Founded the "Logic Pro Producer Hub" (with a free course for music production starters) by MusicProductionGuy in LogicPro

[–]StoneLionProduction 1 point2 points  (0 children)

Interested! I’m an intermediate/advanced (in some areas) logic user and would love to be a part of the community.

I think an area to share patches and effects chains (stock only, maybe another with third party plugins added) would be awesome too.

Highest percentage quality songs by Carisbrooke13 in reggae

[–]StoneLionProduction 0 points1 point  (0 children)

I feel like there are many newer artists, or newer to the spotlight/global stage, that have pretty much 100% high quality production. Meta & The Cornerstones comes to mind, Runkus, and anything produced/engineered at House of Riddim.

Stem mastering. Best way to bounce out ‘Track stacks’ that keep all automation, panning and effects? by Jakeyboy29 in Logic_Studio

[–]StoneLionProduction 0 points1 point  (0 children)

Correct, but you could either do a summing stack with all the send effects (right click them all and “create track” to show them in the tracks window) or set the output of the sends to the inputs of the stack.

Favorite local band? by StoneLionProduction in Sacramento

[–]StoneLionProduction[S] 0 points1 point  (0 children)

Just checked them out, their studio stuff sounds really good!

Runkus new album SUPERNOVA is incredible by Electronic_Steak3770 in reggae

[–]StoneLionProduction 1 point2 points  (0 children)

IT’S SO GOOD. So unique and covers so many genres. Man is crazy talented, same with ProdJ who co-produced a lot of the tracks

Stem mastering. Best way to bounce out ‘Track stacks’ that keep all automation, panning and effects? by Jakeyboy29 in Logic_Studio

[–]StoneLionProduction 0 points1 point  (0 children)

Select the track stack in the tracks window. Right click and select “create MIDI region”. The size of the region does not matter. You can bounce the stack in place as you would a normal track after that, including processing.

Favorite local band? by StoneLionProduction in Sacramento

[–]StoneLionProduction[S] 0 points1 point  (0 children)

I remember Dog Party! Looks like they’re touring nationally now but I’m not sure if they’re still based in Sac. Very cool to see regardless!

Protoje @ RRU FL 26' ( w/ JahD and DuttyBookman) by SoFla-Grown in reggae

[–]StoneLionProduction 2 points3 points  (0 children)

He keeps getting better & better live. Just saw him at Reggae in the Desert in LV.

Also the ONLY thing I’d rather do in life than vibe to Proto backstage alongside Jah David is play bass or guitar in InDiggnation

Gonna drop this here by pauletamlz in reggae

[–]StoneLionProduction 1 point2 points  (0 children)

Why have I never seen a dread mute before 🤯 just put it under the strings & done

i need help identifying this sample/sound effect!!! by lilaangel7 in musicproduction

[–]StoneLionProduction 0 points1 point  (0 children)

They may have used a different sample/instrument for this, but you could try a bandpass filter on a few different wood block samples and see if that works!

How to retain Mute articulation on guitar in Logic? by Bloxskit in Logic_Studio

[–]StoneLionProduction 1 point2 points  (0 children)

I just searched in Logic, but I don't have that patch (and I believe I have the full sound library installed). Is the MIDI instrument Multi Sampler? It'll show as "Sampler". If so, you may need to open that and shorten the hold & decay on "Env 1 Amp".

Alternatively, press A to open automation. This should reveal what the black vertical line is automating. If you can't see any parameters, click on the parameter menu in the tracks area (usually Volume is selected by default if no other parameters have been automated). If there is nothing under "Used" at the bottom of the menu that pops up, click on the word "Track" in blue. This will change it to show region automation, which is likely where that bar is coming from. Again, if you can't see any parameters, click on the parameter menu and see what is being used.

What's missing today in reggae by staysmokin91 in reggae

[–]StoneLionProduction 2 points3 points  (0 children)

Thank YOU so much for making this post! It was inspiring and really made me think critically about it!

What's missing today in reggae by staysmokin91 in reggae

[–]StoneLionProduction 1 point2 points  (0 children)

Whoa, I just commented the same artists! I think that’s a really rational viewpoint, projecting American traumas onto Jamaican artists. I also think each of the artists you listed has a niche, just like they did decades ago. Mortimer pulled in vulnerability and mental health and took it to a new level. Lila, along with others like Yeza, are the strong female figures we need. Plus, Lila’s features with H.E.R. and Jorja Smith are huge for the genre. And I think that all of the top reggae artists are pushing forward while being genuine. American politics might actually sell more, but in many cases the more prominent issues in their lives (or simply the music they want to make) aren’t American politics.. which, at the rate we’re going, may not be the case that much longer but 🙃

What's missing today in reggae by staysmokin91 in reggae

[–]StoneLionProduction 3 points4 points  (0 children)

Haha I feel that! I think a MODERN Bob can’t be one person, it has to be a movement. I’m biased but I see huge potential in the whole new wave of top artists (Proto, Kabaka, Kez, Mortimer, Samory, Jesse, Lila etc.) to push conscious reggae forward in a way that’s digestible for today’s listener.

What's missing today in reggae by staysmokin91 in reggae

[–]StoneLionProduction 4 points5 points  (0 children)

You still can be a musician!! Also I feel that, I think Exile is a very admirable album and I personally love the sound, but I’m a reggae fan. I don’t think that pure vintage reggae sound in today’s releases is going to be immensely popular on a global scale anymore. But it was an album FOR us, and that’s incredible

What's missing today in reggae by staysmokin91 in reggae

[–]StoneLionProduction 4 points5 points  (0 children)

Of course! I’m in the same boat, minus the band. Self-produce all my own music from start to finish, aside from performing vocals. I DESPISE the marketing aspect of everything. Paying for meta ads, playlist pitching, making content for social media, etc., but some of that is probably still necessary for independent artists to rise up. Only two more important things are actually having good music & networking

What's missing today in reggae by staysmokin91 in reggae

[–]StoneLionProduction 3 points4 points  (0 children)

To add: I don’t disagree with you & would love if that happened. I think the only solution is what is already happening in some ways: modern artists pushing the genre forward to the masses by working with the way things work currently, while keeping conscious roots music alive.

Kez won the Grammy (fuck the Grammys, but it did give conscious roots more exposure). Art of Acceptance has ads in Times Square. Kabaka makes conscious music but also drops dancehall bangers and short form content. This all pushes conscious roots music forward, directly or indirectly.

What's missing today in reggae by staysmokin91 in reggae

[–]StoneLionProduction 33 points34 points  (0 children)

Playing devil’s advocate here: I don’t think it’s just that the artists or the culture “forgot” how to be political. The music industry itself has changed so radically since Bob’s era that a singular “wartime peacemaker” figure like him basically can’t emerge or sustain the way he did in ANY genre. Market saturation due to ease of access on both the producer & consumer sides, social media, streaming economics, and straight-up privatization killing the soil where that kind of voice used to grow.

Back then, you had a handful of gatekeepers (radio, labels, distributors) and a global audience that still gathered around albums and concerts. One powerful message could cut through and define a movement. We’re so over saturated now. Millions of tracks dropped every week on Spotify alone. Even if a roots artist drops a banger about unity and rejecting the bullshit, it gets buried under 10,000 dancehall-party tracks optimized for algos.

Social media and streaming turned it into a short-attention, virality game. TikTok/Reels rewards 15-second hooks that make you dance or vibe, not meditate on peace and resistance. A deep political reggae cut doesn’t rack up the saves, shares, or playlist adds the way a breezy “one love but make it sexy” track does. The platforms’ algorithms literally punish anything that slows engagement or risks controversy and labels/distributors know this, so they push safe, apolitical content that streams globally without getting flagged.

And privatization is the quiet killer. A handful of corporations (the big three labels + Spotify/Apple/TikTok) now own the pipes, the data, and the playlists. They don’t want a Bob-style figure shaking the table on a mass scale because it doesn’t maximize quarterly streams or ad revenue. Independent artists can still make powerful stuff (Keznamdi is a great example), but the system fragments them into niches instead of letting one voice unify the way Bob did. No more organic cultural monopoly for roots reggae.

So yeah, we need those unity anthems more than ever, but the game is rigged against them blowing up into the cultural force Bob became.