How To Get Your Rhymes Up!

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Slick T. Beast
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How To Get Your Rhymes Up!

Post by Slick T. Beast »

If this is in the wrong place, move it, but i feel like this should definitely be stickied wherever it ends up, that's all i ask.

I do not take credit for this, just a lil something that i know will help EVERYONE here, especially newcomers.

These are some Rap tutorials gathered around the net. Hope they help.

Audio Based:

Backups/Adlibs
14 Steps For Near Clear Vocals
Breath Control Tips
Professional Based Computer Recording
So you want to release an Album?


Text Based:

Art of Text
Rap Basics
Battling/Voting
Topicals
Aspects of Lyricism Part 1/2
Power Wording
Wordplay
The basics: Bars/Couplets
Advanced Multis
Countering/Multis
Writing Lyrics
Battling for New Emcees

If You Are An Canadian Emcee, This Will Benefit You More,
As The Tutorial Lists Places In Canada. For Others, It Still
Contains Some Excellent Information, That Will Help You.


You've done the talking. You've hyped it up. You've even got it all recorded. Now you've got to figure out how to release your album to the masses. Whether you're a veteran emcee, a young new cat or a fresh indie label, there are lots of mistakes to be made, and many things to learn. Having put out an album, I'd always wanted to make a nice checklist of things to do, so that next time I wouldn't make the same mistakes twice.

At the same time, I figured there are lots of artists and labels out there that could benefit from this list. It is by no means a complete guide to getting your album out, but it could provide a pretty good starting point.

Manufacturing

If you want to be taken seriously in this rap game, then you need to have at least an album or single professionally manufactured. Manufacturing is basically taking your final master copy of the album, along with your artwork and duplicating it to make copies.

There are many places where you can have your album manufactured. The best bet is to ask locals where they had their album manufactured. Keep in mind, that shipping costs can potentially add a couple hundred extra dollars, so try to find a company in your hometown where you can pick it up yourself. Also, some companies offer discounts if you're a member of certain associations. For example, http://www.blueskymedia.ca offers a 10% discount for East Coast Music Association members.

If you choose to do the design for the packaging for your album, this can save you 200-400 dollars. Most manufacturers will be able to provide you with strict specifications for the dimensions of your design. Be sure to create it at a resolution of at least 300 dots per inch (dpi) for best results. The design can be created using software programs such as Adobe Photoshop, Quark Express or Adobe Illustrator. To figure out what should be included in the design, see the 'CD Packaging Checklist' below. Otherwise, you can submit all the photos and materials you want on the design, and most manufacturers will design your packaging for $200-400.

Some manufacturers will provide you with freebies like a barcode, poly wrap, and clear CD trays with B&W printing under it. You'll need a barcode if you want to sell your product in retail stores. Be sure to ask the manufacturer what you can get for free. Don't forget that tax and shipping will usually be extra.

If you're a serious rap artist, then you'll probably be looking into making some vinyl. I've listed two websites below that support vinyl manufacturing. It might be worthwhile to consider the pros and cons of making a 7" record versus a 12" record. See the 'Promotion Distribution' section for information about shipping costs.

Overall, it's best to shop around to try and find the best price. Here are links to a few Canadian manufacturers.

http://www.mmsdirect.com - makes vinyl
http://www.acmevinyl.com - makes vinyl
http://www.blueskymedia.ca
http://www.rdrmusic.com
http://www.punchmedia.com
http://www.polarbearltd.com
http://www.indiepool.com
http://www.neomuzik.com

CD Packaging Checklist

This was taken from the New Brunswick Sound Initiatives (NBSI) website, with some modifications made by myself. http://www.gnb.ca/0007/arts/Programs/Sound/index.asp

Many of you are preparing to release your new CD. In the excitement of finishing your studio work, you may forget some important details regarding your CD packaging. As with everything, first impressions do count! Consider that your press kit and CD will often get separated, so the CD itself should provide all necessary information.

Make sure you include the following details regarding your CD packaging.
These should be printed on the back of your CD jacket:

* Track list with tracks numbered, and length of each song given (especially if you will be shipping to radio)
* Your copyright notice (indicating the year of production, your name, and the (c) symbol), also, copyright notice referring to who owns the master recording (indicated with the (P) symbol)
* A statement prohibiting reproduction e.g. "All Rights Reserved. Warning: Unauthorized Reproduction, Copying and Rental of this Recording is Prohibited by Law."
* A bar code - necessary if distributing to retail outlets. (Your manufacturer can usually obtain this for you.) It's not advisable to place a bar code into the design yourself - as manipulation may effects its "readability" by electronic scanners. You need to obtain separate bar codes for CDs and cassettes (as they are two different items and two different prices).
* The MAPL logo - necessary if shipping to radio in Canada.
* Logos of any agencies from which you received funding, along with any other sponsors' logos.
* Your catalogue number (a.k.a. release or matrix number - on the album's spine) should be placed on ALL elements of your album. You make up your own, unless your label has assigned one. It identifies your disc at the manufacturing plant, and is used by record stores for cataloguing.
* The Distributor's name if you have a distribution agreement in place.

These items should be printed on the CD itself:

* Artist name and CD title
* The MAPL logo (if it's Canadian content)
* Your copyright notice (see above)
* The "compact disc" logo MUST be clearly seen
* Your catalogue number
* "Made in Canada" / "Fabriqué au Canada"


These should be printed on the CD insert:

* If you can afford it, printing the lyrics out is really handy for those who will review your CD or consider it for airplay.
* Songwriters, musicians and producers should be clearly indicated for each track.
* Writer and publisher credits (copyrights)
* Contact info - address PLUS email or phone is best
* Acknowledgments. Appropriate credits should be given to people, companies that have contributed to your recording.
* Production Team and Studio Information should be clearly indicated.


And on the front cover:

* Artist name and title of CD. Make it obvious which is which. Think about how your product is displayed on retail shelves.


Retail Distribution

Distribution plays an important role in getting your album on shelves across the country or even just in your local area. You can choose to do this yourself, but will probably face a challenge getting retail stores to put your CD on their shelves. Most artists tend to seek out a distribution deal with a company. A list of FACTOR recognized Canadian distributors is located here:
http://www.factor.ca/recognized_distributors.html
If you have a solid marketing plan in place, or even better, a business plan, then this could help you get a distribution deal.

If you're looking to shop your album to record labels, then this 2000 directory could be a good starting point:
http://www.cmw.net/2001/directory/l...rd/default.html

There are also numerous online locations where an artist can sell their album. For example, HipHopCanada.com provides such a service here:
http://hiphopcanada.com/indexing/index.php?cat=14. For online distribution, it's best to shop around.

Promotional Distribution

If you're getting serious into this rap game, then you'll probably be looking to put out some vinyl. Vinyl tends to be quite a bit more expensive than CDs when it comes to shipping and manufacturing costs. One 12" record can cost upwards of $8-10 to ship in Canada. It's been suggested to me that taking out an account with FEDEX, and shipping by ground could reduce the cost. An alternative is to make 7" vinyl, which is cheaper in cost, but will allow for less playing time.

Record Pools

Record Pools are a great way to save money when distributing your vinyl release to DJs. According to Soul Choice's marketing manager, "record pools are probably the most under-used resource in the music industry." The way a record pool works is quite simple. The record pool accepts material from artists throughout the industry and then sends it to all the DJs who subscribe to that record pool usually every 2 weeks.

As an indie artist, it's usually a free service to you. You phone the record pool (see websites below) to find out their mailing address and how many member DJs they service. You pay for the costs of manufacturing your vinyl and/or CDs. Then you pay for one shipment to the record pool. That shipment must contain enough vinyl and/or CDs to service all the record pools' member DJs. In the majority, artists submit 12" vinyl. Also, providing a radio edit version gives you a better chance of getting played.

However beware that the DJs in these record pools generally tend to focus on mainstream rather than an underground sound. Based on his days DJing on campus radio, one indie manager felt that, "the only people in record pools are wannabes who are just in there to get the commercial stuff. You'd be better served mailing more CDs and press kits to campus radio." Since vinyl is so expensive, it ends up being a risky judgment call.

Canada's National Urban Chart (NUC) is compiled using input from ten of Canada's most renowned urban record pools and is published Canadian Music Network Magazine. Those ten pools are:
Flavor Pool (4 regions: Toronto, Ottawa, Calgary and Vancouver) - http://www.flavorpool.com
Soul Choice (National) - http://www.soulchoice.ca
Request Pool (Toronto) - requestpool@rogers.com
Mad Play (Toronto) - gworkalot@aol.com
HOT (Montreal) - http://www.m-m-t.com/charts/quebec/csi/csiu1027.html
Hip Hop Parade (Vancouver) - http://www.poolwest.net
S.U.B. (Eastern Canada) - http://www.m-m-t.com/charts/maritimes/easu1103.html

You can find a slightly outdated and quite incomplete list of record pools throughout North America here:
http://www.recordpools.com/pages/2/index.htm
A list of Canadian Urban Record Pools, with phone number contacts can be found here:
http://www.mikepark.ca/umac/links.htm

Self-Promotion

If you want to get some extra exposure, then it would be a good idea to send copies of your album to radio stations, newspapers, magazines, websites and local media. You're much more likely to have your album reviewed if you send a manufactured album, as opposed to a burnt CDR of the album. It looks more professional. Remember to remove the poly wrap. It might be a good idea to put a sticker on the album letting them know which songs are the first two singles. In addition, you should include at least a biography. And if you can, include a little gift - like candy, but not crappy candy, good candy. One of the cheapest places to get padded envelopes is Dollarama.

For bigger websites or magazines, you should include a full press kit. A press kit might include a biography, discography, press clippings, list of past shows, track listing for the album and a CD containing an electronic press kit with pictures. Also, it might also be worthwhile to include an 8x10 photo in some press kits.

A good resource for finding radio, TV and newspapers in your area can be found here:
http://www.mondotimes.com/1/world/ca

A complete list of Canadian campus radio stations can be found at the NRCA webpage:
http://www.ncra.ca/directory/DirSearchForm.cfm

Here's a list of "Rapnetwork Record Breakers DJ Panel":
http://www.newrealm.com/charts/about.htm

Radio stations that report to the Nielsen Broadcast Data Services (BDS) are viewed as the more elite stations. Those stations are the stations that tend to make or break you with regard to radio play and chart position in Canada. Most non-BDS stations pay close attention to the play lists at those BDS "tastemaker stations" and program according to their trends. Therefore, it's really tough to break Canadian radio without the majority of these stations in your corner. So it is probably worth the effort to submit your music to these stations. (For more information on registering your song with BDS, see 'Additional Tasks' below) View a list of BDS stations here:
http://www.bdsonline.com/stations/index.html

Additional Tasks

After you get your finished product in your hands, there are number of other tasks to be carried out to ensure greater success:

Legal Deposit:
Pursuant to the National Library Act and the National Library Book Deposit Regulations (1995), Canadian editors of sound recordings are required to send copies of their publications to the National Library the week following market launching. The Secretariat expects the recipient to take part in the legal deposit program. To find out the terms and conditions of participation, please contact the National Library of Canada by telephone at (819) 953-8509 or by E-mail at depot.legal@nlc-bnc.ca.

SOCAN - In order to receive royalties within Canada, you need to register your works with SOCAN. If you haven't already signed up, then you can do so at http://www.socan.ca. It's free to sign up online, otherwise the paper route costs $25. You can contact SOCAN online or toll free at 1-800-557-6226.

SoundScan - If you have distribution, you should register with SoundScan so they can track your album's sales. This may assist in receiving grants from FACTOR, VideoFACT or PromoFACT. Information is available at: http://www.soundscan.com. You may contact Client Services in the U.S. by email at clientservices@soundscan.com or contact the Canadian office at 416-979-4614 or pkirton@soundscan.on.ca.

Broadcast Data Services - If you intend to have your song played on commercial radio, e.g. Flow 93.5, then you'll need to register your song with Broadcast Data Services. It's free of charge. They can be reached in Canada at 416-979-4614 or ptuch@bdscanada.com or online at http://www.bdsonline.com. Online, go to 'Submit Music', and follow the instructions to submit your radio single. This internationally renowned service monitors the frequency with which a song is played on all stations that report to the service.

ANR (All New Releases) Lounge - An innovative online service to help recording artists reach Canadian radio. The ANR Lounge allows users to create a virtual promotional kit for their new release, including sound clips and images, for distribution to radio. All you have to do is register online. http://www.mincanada.com


Here are the basics on learning how to do audios:

1) Get Cool Edit

Don’t know where? Go to http://www.kazaa.com and download Kazaa. Or use another P2P file sharing program. Search for Cool Edit and download. BEWARE check for viruses before you open the program.

2) Recording
Using Cool Edit Pro to record

Before you start, make sure you have a mic! Even a cheap computer mic works and you can record perfectly without pops.

Open Cool Edit, and press F12, now you should see the 64 track mixer, your now in a "New Session". Find the beat you would like to record with, it can be a break beat, or a full instrumental, Cool Edit supports most formats, but stick with ".wav", ".mp3", ".au" or ".mid”. Once you know what you want to use, “right click” in the first track, in the grey area, and choose "insert" from the list, and then "Insert WAV from File"(I’m going to explain how to record with a break beat, once you figure it out, you can use full instrumentals yourself, I’m just going over the basics). Choose the file you want, and open it and it will be inserted into the track. “Right click” on the WAV form, and drag it all the way to the left, then right click on it again, and choose "Loop Duplicate". Choose how many times you would like to loop it, and make it long enough for your track. Now you’re almost ready to record, set the yellow cursor all the way to the left, and on the 2nd track, click the little red button that says "r" on it. This sets the track to do a "punch-in", now, get your mic ready, and press the record button, you'll see the program recording you in Real-time. Finish up your track, and hit stop, you'll now notice you have vocals in one track, and a beat in the other, this allows you to edit your vocals if you recorded in acapella (just double click the wav form, and it goes to single track mode, where you can edit with Cool Edits special filters). You can also add in sound effects, do "Voice overs", add more punch-ins, just like you inserted the beat into the track, just insert it, and drag it to where you want it. Now, with your track recorded, you'll want it all in a single WAV, so click on "Edit" from the menu bar, and choose "Mix Down", and select "All WAV's". The mix down will be created, and you have your song! Now, save it as a WAV, and if you want a good copy for yourself, make an Mp3 of it as well.

How do you hold your breath while rapping? It is something that is tough to do but hardly ever thought of until you begin rapping. Well I am here to explain to you
1.) How to breathe
2.) How to breathe correctly
3.) Exercises for breath control.

Now you know how to breathe, it is an involuntary reaction that you don't have to think about doing, but can you rap 4 lines without taking a breath, or without cutting off words for a breath? Prolly not. But I am here to help. A lot of people say it’s a natural thing and yadda yadda. Well it is a natural thing, you are born with it, but you lose it as you get older, ever wonder how babies can yell so long without having to take a breath? Prolly not, but they are born with the knowledge to do that as an automatic reaction. See if you have a baby around you, next time he cries watch him do it for a while. Watch his stomach, see how it inflates so much while he is breathing in? Well truth is he is using his diaphragm to breathe. Not his lungs.

If you learn how to control your diaphragm just right you can go for a long time without having to gasp for air. Think of it like this - when you push on a mattress (inhale a lot of air before a long line) and just let go and take your hand off it is just going to jump up just as quick as you pushed it down (meaning taking in a lot of air before a long line doesn't mean you going to have a breath long enough to make it through the line). Now suppose you push on the mattress again (taking in a deep breath) but instead of letting it go quick, you slowly release it. That is how it should be done. When you take in a deep breath do so that your diaphragm expands...but instead of letting it out quickly while you are spitting, just slowly let it out, control it and keep it flexed. Like try this, listen to a song you spit a while ago where you had to cut the track off because you didn't have enough breath. Then try holding your stomach during that part and rap through it. I bet you make it! That is how I figured out how I got better with my breath control.

But when you breathe take in this tip...pretend you have a tube around just above your waist and breathe, and try to make that imaginary tube expand. Even the backside should expand. If you don't get this to expand try leaning over so you are almost touching your toes, and put your hands around the back of your waist and take a breath, after a while it will expand. Its not like a big secret or nothing, it is just that you forgot how to breath like that throughout your childhood.

Also breathe through your nose and mouth at the same time, it may be hard to do, but just keep trying and you will do it. This is like putting a large air intake on your car allowing more air to come in more quickly.

It is all in that muscle above your waist! Not your lungs!

And a good way to see if you are beginning to improve (won't really do much to help, but it won't hurt) is to put a piece of paper on the wall and blow on it and see how long you can hold it up without it falling.

14 Steps For Near Clear Vocal's - If Your Broke

First Step:
Record. Use a pop filter made out of a fitted hat, put a sock over the microphone, or put stockings if your too lazy to make one with a hanger & material.

Second Step:
Noise Reduction. Use Cool Edit Pro 2.1 "noise reduction". First, set it up at 35 DB's & 75 is my noise level. Then, pick about 2-4 seconds of space that you made no noise on. Then go to "get profile" from "selection". When its done close the window. Then select the whole wave. Go back to "noise reduction" (press F2 to go back to noise reduction. Control + A to select all). Then with those settings in that I told you, do your noise reduction.

For the next steps, you will need Antares Microphone Modeler & Native Waves Gold. Hit refresh list on your effects menu or enable direct x & they will show up in the directx part.

Right now silence all dead space in your audio. Follow all instructions exactly how told.

Direct X > Waves >

Third Step:
After that u must go to DirectX > Waves > C4, & choose "4 band noise reduction".

Forth Step:
After that is finished processing go back to DirectX > Waves > C4, but choose "2 band noise reduction" & click "Ok".

Fifth Step:
Afterwards go to DirectX > Waves > C1Comp, & select "HF Noise Reduction". Once again click "OK".

Sixth Step:
Then go to DirectX > Waves > C1 > Gate, & select classic gate. Then click "Ok".

Done with Direct X > Waves

Seventh Step:
Then go to Filters > Graphic Equalizer, & select "Premaster EQ" & click "Ok".

Eighth Step:
Go to Amplitude > Dynamics Processing. Select "Vocal Comp, -24,Fast Attack" but go to the traditional tab and turn "-24" to "-20". Then go back and hit splines and click "Ok".

DirectX > Antares Microphone Modeler

Ninth Step:
Use Calphenes Antares Mic Modeler (DirectX > Antares Microphone Modeler).
Preset As seen Below:
Quote:
Input Proximity: 3.5
Source Mic: Shure SM58
Input Gain: 0.0
Low Cut (Input): None
Pattern (Input): None
Tube Saturation: 1.0
Output Proximity: (off)
Modeled Mic: AKG C 3000
Low Cut (Output): On
Pattern (Output): Cardiod
Output Level: 0.0
Preserve Source: Bass, Treble


Then click "Ok". (I have a shure sm58 so it usually works well but even if you don’t have one you can still use this preset).

Done with Direct X > Antares Microphone Modeler

Tenth Step:
Reverb. Go to Delay Effects > Reverb, & use "tight & close." It works pretty well for me so I don’t even mess with it. Just click the preset & click "Ok".

Eleventh Step:
Afterward use Sho-Downs Studio Voice. Go to Filters > Parametric Equalizer. Make sure the settings match the attached picture then click "ok".

Twelvth Step:
Mastering Vocals! Go to Filters > FFT Filter, & select "Mastering- Gentle & Wide." Click "Ok".

Thirteenth Step:
Normalize to "100%" by going to Amplitude > Normalize & typing in 100. Then click "Ok".

Fourteenth Step:
Amplify. Go to Amplify > Amplify. Go to "10 DB" or "3 Db boost", based on your desired Sound.

You can amplify your beat to 10 & your Vocals to 3, or your Beat to 3 & Vocals to 10, whichever one makes you sound better.

* Note on the ninth step:

Don't use those exact settings, play with it, use your ear & listen to whatever suits your voice better.

The biggest factor to good quality is the microphone (why do you think pro studios spend $2000 + on a single microphone?) If you record on a comp, like most of you do, you'll want a 24 bit sound card, CD's only record 16 bit but having a 24 bit setup helps a lot. A condenser microphone is going to need 48v phantom power or it will sound like shit (pre-amps and most mixers have phantom power), and condenser microphones are very sensitive to background sounds, i.e.: echo’s, traffic, sirens, etc. With a dynamic microphone, you can jus plug in your computer and go but the quality won’t be as good as a condenser. Dynamics are more tough and durable so they are meant for stage and sometimes recording instruments.

Vocal Booths
Blocks sound and increases your overall vocal quality, a necessity to have. I suggest a separate room to record in; please don’t record in the same place as your loud equipment. Computers are noisy when it comes down to recording.

If your dead broke like I am den go to your closet put up sheets, towels, covers, around the wall and door (if u got a door unlike me) where you go and record in your “booth” make sure you can breath and you have a place you can lift up the covers and walk in to the booth (unless you got a door). Try to cover top to bottom, including the ceiling. If you got space in the closet try to put a lot of furniture in it, like pillows, folded sheets, covers, anything that will absorb sound waves. Put all that behind where you and the microphone will be. If you got a wood floor try to put in a rug or something, you can even use a couple covers if needed.

If you are on a decent budget I suggest you get studio foam, it costs $100-$300 depending on what set you get. Sorry they come in sets so you can’t order piece by piece (not that I know off, at least). You will also want some sheet block $330 to block sounds outside the booth. you can get studio foam Here at Musician's Friend, make sure you glue the sheet block on the walls before you glue the studio foam on if you decide to get both. If you can only afford one, get the studio foam and if you have expensive ass walls and don’t want to ruin them, peep the next alternative below.

If your are “rich”, you can buy a Whisper Room package but you got to assemble it yourself. It will cost you bout $2000 depending on if you get the cheaper one. Here’s a link to WhisperRoom where you can order one.

Microphone Techniques
First off, when you record, stand bout 6 inches away from the microphone. It will increase your quality a lot and there will be less fuzz, put some tape on the floor and stand behind or on that line while you record, make sure your mouth is 6 inches away from the microphone before you set up the line position. There are a lot of different microphone placements that will help the "feeling" of your track, so experiment, possibilities are endless.

Studio Equipment

Pop Filter
You can either make one or buy one. If you buy one I suggest the Shure Popper Stopper 6" for $30. Placement should be 1 1/2"-2" away from the microphone.

Mixers
Ok mixers are important, they let you mix down and EQ tracks (obviously) Some even have effects you can add to your vocals. If you want a good/nice priced mixer, get a Mackie 1202 or Mackie 1402. I was looking around and saw a low priced Behringer mixer for $170 but I’ve heard bad things bout their durability. Musician’s friend has all kinds of mixers, so look there if u want.

Sound Card
I suggest an M-Audio Audiophile 2496. It’s priced at $150 on most websites and has more plugs then most people need. It should keep you going for a while. You could also get a M-Audio Delta 1010 for bout $280 and it has even more features theen an Audiophile.

Headphones
You want a good pair of closed back headphones so your microphone doesn’t pick up feedback from headphones as you’re playing your instrumental. Personally I like AKG, they offer a great line of headphones for a nice price. I suggest AKG K171 which are $100 at music123 and even better are the AKG K271 headphones price at $180 but are very hard to beat, even at this price.

Condensor Mics:

High-End Mics
1. AKG C 3000 B
2. Neumann U87
3. Neumann TLM 103
4. AKG C 414 B-ULS
5. Audio Technica AT-4033a

Low Budget Mic:
1. Audio Technica 4033a
2.Audio Technica 4047
3. AKG C2000S
4.AKG C3000B
5. Marshall MXL 2001
6. Studio Projects B1
7. Studio Projects C1

Back up vocals are an excellent way to bring up emphasis on a certain part of you song. Such as backing up a punch line. Or the rhyming words. But a lot of people don't do their backup's right, it seems like the just don't put enough time into it. And if it is messed up it can really make a whole song sound un-professional.

My best tip on your backups, is if you mess up, do it over, until it sounds like it is perfectly on point with the flow. I hear a lot of poor sounding songs when the backups are lined up correctly or are off point.

Be creative with them...maybe cut out a certain line, and punch in with the back up, this sound cool as shit, it is like the beastie boys type shit. I think it sounds really phat on a punch line or something.

Everyone has there own style. I think my vocals sound best when they are not backed up fully, where as some might think theirs sounds better with the whole thing backed up. And some people don't even back theirs up. Its all based on personal preference.

As for mixing. Be creative. Here is what I do for the main backups.

First I do noise reduction, and silencing in between all the backed upped parts.

Next I normalize them, depending on the beat and track to 40% - 60%.

Then I go to

”Amplify > “Pan/Expand”

Then go to the expand tab on top, and where that curve is, I just straighten it out all the way to the top. This sound really nice in stereo, I think anyways. Or you may choose to do a very small chorus...its all up to you. But I am all about expanding my backups. It gives it a more 3d out there effect.

Next I would pan out certain parts (mostly sound effects) to the left and right simultaneously. It helps kind of wake up the listener, almost freak them out, because they hear something for the most part centred, and then all the sudden there is a noise out in left field, it will catch them off guard, which is always good to do in a song.

If you feel something has to really stand out like the best punch in your verse, you may choose to silence the beat. But don't over use this, I hear a lot of people lately using this, and they are better off just not even having a beat at all.

Structure
When u build a house, it is important that u plan carefully from the foundation to the roof. If there's a weak link anywhere the whole house could collapse. The same applies when writing a verse; the structure consists of the placement and use of the words.

Flow
Keeping it simple; keep each line length the same throughout if possible. Usually you would do 9-14 syllables per line. If you keep to this general rule you shouldn't lose out on a crap flow. There are other elements of flow for the more professional textcee but nooBs need not worry about that at this moment.

Rhyme Scheme
Now if you have just started rhyming and have followed my advice on flow then you're raps should look something like this:

XXXXXXXXXXXR1
XXXXXXXXXXXR2

This is known as a basic rhyme scheme used by such rappers like the Sugar Hill Gang. It may be ok in writing verses for songs but in a battle you will definitely get marked down for your simplistic rhyming structure.
Emcees like Canibus and Eminem show that there is a much more complex style to rapping which definetley will show the web users your skills. For example, the most common way is to use multis. Multis is a short term word meaning 'Multiple Rhyming Syllables:

Now who's the best? Tell~Me~Straight, I’ll give a world of Hell~To~Hate /
I'll freeze you putting you fifty below, now that’s what I call an Un~Healthy~State

The Multies-......Tell Me Straight / Hell To Hate / Healthy State
Its better than-..Tell Me Straight / World To Hate / Healthy Diet!

I've also seen rappers use multies like:

Dish up your dirt on a Ragged~Plate
Fuck a tennis ball, I want to Smash~Your~Face

These are the same sound in letters A-U-A, but there not the same format of word. Get me? Cool…

What Is Wordplay?
Wordplay can be stretched out to a number of different meanings. Some people refer to wordplay as using more advanced words. I tend to call this 'Word-Use'. Wordplay is where you use multiple words that relate to each-other throughout the line/bar that you’re using. For example...
I could use this line...

Like a cactus without the needles he needs protection /

This would be wordplay. Obviously you can tell that a cactus has needles for protection. See where they relate?
You could change words throughout the sentence to make a more offensive, less offensive, or totally foolish line. Obviously the more offensive the better. Check it out...

Like a cactus this prick is nothing without protection /

Can you see where I’ve changed about four words to use the sentence more effectively? Take time whilst writing your lyrics to ensure this. The more wordplay you use the better as it shows you've actually worked on a lyric, plus it helps improve in the long run. Only thing is don’t go over the top - If you use a stupid amount then it'll disguise the punch, completely ruining the line. It may not work every time obviously, and some lines will have more to offer than others, but its all about how you use it.

What is a punchline?
Okay, probably the hardest part of text battling, creating punchlines!
My expression for a punchline is what you could call a 'comedy flick'.
A line used against the opponent, sometimes imaginary, sometimes not.
These are very cleverly put together to put a different feeling into the verse.
You'll know what I mean when you read a sick punchline , and you get that feeling and a faint smile pops out - that’s a good punch.
Also a punchline could be spitting a line with two meanings. Here’s an example:

You should put Lipstick~On~Your~Head and Make~Up~Your~Mind

You should get this one fairly easy. What’s lipstick? Make-Up. Put it on your head and Make Up your mind!

There’s not a lot I can do to help here, it all comes with experience. Though when first rapping many years ago I tried to think of the last part of the sentence. For example, I’d think that the cat I’m battling has his 'days numbered'. So then I’d think well what has it's days numbered? A calendar with digits.
So the rap went like this:

My MIND ~ RHYMES like TIMED ~ MINES, they’re BLAZE ~ ing ~ HUNDREDS//
Label you’re 'calendar with digits' cause you’re “DAYS ~ are ~ NUMBERED

What are personals?
Personals are a punch that is associated with an individual's life. For example, this was a line I used against a textcee called General Assasin:

I’ll 'jab' the 'generals~flad' down his 'throat' so that he's 'reppin~his~words'

You may struggle to think of one's first. Have a look at your rivals previous battles or profile. This may help you pick something out. But even though they may not be as strong as some punches users will find them very effective as it is....very personal.

This is designed to help those of you that had just started the art of writing rhymes. It may also help veterans that need to polish up their skills.
Read it, it may help you.

Before you proceed, be aware that this is only a foundation to becoming an Ill lyricist. I'm only writing to what a nice verse should have and the rest is up to your ability and/or creativity.

Terms that you'll encounter and what I'm going to cover:

1. Rhyme structure - How a verse's written. Such as amount of bars and location of rhyming words.
2. Simile - A comparison using the word "like" or "as".
3. Metaphor - A comparison without using the word "like" or "as".
4. Wordplay - A pun, or words that has double meaning.
5. Multi-syllables (multis) - Rhyming using words or combination of words that contain more then one syllable.
6. Punchline - These are the dissing lines. Just like comedy, it's where the joke or the dissing is.
7. Alliteration - bars or verse that contain words that start with the same first letter.
8. Fillers - words that in a verse that's there just for rhyming purposes.

===============================================

Let's begin by pointing out the differences between a "battle verse" and a "non-battle verse". A "battle verse" is just that, a verse that's written to battle another MC or MCs. These type of verse usually contain heavy usage of Punchlines/Wordplays/Multisyallables. Along with it a small usage of Similes and Metaphors. Basically a "battle verse" is a verse that talk shit about your opponents. One mistake that most MC make in battle verse is that they tend to talk about themselves. How good they are etc. Which what you shouldn't do. Your focus is supposed to be mainly on your opponents. You're not supposed to talk about yourself; rather you should be degrading your opponents.

"NON-battle" verse is any verse that's written as topical, or even a freestyle about a certain thing or incidents. This could include almost everything. What make it different from a "battle verse" is that rarely does it have any punchlines. In this particular verse, the usage of Simile/Metaphor is heavy. Included with it are light usages of multi-syllable/Wordplay/Alliterations. In this type of verse, it's acceptable to talk about yourself. Though, it's not necessary.

RHYME STRUCTURE
Not too many people pay attention to this, but I believe most of the veterans are aware of this. Though it doesn't get mentioned much, Rhyme structuring is very important. It actually gives or takes away the smooth flow of a verse. Since the length of bars is important, try to keep it at an even length. Also, place your rhyming words carefully so that you'll have that easy transition and it'll roll off of the tongue a bit easily. There really aren’t any nice examples to give, so just look out for what I've described. You can do this by reading any well established veterans.

SIMILE
Simile is a comparison that uses the words LIKE or AS. It's another way of saying something indirectly.
For example:
A."Like an Atheist, you ain't got a prayer"
B."You're lying on yourself like sleeping on mirrors"

METAPHOR
Metaphor is another form of comparison. However, it does not uses the words LIKE nor As. Metaphors are very effective in capturing your audiences attention if your creativity is there.
For example:
A."Ima needle and i spit sharp, every point I make will pierce through your heart"
B."Fuck the Sun, I spit hotter then it's father"

WORDPLAY
This has to be the best part of writing a verse. Wordplays are puns. Or words that have double meaning used to conjoint two different concept together yet make sense out of it. It's just basically that, playing with words.
For example:
A."You can't [bust] like [a passenger without tokens]"
In this case, "BUST" is a wordplay for "BUS", it's relation is to
PASSENGER WITHOUT TOKENS. Cause when you think of it, A PASSENGER
WITHOUT TOKENS are not allow to ride on the BUS. Yet in this case BUST
itself is referred to spitting off the top. You could also say that you can't spit a freestyle.
B."Your [lion] ass is getting [held up] like a young [Simba]"
In this case, "LION" is a wordplay for "LYING". "HELD UP" is another word for a stick up. A robbery rather. If you had seen the movie THE LION KING. Young SIMBA was held up to show the rest of the animals when he was born. But in this instance, you're basically saying that. Your Lying ass is being stuck up.

MULTI-SYLLABLE
Multi-syllable are words that has more then one syllable. Or a single
syllable words that are combined with other words to make or give it that multi-syllable sounds.
For example:
A."No doubt-kid, my whole out-fit will leave you shocked like you stuck your fingers in an out-let"
B."It's like pitchers-on-mount, your pitches-on-count, I'll make
bitches-go-down at switches-of-sounds while maintaining status as the
richest-in-town"
[NOTE: keep usage of multiple-syllable to a minimum in battles, because lots of multis equal lots of fillers]

PUNCHLINE
It's simple, it's basically dissing lines. Talk shit lines.
For example:
A."Your verse is played out like an Atari 2600"
B."You can't spit; I've seen a cricket's ass drop better shit"

ALLITERATION
Alliterations are rarely used. Though it's real nice as a skit or a non-battle writtens. It's bars or verse that starts off using the same first letter.
For example:
A."Fuck a fist fight, I fickle from fainted fire to ferocious flame just so your frame can fizzle at the first light"
B."Simply stated, it's sad to say son, your stupid stories of soldiers that sold ya surpassed the second stage of stupidity"

WHAT TO DO, AND WHAT NOT TO DO!
DO..
 Write every line as a punchline. It's hard but it's possible.
 Keep fillers to a minimum.
 Stick to the topic/subject when you write. Get into details.
 Write with an easy mind. Forcing your written will give you a shitty verse.
 Read other MC's works and learn from it.
 Expand your vocabulary. Use words that are rarely used. It'll give you that complex verse. But don't get carried away with it. It'll make it boring.
 Be original with your punches/wordplay.

DON'T..
 Bite EVER!
 Overuse your multiples. When you overuse it, it's nothing more then a verse that's full of fillers. You can get by with a Newbie, but a Veteran will spot it immediately.
 Stretch out your wordplay to a point that your bars are uneven. Keep it short and direct. The quality will definitely show when you spit it. Reader or Audiences will catch it easier.
 Battle with end rhymes. You'll lose vote’s every time.
Be afraid to battle. It'll only help you improve.

(Cont. in next post)
Last edited by Slick T. Beast on Wed Mar 17, 2010 5:18 am, edited 4 times in total.
player haters play this in cell blocks and rock stages.
winkin' at some, female cops with cocked gauges.
really it's papers im addicted to.
wasn't for rap, then i'd be stickin you,
the mac inside the triple goose.
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MesaR
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Re: How To Get Your Rhymes Up! (Sticky Please)

Post by MesaR »

why did you post this in the scriptures,
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..Fuck that gay shit you say on a beat..
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drunken jesus
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Re: How To Get Your Rhymes Up! (Sticky Please)

Post by drunken jesus »

yo theirs alotta useless information in this for ex that vocal process is overkill the same processes are repeated and alotta the technical information on how mics are designed and how they operate isn't really helpful at all you should really trim this down it'd get read alot more

btw real audio is a really outdated format it was only popular before the mp3 format was developed & its quality is extremely poor in comparison,vinyl isn't used much anymore at all, alotta underground and commercial artists don't even press up vinyl anymore so it'd be foolish for an independent artist to do it, & your metaphor examples aren't even metaphors & some of your other lyric examples have words out of context and various other mistakes, & a mixer isn't necessary to use a condensor mic even though its implied several times that it is

i'll move this to the right place but you really should edit this down so its more useful/informative just looks like a sloppy copy/paste mix as is

-- Fri Feb 26, 2010 12:43 am --

btw i'm not stickying this until its trimmed down and fixed, doesn't make sense to sticky something with alotta useless info and obvious errors
Respect this, specialist, black, testing this and get ya necklace jacked
Your after name scratched up off my guestlist, party freak
You the type of nigga that'll hardly speak unless you spoken to
You throw a cold screw but sober up when I'm approaching you
At the same time we postin two niggaz on that ass
Thats gonna do what they supposed to do the limelight
Snatched away from you because its my night
Killarm' blaze hotter than twilight, you better get ya lines right
Half of these crabs cant even rhyme right
[Killa Sin]

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Slick T. Beast
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Re: How To Get Your Rhymes Up! (Sticky Please)

Post by Slick T. Beast »

hmm, iight i trimmed it down, and fixed some of the punchlines.
player haters play this in cell blocks and rock stages.
winkin' at some, female cops with cocked gauges.
really it's papers im addicted to.
wasn't for rap, then i'd be stickin you,
the mac inside the triple goose.
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