Slang and Jonathan Davis "Got Money"!

Korn 's famed front man, Jonathan Davis, is no new comer to the world of rap music. In the past, his band called upon the services of Snoop Dogg, David Banner, Lil Jon, and Xzibit for collaborative work. Yet, for his upcoming solo project with his new band, The SFA, Jonathan has taken his love for hip hop even further. The first single from his highly anticipated album is a tribute to Weezy F. Baby himself (Lil Wayne, to those of us who are less hip) in the form of a dark, rocked out cover of "Got Money." "I've got to keep playing," Jonathan says. "I got to write music so I don't go crazy, so I decided it would be a perfect time to do this." The track, which features Jim Root of Slipknot, is already generating a massive buzz on the internet. When the time came for the official remix to be produced, they enlisted the services of Slang MusicGroup.

“The records will be released through I TUNES and all of the other popular digital networks,” says Vince Lawrence of Slang MusicGroup, “and it’s going to be an amazing album. We’re getting an exceptional amount of positive feedback about the remixes.” Slang works for top selling acts, producing both remixes and original music. Jonathan Davis says he is planning to write more songs for the album before he resumes recording later this fall. He is working to have the disc out by the end of 2008.

Nikki Lynette African Festival of the Arts

"I haven't performed in my hometown in a year." Declared Nikki Lynette, as she walked onto the huge hip hop stage at Chicago's historic African Festival of the Arts. "Man, it feels good to perform at home." Nikki Lynette took the stage only moments after a rocking, ten member band exited. Yet, there was no lull in energy when her base driven track kicked in and Nikki began to "rock the mic." In her fifteen minute performance, she remained energetic until the end. The crowd even sang along to some of the songs that she performed from her first official release, The Hard Candy Mixtpe, Volume 1. Nikki Lynette's live performance is definitely worth catching, and her catchy songs will ring in your head for at least a few days after she's done.

Click here for more about Nikki Lynette

Nikki Lynette joins the cast of RAW TV on Fox(WFLD)

RAW TV, Chicago's own entertainment news show, has added recording and visual artist Nikki Lynette to their roster. RAW TV is shot guerrilla style from the street perspective, and is hosted by Seandale of Chicago's Power 92 morning show. Beating out numerous other applicants, she was selected to join the five member team of co-hosts, "The RAW TV Diva Squad." In addition to conducting celebrity interviews, Nikki Lynette, dubbed the "Super Star Diva," has been allotted her own weekly segment that showcases videos submitted by local artists. In this segment, Nikki evaluates the music from her own perspective and presents the videos to the RAW TV viewers.

Unlike studio based shows, RAW TV uses the streets of Chicago as a home base. This flexibility allows RAW TV to report live from concerts, festivals, premieres, recording studios and any other place throughout the city that requires attention.Viewers can expect insider access to celebrity guests in environments where they are open and more willing to provide a side of their personality not usually seen in public...in the raw!

Tune in to Fox every Friday night at 1am to catch Nikki Lynette on a fresh new episode of RAW TV.

Click here for more about Nikki Lynette

Music Production and Post: Working Over Time!

Slang remixers have been working over time it seems with remixes being released by major labels on an almost weekly basis... Solange Knowles (sister to Beyonce) is the latest to get the Slang treatment via additional production and remix contributions from Jere McAlister.

Commercial Music and Sound: Second Quarter News

The second quarter has been busy for all of us here at Slang. "Featuring" seems to be the word with remixes for John Legend (feat. Andre 3000 of Outcast) Wyclef Jean(feat. Will I Am of Black Eyed Peas) slated for release. Firm/EMI artists Savvy & Mandy were in with producer Vince Lawrence, two songs were completed for EP and album releases. Other record work would include Rraphael Saddiq, Adele, and gospel group Mary Mary. Slang Musicgroup producers have been busy in the Music For Advertising world as well, completing commercial spot work for Nationwide Insurance, Tide, AARP, Luster Products, McDonalds and Special Olympics.

TimeOut Chicago March 2008 Vince Lawrence Mention

Music For Commercials: Advertising Age March 10, 2008 Vince Lawrence quoted

Indie Act Seeks Backup Brand

In Today's World, 'Selling Out' Is the Only Way to Cash In

By Charles Moran

NEW YORK (AdAge.com) -- So you want to be Mick Jagger? You're going to need friends to lug your gear, a drummer who knows how to count, a sound-proof rehearsal space and a branding consultant.

Rock's anti-corporate ethos has softened in recent years (read: totally disappeared in the case of most artists), and labels' opportunities for nontraditional revenue have grown through licensing and branding partnerships. But that hasn't made life any less complicated for musicians trying to retain fans and make a living. As a just-released NPD Group study pointed out, 48% of U.S. teens didn't purchase a single CD in 2007. And while legal purchases of digital music are on the rise, it's not nearly enough to make up for declines in traditional CD sales.

According to 2006 Enders Analysis data, the market for commercial music licensing is in the neighborhood of $3 billion. So while artists in nearly every genre have opened their arms to corporate America, shifting from the polarizing world of "selling out" to the nuanced galaxy of "musical branding" is a challenge many still struggle with.

Last year, indie-rock group Band of Horses licensed a song for a Wal-Mart online campaign only to reverse their decision and cancel further deals with the retailer after a fan backlash. But some say even the slight risk taken by signing on to commercials isn't enough. A recent Forrester Research report recommended, among other things, that pop stars embrace "Nascar-style," logo-splattering sponsorships and get used to promoting their favorite boxer briefs to help make up for the industry's shortfall.

Multiple deals

James McQuivey, a Forrester analyst and author of "The End of the Music Industry as We Know It," said that the days when an artist such as Michael Jackson would cut just one high-profile deal with Pepsi are gone.

For new artists, it's become nearly impossible to develop a major following without a branded tie-in. Many of the major breakout music stars of the past year, from Paramore to Sara Bareilles to Feist, have benefited from corporate tie-ins or licensing of their songs via ads. "All brands have become music-promotion houses," Mr. McQuivey said.

Omnipresent performers Beyoncé and Fergie now can have multiple endorsement deals with different brands as their album sales come in millions below the number they would have even five years ago, Mr. McQuivey told Advertising Age. "They make music essentially as a promotional tool to make sure you want to dress like them and smell like them."

Not everyone agrees. Bands, they say, can't simply take on a patchwork of sponsors with little thought to long-term goals. Jon Cohen, president of lifestyle-branding agency Cornerstone, dismisses this approach, which he sees as counterproductive for many artists.

"The music industry wants to figure out a model where they can make money," he said. "I don't think they're that desperate [to try Nascar-style sponsorships], but they're under the gun and have to think outside the box. It may work with a ridiculous bubble-gum pop act, but those deals will never happen with the credible, long-term-career bands."

Not for everyone

Vince Lawrence, founder of music production and brand consultancy Slang Musicgroup, expressed a similar note of caution.

"If the artist is 'next to' the [Nascar] demographic, yeah, [Nascar sponsorships] might make sense," Lawrence said. "It's not the most cost-effective way to sell records, but it's a way." Still, he said, bands will have to get used to embracing brands. "Artists have to start thinking about exposing themselves, because the big record companies aren't as apt to give away marketing dollars."

When Apple picked Yael Naim's song "New Soul" for its MacBook Air spot earlier this year, the Israeli singer-songwriter didn't even have a record out in the U.S. But thanks to a single in the iTunes Store, the song made its debut on the Billboard Hot 100 at No. 9 with 135,000 downloads, and her label, Atlantic Records, pushed the release of her self-titled album forward by two months.

"New artists don't get that kind of exposure," said Livia Tortella, exec VP-marketing at Atlantic, who manages Ms. Naim's licensing and brand partnerships. "We don't have to claw at it, brick by brick, to get people to hear this unbelievable Israeli from France. Apple has done an amazing thing by picking her."

Lots of exposure

According to an executive familiar with music-licensing deals, for U.S. rights, marketers typically pay $150,000 for the master recording of a song and another $150,000 for synchronization -- the right to put the composition in a TV ad. However, because Apple has such leverage in breaking artists, the company paid a total of $80,000 for master and sync rights for Feist's "1234" and another $80,000 for Ms. Naim's song. And those fees are for global rights.

For new artists -- and especially those who are still recouping debt to their labels -- this exposure is well worth the lower fees.

"Apple says to Feist, Daft Punk -- people who want to be associated with a hip, cool brand like Apple, 'We're gonna throw you this bone,'" said the executive. "It's not much of a negotiation. 'This is our deal.'"

Most musicians would want to align themselves with Apple's audience -- according to Mindset Media, Apple users are more likely to purchase music in both physical and digital form than PC users -- but Mr. Cohen said a new artist's career could be threatened by wide exposure.

"Less-established acts make a big mistake if they rely on brands to drive their careers," Mr. Cohen said. "They need to make sure the focus is on their career more than a song in a commercial. That's a fix for quick success but not longevity."

Take the money and run

But sometimes, the short-term cash infusion is impossible to pass up. The Walkmen's Peter Bauer said his band did not expect a Saturn Ion commercial featuring their song "We've Been Had" a few years ago would further their career. Like many emerging artists on small, independent labels, the decision was made out of financial necessity.

"We needed to take the money," the organ and bass player said. "If you don't need the money, why do it?"

Assuming there are no debts to recoup, artists typically retain half of the fee for the rights to a recording master and 15% to 25% of the synchronization fee, said an industry executive. On top of that, the songwriters also earn fees for the broadcast through performance-rights organizations such as ASCAP or BMI. Deals with labels vary, but assuming a marketer pays $300,000 for master-recording and sync-licensing fees and the publisher's cut is 20% of the latter, this could earn a band $195,000 for a 30-second spot -- leaving out performance fees and, again, assuming there is no debt to recoup.

And the deals get more lucrative if a band is willing to go all-in and partner with a brand. According to one music-branding executive, branded partnerships -- including everything from tour sponsorships to original content and often paired with some sort of traditional TV or radio spot -- can fetch from $5,000 to over $1 million for a single artist.

The Walkmen have licensed more of their songs since the Saturn spot, but Mr. Bauer said the idea still makes him uncomfortable. Certain opportunities -- particularly with fashion marketers such as the Gap, who have wanted to dress up the band -- have made them queasy enough to say no. But he also stressed the upside: Money from marketers allows the Walkmen to take some time off from the road and focus on making new music. Since the group's 2002 debut, they've made three more albums and have found a prominent place in the indie-rock festival circuit.

"We're interested in making records and living in a way that we can continue to make records and make other stuff," he said.

Signing to 'Diesel Records'

Those same priorities are shared by the Crystal Method, said their manager, Richard Bishop. But the long-established dance act's lucrative side business in commercial licensing doesn't hurt either, he said, and it creates impressions for new material.

"I can see no reason why artists like Crystal Method or Paul Oakenfold [whom Bishop also manages] should not put their albums out on 'Apple Records' or 'Diesel Records' or 'Urban Outfitters Records,'" he said. "I don't think that, in this day and age, there are that many examples of artists' careers being damaged from commercials early or late in their careers."

Mr. Bishop, the owner of Los Angeles-based artist-management firm Three AM, said he doesn't often turn down marketers looking to license tracks, but he usually works with brands that share Crystal Method's sense of speed and agility, such as auto, tire and video-game companies.

Ultimately, Mr. Lawrence said, whether it's Apple or Nascar, musicians need to stay true to their art when considering branding and licensing opportunities.

"Artists know who they are and who their fans are," he said. "That's what makes an artist valuable to brands: the fact that they have such a visceral connection with a particular segment of the public. There's nothing like that."

~ ~ ~
Contributing: Andrew Hampp

Originally posted here:
http://adage.com/article?article_id=125587

Slang Musicgroup Remix Demo

Slang Musicgroup Production Demo

Advertising Age Jan. 2008 Interview with Vince Lawrence

Accidental Adman: Slang Musicgroup Founder Vince Lawrence
How Brands, Bands Can Benefit From Each Other in Tumultuous Time
By Jonathan Lemonnier

NEW YORK -- "I sit on a fence pole between bands and brands," Slang Musicgroup Founder Vince Lawrence likes to say.

Slang Musicgroup founder Vince Lawrence: 'There are plenty of bands who wear and use brand products every day anyway, but they don't have any money to get out there.'

Mr. Lawrence was co-founder of Trax Records, a legendary Chicago-based record label that is credited with spawning the house-music genre back in the mid-'80s, a sound that has made its way over the years from clubs to commercials. But in addition to the club and music scenes, Mr. Lawrence has long been involved in advertising. "I got into advertising by accident [in 1988]," Mr. Lawrence said. "I went to a studio to pick up a [guitarist] friend who was doing something for an advertisement. The people there asked me my opinion on whether this would connect with the underground culture. I said no, contrary to what everyone else had said, and after explaining my views, they made me a consultant."

Mr. Lawrence's involvement in marketing ranged from licensing and product placement (sometimes in hit records) to consultancy, as he penetrated nightlife culture and referred marketers to bands. He formed Slang Musicgroup in 1995. Aside from producing some of the pre-eminent dance tracks of the past two decades, the collection of eclectic music producers also has worked on radio and TV commercials for brands including Pepsi, Sprite, Dodge and Nintendo.

In an era of tumultuous change and uncertainty for the record industry, Mr. Lawrence said he sees great potential for both brands and bands to change music production's traditional business model.

M&V: Why do artists get involved in commercial projects?

Mr. Lawrence:
In this era of digitized content and ad clutter, media dollars need to be more effective. The record world is changing, and opportunities for real exposure amidst the clutter are few and far between, and bands need more and more support to penetrate. Brands have the purchasing power to buy the spots, buy the media time. Artists have a direct connection with the cultures they live in because they contribute to its beauty. Bands need help. ... There are plenty of bands who wear and use brand products every day anyway, but they don't have any money to get out there.

M&V: Why do marketers get involved with music production?

Mr. Lawrence:
Some brands want to attach to bands for additional cultural legitimacy. TV shows sponsored by brand X are being undermined by TiVo, subsequently losing their impact. But music remains such a tremendous medium with which to connect to people.

There are many opportunities for brands to interact culturally [through music]. If a band likes a product, I'll go to the brand [to set up a deal]. It's organic; it's legitimate. This is a great opportunity for brands to hit the core demographic that they are looking for, and there are few other opportunities where consumers actually buy the ad. Pepsi can be the next Arista.

M&V: How can brands help bands?

Mr. Lawrence: The brand can support the band by funding a video, help the band make a record or fund a tour. I think what Doritos is doing with the Super Bowl kicks butt! [Frito-Lay is asking consumers to produce songs that best embody the Doritos brand image. The winner of the contest will receive a contract with Interscope Records.] It's cool for emerging acts. Brands are going to adopt a band, expose them. Some brands also have many retail outlets, and those represent new distribution opportunities for bands.

But the connection has to be legitimate. If a band is already "standing near" those Red Bull bottles, things can work out fine, but forced connections rarely work. There are entire industries devoted to tricking consumers via marketing tactics, usually through attempts to borrow equity from some aspect of culture or another. This works, but both parties must be careful not to lose their respective goodies by getting together for the wrong reasons. If the marriage isn't legit, it will usually fail. I often work with stealth marketers [Mirrorball and Noise Marketing], and helping them navigate the "niche and crannies" we find can make all the difference when trying to make a legitimate connection.

M&V: Aren't bands who get involved with brands often seen as selling out?

Mr. Lawrence:
We used to avoid branding. In the '80s it was the ultimate sellout. Fistfights would break out if you spoke about a band secretly doing an ad. Today it's different. Hip-hop guys do things that are controversial in that regard. But that's a choice everybody makes. The benefit to the brand is that they get to connect in a relevant way. When things work out, everyone should get to be a little more "relevant."

M&V: Is it better for a band to be dependent on brands rather than record companies?

Mr. Lawrence:
As I see it, dependency should never be an issue. If the exposure mechanism does its job for the band, they are independent from that point; vice versa for the brand. If they choose to stay together, it should be to further common goals, not because of some forced need for more exposure. If a band has a good song and is independent, the revenue generated from the ensuing sales of recordings, merchandizing and dates should give them a leg up on their next project. And that works for everyone. I believe Doritos actually gets more cred if the [winning] band goes on to become a huge success.

So in that case, it is better than dependency on a record company for exposure. Record companies in the past have "charged" artists for the marketing, recouping forever and such. This way everyone gets something they need and don't have to pay so much for it.

M&V: What about limitations a brand might impose on a band's freedom of expression?

Mr. Lawrence:
Bands are relevant precisely because of what they say or do. Some brands have to protect their equity this way, so some bands that may be very relevant are not a good fit. Some bands can't touch a product a certain way because it may affect their street cred. It goes both ways. But there are ways to work through it.

Lawrence's QuickTip #2: Taming Vibrato in Remix Vocals

Vince Lawrence and his Slang team often find themselves either slowing down or speeding up a cappella vocal sections to match the desired tempo in their dance remixes. Here's how he deals with the ugly artifacts caused by increasing the tempo.

"You get what we call, 'the Billy Goat effect,'" he notes. "That's where the singer begins sounding like a goat because the vibrato in their voice speeds up too much when you stretch it too far to match your remix key. To counteract the effect you can fade in and out the original a cappella voices during the portions of the song where the vibrato at the same time is fading in the original vocal on a separate track. Then, fade out the original vocal while fading in the sped-up vocal to keep the cadence and timing of the vocal part together. This move takes time to feel natural with and to get sounding seamless, and you might have to fudge it around a lot to get it right, but it will sound just right when you're done."

+ Originally Posted Here
http://digitalmedia.oreilly.com/2005/10/26/vince-lawrence-slang-music.html

Lawrence's QuickTip #1: Creating White-Noise Swells for Remix Transitions

The white-noise swell has long been a tool in many remix and dance tunes to add excitement in and around musical transitions. Lawrence says it's easy to come up with the perfect swell. First, open up a new audio track in Pro Tools (or any digital audio workstation), then open a plugin test-tone generator.

"Then find the white noise setting and set a level of about 10 dB," Lawrence explains. "Highlight the length of your song with the cursor and click on 'Process' to stripe white noise from the start of your tune to the end. Now, open a filter plugin—I typically use McDSP's FilterBank F2—and spike up the high-end gain and bring down the frequency to a low midrange level."

Next, says Lawrence, play back the white noise track and slowly move the frequency back up a notch at a time until you get a nice sweeping effect; experiment with the frequency adjustment and "spike" to taste for your own flavor of swell.

"Once you have decided on how you want to sweep the filter, activate the automation on the knobs you want to use and make a pass while moving the sliders around," he continues. "For added flavor, throw a Waves MetaFlanger on the white noise track, or capture the white noise off of a rhythmic hi-hat loop track you have lying around."

+ Originally Postere Here
http://digitalmedia.oreilly.com/2005/10/26/vince-lawrence-slang-music.html