 3 in each bar
4 4
7. Note lengths: You will learn 4, 3, 2, 1 count or beat notes with their given names of semibreve, dotted minim, minim, crotchet respectively.
8. The keyboard can play and sound like a piano or like a keyboard where there is a s
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plit point. This means that notes played to the right of that split point are melodic and played with the right hand. Notes played to the left of the split point are on the Accompaniment Section where chords with the left hand are played along with any rhythm which has been set
9. Your first tune: This will be ‘Mary Had A Little Lamb using any set of three black notes and your second , third and forth fingers.
Step 2: Playing Notes and Tunes With Your Right Hand by:
1. finding and playing all C’s, D’s, E’s, F’s, G’s separately on the keyboard. Each letter name has a specific place related to the black notes; therefore you can find eg all E’s on keyboard by playing the note to the right of the set of two black notes.
2. playing rows of one note using each of the four note lengths learnt in step 1 part 7. eg row of F’s on 3 beat notes
3. playing rows of one note using varying note lengths.
4. making up your own tunes using C D E F G and 4, 3, 2, 1 beat notes.
5. learning to read and play middle C D E F G
Middle C is the C closest to the middle of the keyboard.
Use the fingering 1 for C, 2 for D, 3 for E, 4 for F, 5 for G
Follow the guidance of your teacher and your tutor book to give you exercises and pieces to practise. Count out loud to help keep you in time. Numbers above the notes are the fingering numbers and means you play that particular note with the finger related to that number.
Please note that when learning a new exercise or piece you:
~ name each note
~ clap and count out loud the rhythm
~ play and say the notes
6. Read and play ‘ Mary Had A Little Lamb’ on the white notes using middle C D E F G
Step 3: Left Hand Notes In the Accompaniment Section:
You will start learning
1. six notes starting on G one and a half octaves below middle C; namely G A B C D E and using your left hand fingering 5 4 3 2 1 1 respectively.
You should have pictures of the keyboard and note positions plus relevant music to play and practise in the tutor book.
2. Chords: A chord is a group of notes played at the same time. A letter name eg C is placed above the melody to indicate which chord to play.
You will learn ~ C major chord – G C E
~ G major chord – G B D
~ F major chord – A C F or F A C
3. Tunes with right hand melody and the left hand chords.
There will be tunes just with C and G chords and then with F added.
Learn each hand separately first and when secure put the two hands together
4. Repeat Signs: these are signs to indicate repeating a section of music.
First and Second Time Bars: these are used when there is a section of music repeated but have two different endings.
Step 4: Introducing The Tie
A TIE is a curved line written above or below notes of the same pitch. The second note is not played but held for its full value.
You will practise exercise and pieces related to the TIE and what you have learnt previously.
Step 5. Introducing Quavers
You will learn what 1 quaver looks like, what 2 quavers look like and that each quaver gets half a count.
Follow your book for exercises and pieces.
Step 6: Introducing The Dotted Crotchet and Ode To Joy
1. Dotted Crotchet:
When you place a dot after a note it increases that note by half as much again.
A crotchet equals one beat and the dot after this beat equals half a beat. So a dotted crotchet equals one and a half beats.
A dotted crotchet is therefore followed by a quaver to complete the second beat.
dotted crotchet quaver
1 1/2 + 1/2 = 2 beats
counted 1 2 +
2. Ode To Joy
Learn this piece as you have learnt all the others.
When you can play this piece with two hands then it is time to use some functions on the keyboard to enhance the piece.
Some of the functions
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are:
a. Sounds: Experiment with the range of sounds your keyboard has by pushing the sound button followed by a number related to your chosen sound. Pick a suitable sound.
b. Dual Sound: This is where you can set two sounds together to get an effect. When you play a piece you can play a single sound, dual sound or mixture of both.
Keyboards may or may not have this feature.
c. Metronome: Press this button and you can practise keeping in time.
d. Drum Beat: Play your piece with a background drum beat on the press of a button
e. Style: There are a wide range of background rhythms you can pick on the press of the style button followed by entry of a number given to the chosen style.
Ode To Joy has 4 beats in a bar so there will be a limitation of choice. Pick a suitable rhythm.
When you change the chord you play in the left hand the sound of the rhythm changes.
f. Introduction and ending: There may be a button you can push to give you an automatic introduction and ending to your piece.
Experiment with the above functions and add them to your piece. You may like to consider repeating the piece to show off the varying keyboard features. Sometimes putting a piece up an octave for a repeat works.
This is your 6 step written guide to learning ‘Ode To Joy’. You will need music to read, as in a tutor book plus a keyboard teacher to guide you.
Good luck and Enjoy The Concert
By: Harriet
Article Directory: http://www.articledashboard.com
I am a business person providing a service as a keyboard, piano, flute, recorder teacher and work at home opportunities. Whether you want to pursue learning an instrument and/or Reach for the Stars and Be Your Own Boss, you can check out the products at
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