The DeAndre Way is the third studio album by American rapper Soulja Boy . It was released on November 30, 2010, by his label Stacks on Deck Entertainment , Collipark Music and Interscope Records .
49-756: (Redirected from Dre ) DRE may refer to: Dre (album) , 2010 by American rapper Soulja Boy Tell 'Em, 2010 Dre (given name) Dr. Dre , American rapper and producer DRE voting machine Digital rectal examination , in medicine Director of religious education; for example, Northwest Unitarian Universalist Congregation § Religious education Directorio Revolucionario Estudiantil , CIA backed anti-Castro group based in Miami Drug Recognition Expert , law enforcement Drug resistant epilepsy , in neurology Dense-rock equivalent , in geology/volcanology Topics referred to by
98-489: A Grammy nomination, the Recording Academy defines a producer: The person who has overall creative and technical control of the entire recording project, and the individual recording sessions that are part of that project. He or she is present in the recording studio or at the location recording and works directly with the artist and engineer. The producer makes creative and aesthetic decisions that realize both
147-423: A broad project, the creation of a popular music recording may be split across three specialists: the executive producer , who oversees business partnerships and financing; the vocal producer or vocal arranger, who aids vocal performance via expert critique and coaching of vocal technique, and the record producer or music producer, who, often called simply the producer, directs the overall creative process of recording
196-417: A businessman. My label was taking off and I guess I was putting more time and energy into that, than to Collipark. He wasn't feeling that and it just went left. He wanted me to be all for Collipark. So during the third album, I didn't have him there to be able to tell the label to ship 500,000 the first week, or put the single on the radio, or we need this song. So I was basically out there by myself, just hoping
245-440: A collaboration with 50 Cent, was released on September 23. On April 23, 2011, after the album's release, during an interview with Complex , Way stated his internal disagreements with Interscope influenced the album's disappointing record sales. Way also blamed the timing of the album: "Honestly, I shut down for a week [after my album dropped], I wasn't talking to nobody, I wasn't talking to management, and I wasn't talking to
294-471: A cylinder. By the 1930s, a gramophone etched it laterally across a disc. Constrained in tonal range, whether bass or treble, and in dynamic range , records made a grand, concert piano sound like a small, upright piano, and maximal duration was four and a half minutes. Selections and performance were often altered accordingly, and playing this disc—the wax master—destroyed it. The finality often caused anxiety that restrained performance to prevent error. In
343-407: A leading A&R man of the 1950s. During the decade, A&R executives increasingly directed songs' sonic signatures, although many still simply teamed singers with musicians, while yet others exercised virtually no creative influence. The term record producer in its current meaning—the creative director of song production—appearing in a 1953 issue of Billboard magazine, became widespread in
392-516: A musical element while playing a previously recorded record, Les Paul developed a recording technique called "sound on sound". By this, the final recording could be built piece by piece and tailored, effecting an editing process. In one case, Paul produced a song via 500 recorded discs. But, besides the tedium of this process, it serially degraded the sound quality of previously recorded elements, rerecorded as ambient sound. Yet in 1948, Paul adopted tape recording, enabling true multitrack recording by
441-542: A new technique, " overdubbing ". To enable overdubbing, Paul revised the tape recorder itself by adding a second playback head, and terming it the preview head . Joining the preexisting recording head, erase head, and playback head, the preview head allows the artist to hear the extant recording over headphones playing it in synchrony, "in sync", with the present performance being recorded alone on an isolated track. This isolation of multiple tracks enables countless mixing possibilities. Producers began recording initially only
490-464: A reason. Everybody's not going platinum. Everybody didn't do what you did. Everybody didn't come in on the Internet. You're the one that started the Internet. You're the one that got me on the Internet. You're the one that got us on blogs, on YouTube, and on Twitter.' I was like, 'Man, you know what? You're right.' He wasn't doing nothing but speaking true knowledge to my head and it got me right back in
539-531: A set of recordings in Los Angeles. Later, folklorist Archie Green called this perhaps the earliest printed use of A&R man . Actually, it says neither "A&R man" nor even "A&R", an initialism perhaps coined by Billboard magazine in 1946, and entering wide use in the late 1940s. In the 1920s and 1930s, A&R executives, like Ben Selvin at Columbia Records , Nathaniel Shilkret at Victor Records, and Bob Haring at Brunswick Records became
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#1732790817826588-448: A woman the reins of an immense, creative project like making a record." Ultimately, the reasons are multiple and not fully clear, although prominently proposed factors include types of sexism and scarcity of female role models in the profession. Women producers known for producing records not their own include Sonia Pottinger, Sylvia Robinson and Carla Olson. In January 2018, a research team led by Stacy L. Smith, founder and director of
637-459: Is different from Wikidata All article disambiguation pages All disambiguation pages Dre (album) At the time, Soulja Boy stated that he wished to begin working with artists such as Jay-Z and Eminem . Soulja Boy collaborated with American rappers Gucci Mane and Birdman on the track titled "Swag Flu" and also collaborated with Canadian teen pop singer Justin Bieber on
686-660: Is more forgiving of overmodulation , whereby dynamic peaks exceed the maximal recordable signal level: tape's limitation, a physical property, is magnetic capacity, which tapers off, smoothing the overmodulated waveform even at a signal nearly 15 decibels too "hot", whereas a digital recording is ruined by harsh distortion of " clipping " at any overshoot. In digital recording, however, a recent advancement, 32-bit float , enables DAWs to undo clipping. Still, some criticize digital instruments and workflows for excess automation, allegedly impairing creative or sonic control. In any case, as production technology has drastically changed, so have
735-430: Is often likened to that of a film director though there are important differences. It is distinct from the role of an executive producer , who is mostly involved in the recording project on an administrative level, and from the audio engineer who operates the recording technology. Varying by project, the producer may or may not choose all of the artists. If employing only synthesized or sampled instrumentation,
784-825: The Annenberg Inclusion Initiative, based in the USC Annenberg School for Communication and Journalism , issued a report, estimating that in the prior several years, about 2% of popular songs' producers were female. Also that month, Billboard magazine queried, "Where are all the female music producers?" Upon the Annenberg Inclusion Initiative's second annual report, released in February 2019, its department at USC reported, "2018 saw an outcry from artists, executives and other music industry professionals over
833-521: The Billboard Rap Songs chart. The single has gone on to sell over 1,000,000 copies. "Blowing Me Kisses" was released as the album's second single on August 31, 2010. " Speakers Going Hammer " was released as the album's third single on October 19, 2010. A video teaser for the deluxe album song "Do It Big" was released in April 2010 to promote the album. There are music videos for
882-707: The "bed tracks"—the rhythm section , including the bassline , drums, and rhythm guitar—whereas vocals and instrument solos could be added later. A horn section , for example, could record a week later, and a string section another week later. A singer could perform her own backup vocals, or a guitarist could play 15 layers. Across the 1960s, popular music increasingly switched from acoustic instruments, like piano, upright bass , acoustic guitar , and brass instruments , to electronic instruments, like electric guitars , keyboards , and synthesizers , employing instrument amplifiers and speakers. These could mimic acoustic instruments or create utterly new sounds. Soon, by combining
931-462: The 1940s, during World War II, the Germans refined audio recording onto magnetic tape—uncapping recording duration and allowing immediate playback, rerecording, and editing—a technology that premised emergence of record producers in their current roles. Early in the recording industry, a record was attained by simply having all of the artists perform together live in one take. In 1945, by recording
980-574: The 1950s, on simply improving the record's sonic match to the artists' own live performance. Advances in recording technology, especially the 1940s advent of tape recording —which Les Paul promptly innovated further to develop multitrack recording —and the 1950s rise of electronic instruments, turned record production into a specialty. In popular music, then, producers like George Martin , Phil Spector and Brian Eno led its evolution into its present use of elaborate techniques and unrealistic sounds, creating songs impossible to originate live. After
1029-522: The 1960s. Still, a formal distinction was elusive for some time more. A&R managers might still be creative directors, like William "Mickey" Stevenson , hired by Berry Gordy , at the Motown record label. In 1947, the American market gained audio recording onto magnetic tape. At the record industry's 1880s dawn, rather, recording was done by phonograph , etching the sonic waveform vertically into
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#17327908178261078-501: The 1980s, production's move from analog to digital further expanded possibilities. By now, DAWs, or digital audio workstations , like Logic Pro , Pro Tools and Studio One , turn an ordinary computer into a production console, whereby a solitary novice can become a skilled producer in a thrifty home studio. In the 2010s, efforts began to increase the prevalence of producers and engineers who are women, heavily outnumbered by men and prominently accoladed only in classical music. As
1127-647: The Kinks produced some of their own songs, although many such songs are officially credited to specialist producers. Yet especially influential was the Beach Boys, whose band leader Brian Wilson took over from his father Murry within a couple of years after the band's commercial breakthrough. By 1964, Wilson had taken Spector's techniques to unseen sophistication. Wilson alone produced all Beach Boys recordings between 1963 and 1967. Using multiple studios and multiple attempts of instrumental and vocal tracks, Wilson selected
1176-469: The United States, making it Way's lowest selling album. Record producer A record producer or music producer is a music creating project's overall supervisor whose responsibilities can involve a range of creative and technical leadership roles. Typically the job involves hands-on oversight of recording sessions; ensuring artists deliver acceptable and quality performances, supervising
1225-582: The album "bland and jaundiced", while HipHopDX states that it "lacks any evidence of creativity". The DeAndre Way sold 13,400 copies in its first week, which was a significant drop from his previous two albums. The album debuted at number 90 on the US Billboard 200 chart, number 8 on the Top Rap Albums, and number 18 on the R&;B/Hip-Hop Albums charts. The album has sold 56,000 copies in
1274-409: The artist's and label's goals in the creation of musical content. Other duties include, but are not limited to: keeping budgets and schedules; adhering to deadlines; hiring musicians, singers, studios, and engineers; overseeing other staffing needs; and editing (Classical projects). The producer often selects and collaborates with a mixing engineer, who focuses on the especially technological aspects of
1323-469: The best combinations of performance and audio quality, and used tape editing to assemble a composite performance. The 1980s advent of digital processes and formats rapidly replaced analog processes and formats, namely, tape and vinyl. Although recording onto quality tape, at least half an inch wide and traveling 15 inches per second, had limited "tape hiss" to silent sections, digital's higher signal-to-noise ratio , SNR, abolished it. Digital also imparted to
1372-517: The capabilities of tape, multitrack recording, and electronic instruments, producers like Phil Spector , George Martin , and Joe Meek rendered sounds unattainable live. Similarly, in jazz fusion , Teo Macero , producing Miles Davis 's 1970 album Bitches Brew , spliced sections of extensive improvisation sessions. In the 1960s, rock acts like the Beatles , the Rolling Stones , and
1421-460: The industry are Logic Pro and Pro Tools. Physical devices involved include the main mixer, MIDI controllers to communicate among equipment, the recording device itself, and perhaps effects gear that is outboard. Yet literal recording is sometimes still analog, onto tape, whereupon the raw recording is converted to a digital signal for processing and editing, as some producers still find audio advantages to recording onto tape. Conventionally, tape
1470-669: The knowledge demands, although DAWs enables novices, even teenagers at home, to learn production independently. Some have attained professional competence before ever working with an artist. Among female record producers, Sylvia Moy was the first at Motown , Gail Davies the first on Nashville's Music Row , and Ethel Gabriel , with RCA , the first at a major record label . Lillian McMurry , owning Trumpet Records , produced influential blues records. Meanwhile, Wilma Cozart Fine produced hundreds of records for Mercury Records ' classical division. For classical production, three women have won Grammy awards, and Judith Sherman 's 2015 win
1519-436: The label failed to listen to him. He claims his souring relationship with record producer and mentor Mr. Collipark , who for the first time did not do any production work on Way's album, gave him less power to negotiate with record execs. "When I first started it was Soulja Boy and Collipark. But after my label Stacks on Deck Money Gang Records was established and I started making all these different moves, I started to become
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1568-399: The label will do the best they can." Even though the two have since made up, Way stated that because of the disappointing album sales he was about to give up on his music career, but he didn't because of his other mentor 50 Cent , who was also a guest on the album, told him not to and to keep going. "50 was like, 'You've got to keep doing what you’re doing. You're Soulja Boy, you're here for
1617-469: The label. I wasn't picking up nobody's calls. I went like that for a week. I was in a state of confusion. I needed answers...the label only shipped like 18,000 copies [of the album]. So I wasn't able to do gold first week or even 100k, none of that. They only put like 8,000 units in Best Buy. It was crazy." Way also stated he felt helpless because of communication with Interscope was lacking, and he believed
1666-507: The lack of women in music" and "the plight of women in music", where women were allegedly being "stereotyped, sexualized, and shut out". Also in February 2019, the Recording Academy 's Task Force on Diversity and Inclusion announced an initiative whereby over 200 artists and producers—ranging from Cardi B and Taylor Swift to Maroon 5 and Quincy Jones —agreed to consider at least two women for each producer or engineer position. The academy's website, Grammy.com , announced, "This initiative
1715-576: The manufacturing of record discs. After World War II , pioneering A&R managers who transitioned influentially to record production as now understood, while sometimes owning independent labels, include J. Mayo Williams and John Hammond . Upon moving from Columbia Records to Mercury Records , Hammond appointed Mitch Miller to lead Mercury's popular recordings in New York. Miller then produced country-pop crossover hits by Patti Page and by Frankie Laine , moved from Mercury to Columbia, and became
1764-774: The music a perceived "pristine" sound quality, if also a loss of analog recordings' perceived "warm" quality and better-rounded bass. Yet whereas editing tape media requires physically locating the target audio on the ribbon, cutting there, and splicing pieces, editing digital media offers inarguable advantages in ease, efficiency, and possibilities. In the 1990s, digital production reached affordable home computers via production software. By now, recording and mixing are often centralized in DAWs, digital audio workstations —for example, Pro Tools , Logic Pro , Ableton , Cubase , Reason , and FL Studio —for which plugins , by third parties, effect virtual studio technology . DAWs fairly standard in
1813-438: The precursors of record producers, supervising recording and often leading session orchestras. During the 1940s, major record labels increasingly opened official A&R departments, whose roles included supervision of recording. Meanwhile, independent recording studios opened, helping originate record producer as a specialty. But despite a tradition of some A&R men writing music, record production still referred to just
1862-438: The producer may be the sole artist. Conversely, some artists do their own production. Some producers are their own engineers, operating the technology across the project: preproduction, recording, mixing , and mastering . Record producers' precursors were "A&R men", who likewise could blend entrepreneurial, creative, and technical roles, but often exercised scant creative influence, as record production still focused, into
1911-463: The recording process, namely, operating the electronic equipment and blending the raw, recorded tracks of the chosen performances, whether vocal or instrumental, into a mix , either stereo or surround sound. Then a mastering engineer further adjusts this recording for distribution on the chosen media. A producer may work on only one or two songs or on an artist's entire album, helping develop the album's overall vision. The record producers may also take on
1960-438: The role of executive producer, managing the budget, schedules, contracts, and negotiations. (Artists and Repertoires) In the 1880s, the record industry began by simply having the artist perform at a phonograph . In 1924, the trade journal Talking Machine World , covering the phonography and record industry, reported that Eddie King, Victor Records ' manager of the "New York artist and repertoire department", had planned
2009-403: The same term [REDACTED] This disambiguation page lists articles associated with the title DRE . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=DRE&oldid=1190209569 " Category : Disambiguation pages Hidden categories: Short description
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2058-431: The song in its final mix. The producer's roles can include gathering ideas, composing music, choosing session musicians , proposing changes to song arrangements, coaching the performers, controlling sessions, supervising the audio mixing , and, in some cases, supervising the audio mastering . A producer may give creative control to the artists themselves, taking a supervisory or advisory role instead. As to qualifying for
2107-569: The studio. So I ain't going to never quit. I'm going to stay in this music industry. I'm going to stay making hits, and I'm going to do what I've got to do, and I thank 50. I really needed that at that time." " Pretty Boy Swag " was released as the album's lead single on June 8, 2010. The single has reached number 34 on the US Billboard Hot 100 , number 6 on the Billboard Hot R&;B/Hip-Hop Songs chart and number 5 on
2156-419: The technical engineering of the recording, and coordinating the production team and process. The producer's involvement in a musical project can vary in depth and scope. Sometimes in popular genres the producer may create the recording's entire sound and structure. However, in classical music recording, for example, the producer serves as more of a liaison between the conductor and the engineering team. The role
2205-433: The track titled "Rich Girl". Nicki Minaj , Snoop Dogg , 50 Cent , Lil Wayne , Trey Songz , Jamie Foxx , Busta Rhymes , Chris Brown , Ray J , and Arab were in works to be featured on the album, but Trey Songz, 50 Cent, and Arab were the only artists who appear on the album out of those names. SOD's rapper JBar was supposedly to be featured on the album, but did not make it the final cut. The track titled "Mean Mug",
2254-721: The tracks "Mean Mug" featuring 50 Cent and "30 Thousand 100 Million" feat. Lil B, both of them released in November 2010. Upon release, The DeAndre Way received mixed reviews from music critics. However it has garnered better critical reception than Soulja Boy 's previous albums. IGN stated "For a party-ready southern hip-hop album it gets the job done, but anyone looking for something more substantial needs to look elsewhere." Slant Magazine contributed, " The DeAndre Way doesn't exactly qualify as substantial growth, but it's another solid effort from an innovative MC who's been unfairly chastised by so many." However Rolling Stone labelled
2303-481: The vast majority have been men. Early in the 2010s, asked for insights that she herself had gleaned as a woman who has specialized successfully in the industry, Wendy Page remarked, "The difficulties are usually very short-lived. Once people realize that you can do your job, sexism tends to lower its ugly head." Still, when tasked to explain her profession's sex disparity, Page partly reasoned that record labels, dominated by men, have been, she said, "mistrustful of giving
2352-658: Was an early female record producer, having produced both of her Ivor Novello award-winning songs. Across the decades, many female artists have produced their own music. For instance, artists Kate Bush , Madonna , Mariah Carey , Janet Jackson , Beyoncé (even that of Destiny's Child and the Carters ), Lana Del Rey , Taylor Swift , and Lorde have produced or coproduced and Ariana Grande who produces and arranges her vocals as well as being an audio engineer. Still among specialists, despite some prominent women, including Missy Elliott in hip hop and Sylvia Massy in rock,
2401-455: Was her fifth. Yet in nonclassical, no woman has won Producer of the Year , awarded since 1975 and only one even nominated for a record not her own, Linda Perry. After Lauren Christy 's 2004 nomination, Linda Perry 's 2019 nomination was the next for a woman. On why no woman had ever won it, Perry commented, "I just don't think there are that many women interested." In the U.K., Lynsey de Paul
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