Sunday, April 6, 2025

Navigating the New Social Media Music Rules: What You Need to Know About Content Ownership

Lately, I’ve been hearing from a lot of artists who are struggling with getting their music heard on social media platforms, thanks to some new rules about content ownership. Meta (Instagram, Facebook) and TikTok have decided to crack down on songs that contain non-exclusive content. This means any music featuring loops from sound libraries or non-exclusive beats that were leased could now be flagged or removed.

It’s frustrating, especially when so much time and love go into crafting a track — even if the loop or beat isn’t 100% exclusive. In fact, one of my all-time favorite hip-hop tracks was created with a longstanding client using a leased beat (check it out: Took You For Granted). While these new rules can be discouraging, I might just be able to help you work around them!

As a musician, I’ve been creating custom guitar loops for my own hip-hop beats, and recently, I’ve collaborated with Deep House producers. In fact, some of these tracks have racked up over 50 million streams! While many of these collaborations involved original content, there have been times I had to rework guitar or keys loops — or even an entire instrumental — when a client realized they didn’t have the proper rights to their music.

Below, you’ll find a playlist of some Deep House and Pop tracks featuring guitar hooks I’ve worked on, followed by a playlist of some beats I’ve created myself.

If you’re in need of custom loops, original beats, or help with reworking your content to make sure it’s 100% rights-cleared, feel free to reach out. Let’s chat and get your music to the right place!


Deep House/Pop Tracks I've Contributed Guitars On 





Hip Hop Beats I've Created








Wednesday, April 2, 2025

SonarWorks SoundID

I’ve got a pretty solid home studio setup for mixing and producing tracks, but I’ve always wanted to get the low end more accurate in my space. I typically check my mixes on different monitors, earphones, and in the car, so the results are good overall. Still, I wondered if I could get things a little closer before jumping into other reference checks.

For context, here’s what my room looks like:

Recording Studio

There's plenty of room treatment, but nothing professional.

Enter… SonarWorks SoundID!

SoundID is software that tests your room using their calibration mic, analyzes how your room and monitors affect your sound, and then compensates with an EQ to fix the room’s issues. The result is a more accurate listening environment for your audio work.

I’ve known about SoundID for years, but I wasn’t fully sold on it at first. The original way of using it involved placing the plugin on your master bus. Since the EQ it applies is designed to balance out your room, it would probably sound off anywhere else. I could already picture myself forgetting to turn it off before bouncing a mix and getting emails like, “Why does my mix sound weird?” That was enough of a deterrent for me initially.

But last fall, UAD announced that SoundID would now run directly on their audio interfaces. Huge game-changer! I upgraded to a newer UAD interface (the X4 is even better than I expected by the way) and recently bought the software.

I’ve set it up, and while the software is a bit clunky, the results are fantastic.

The system works best with the mic they sell as an option—makes sense, right? The setup involves entering a code from the mic to get its sound profile. Although the mic is supposed to be completely accurate, that’s not really feasible, so the software adjusts for any inconsistencies.

Next, the software guides you through placing the mic in various positions to test your speakers and room. To test your speakers, you place the mic where your head would be when listening, and then half an inch from each speaker. After that, you position the mic in 39 specific spots around the room. I thought I’d mess this up, but what they do is pretty clever: on the screen, you see a square representing your room, and a flashing circle indicating where to place the mic for each test. The speakers output clicks, and using the timing of the clicks from both speakers, the software triangulates the mic’s location—kind of like a bat using echolocation, but instead of finding bugs, it finds your mic placement. Once it’s in place, the software does a few frequency sweeps.

Here’s a video of what the screen looks like during the setup with me moving the mic:



After completing the 39 placements, you get an EQ graph showing how sound behaves in your room.

I ran the test twice for my two sets of monitors. Here’s the eq curve for my Dynaudios:




Once you've saved your custom presets, you can load them into your UAD software, or use the plugin version of the software if you’re not on UAD.

After a few days of using SoundID and bypassing it to compare, I’m honestly amazed at what I was hearing before. I’ve got some mix projects coming up and can’t wait to dive in with the software enabled. I’ll update this post once I’ve done that.

If you're interested in checking out the software, feel free to use my affiliate link where you can purchase or get a trial version for free:

https://www.sonarworks.com/?_ef_transaction_id=&oid=5&affid=703


If you need some help with your productions or mixes feel free to reach out!

Ashton Price

www.MorphProductions.com 

[email protected]








Monday, March 10, 2025

Producing an Audio Book

So you've written your own book and are now looking into releasing it as an audiobook. As someone with 20 years of experience in this field, you've come to the right place! I wanted to use my expertise to create a blog that authors would find useful when navigating the process of audiobook production.

Creating an audiobook involves recording the book (either yourself or with a paid narrator) and having it edited and mastered to meet ACX (Audible) specifications for release. Let's dive in!

Choosing a Narrator

The first step is deciding whether you want to narrate the book yourself or hire a professional. Both options have their pros and cons.

Pros of Narrating Your Own Book:

  • You can deliver it with the exact tone and inflection you intended. This is especially important for personal works, but even fiction sometimes benefits from an author's voice.

  • No one knows your story better than you!

  • It can save on costs, as hiring a narrator isn’t cheap, making self-narration a necessity for lower-budget projects.

Cons of Narrating Your Own Book:

  • Your voice may not be something listeners will enjoy for 6-9 hours compared to a pro.

  • Writing a book and reading engagingly are two different skills.

  • If you’re not a strong speaker, you may make more mistakes than a professional, leading to additional editing costs.

For the record, I usually record authors narrating their own books. It’s rare for me to bring in a paid narrator. While most authors do fine, I always warn them in advance that they probably won’t like the sound of their own voice—most people don’t! That’s something you’ll have to get past.

Booking the Studio

Once the narrator is decided, the next step is securing a recording studio. I have locations in Toronto and Hamilton, Ontario. Audiobook recording requires excellent soundproofing—since it’s mostly just someone reading, you can't have traffic noise or footsteps overhead disrupting the session. I work with studios that are well-suited for this purpose.

Recording Day

On recording day, I recommend wearing comfortable, quiet clothing—crisp dress shirts that make a "swish" sound can be problematic. Bring snacks to stay comfortable and avoid stomach grumbles, as they’ll get picked up by the microphone.

I use a Neumann U87 microphone, a $4,000 industry-standard mic that captures everything, including every movement and stomach rumble, so we take precautions to minimize noise.

The narrator will be set up with an iPad (either provided or brought in) with the manuscript, and once levels are set, we begin recording. If this is your first time, know that making mistakes is normal! The key is ensuring that by the end of the session we have clean, well-read audio.

When mistakes happen, I erase up to the last logical break, play back some pre-roll for reference, and have the narrator continue from there. This method ensures smooth editing later and keeps punch-ins sounding natural.

How Long Does It Take?

Recording time varies based on the author’s pace and number of mistakes. I book sessions in 6-hour increments, with breaks throughout. On average, recording takes 3-6 sessions (18-36 hours total).

Many authors think they can read their entire book much faster, but there’s a big difference between skimming a book in your head and reading every line perfectly aloud.

Editing & Mastering

Once the recording is complete, I take the audio to my home studio for editing. This process includes:

  • Inserting room tone (natural silence rather than digital silence).

  • Adjusting spacing for proper pacing.

  • Running a quality control (QC) check to catch errors.

Larger American companies I work with require word-accurate reads, but independent authors have more flexibility. Many prefer to maintain meaning rather than strict word accuracy.

When I find errors that need fixing, I highlight them in both the manuscript and audio, then send them to the client. If necessary, we schedule another session to correct those lines.

Mastering the Audiobook

Once edits are complete, the audiobook needs to be mastered to meet ACX specifications. This includes adjusting levels and other parameters to ensure compliance. You can find ACX's full requirements here: ACX Audio Submission Requirements

I’ve also worked on projects where I was only responsible for editing/mastering, whether recorded by someone else or self-recorded by the author. If you’re unfamiliar with audio terminology, ACX requirements can be daunting, and I’m happy to assist with that process.

Editing and mastering times vary, but in general, expect it to take 1-2 times the recording duration.  Meaning if your book took 12 hours to record it could be anywhere from 12 to 24 hours to edit. Since budget considerations are important, I always discuss how in-depth the edit should be based on financial constraints.

Final Delivery



Once the audiobook is fully mastered and meets ACX's requirements, I send the final files to the author for distribution.

While audiobook production isn’t cheap, one of its biggest advantages over printed books is that once production costs are covered, you can sell unlimited copies without additional printing or distribution expenses. Additionally, audiobooks allow you to reach a growing market—while print book sales have declined, audiobooks continue to rise in popularity.

I hope this (admittedly detailed) breakdown of the audiobook production process was helpful! If you're in the GTA and need help with your audiobook, feel free to reach out. If you’re outside the area and need post-production services (editing/mastering), I’d be happy to assist as well.

For questions or bookings, contact me at [email protected]



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For more info, visit my website: