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:: artist infos
» member profile:
Neumatic Impact
» location:
Promoters: Mark Lorette/ Daniel Mer
» label: InfoRef/Neutral
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thought process
Thought Process 'Matching Coats
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Thought Process: Neumatic Impact & Mobius The Shepherd proform the song Matching Coats: A song from Constructed Criticism MTS VS NI
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Thought Process - 01 - Alienated Nation1
Thought Process - 02 - Matching Coats
Thought Process - 03 - Abide By Freedom
Thought Process - 04 - Eternal Rest
Thought Process - 05 - Explioted by Documentaries
Thought Process - 06 -Magician
Thought Process - 07 -Definition Theories
Thought Process - 08 - Dive
Thought Process - 09 -Footprints
Thought Process - 10 - Masking Tapes
check all 41 songs on the music page
Thought Process: MTS VS NI
Thought process are an American rap/hip hop duet from Rhode Island .The group consists of Neumatic impact who plays the guitar, and eclectic electronics including children’s toys. Mobius the shepherd who plays the bass, rm1x, SK1 Casio keyboard, realistic microphone held together with tape. Thought process began as separate entities. Neumatic impact aka Mark Lorette grew up listening to Weird Al, AC/DC, Beastie Boys, Run-DMC, etc. Neumatic Impact was in a hardcore punk band in 1993 called Mama Dropped Me, first appearing on the compilation cassette Mama Dropped Me live before releasing his debut solo album Astigmatic Vision in 2005. After achieving moderate local success with the release of his experimental invention, he made the transition to hip hop successfully. They are one of the longest lived obscure hip hop with concerns worldwide and continue to appreciate the underbelly of attainment in 2011, nearly 14 years since the seed was planted.
Thought process are an American rap/hip hop duet from Rhode Island .The group consists of Neumatic impact who plays the guitar, and eclectic electronics including children’s toys. Mobius the shepherd who plays the bass, rm1x, SK1 Casio keyboard, realistic microphone held together with tape. Thought process began as separate entities. Neumatic impact aka Mark Lorette grew up listening to Weird Al, AC/DC, Beastie Boys, Run-DMC, etc. Neumatic Impact was in a hardcore punk band in 1993 called Mama Dropped Me, first appearing on the compilation cassette Mama Dropped Me live before releasing his debut solo album Astigmatic Vision in 2005. After achieving moderate local success with the release of his experimental invention, he made the transition to hip hop successfully. They are one of the longest lived obscure hip hop with concerns worldwide and continue to appreciate the underbelly of attainment in 2011, nearly 14 years since the seed was planted.
Why this name?
We picked the name Thought Process because it was so ambiguous in the sense in everyday language. If you search for Thought Process on Google or Yahoo, you receive millions of results reflecting on peoples hopes and dreams. They are very intellectual in nature and nurture. At work , I hear the phase all the time relating to people’s behavior. Their game shows to drama shows on Television displaying documentaries of criminals and CEO’s of corporate companies, with the common thread. What were they thinking? Processing Thought, Thought Process Neumatic Impact VS. Mobius The Shepheard tonight on Pay Per View. DVR the Constructed Criticism.
Do you play live?
THE DAY IN THE LIFE OF A THOUGHT PROCESS CD: Once our CD cover was ripped up by a rival group called Thought Protest. They have been known to buy our CD and publicly destroy it in the street. We are not sure what that proves but we are hyper vigilant. We are waiting to see what will happen next.
How, do you think, does the internet (or mp3) change the music industry?
n the first decade of the 21st century consumers began to use computers and computer networks as the primary means to record, distribute, store and play music. This technological shift caused widespread economic changes and fundamentally changed the relationships between artists, record companies, promoters, retail music stores, the technology industry and the consumer. The rise of digital music consumption options contributed to a few fundamental changes in consumption. First the decline of album sales. With the A la carte sales models increasing in popularity, consumers no longer download entire albums but rather choose single songs.
The initial stage (from approximately 1998 to 2001) of the digital music revolution was the emergence of peer-to-peer (P2P) networks that allowed the free exchange of music files (such as Kazaa and Napster). By 2001, the cost of hard drive space had dropped to a level that allowed pocket-sized computers to store large libraries of music. The iPod and iTunes system for music storage and playback became immensely popular, and many consumers began to transfer their physical recording media (such as CDs) onto computer hard drives. The iTunes music store offered legal downloads beginning in 2003, and competitors soon followed, offering a variety of online music services, such as internet radio. Digital music distribution was aided by the widespread acceptance of broadband in the middle of the decade.[1] At the same time, recording software (such as Avid's ProTools) began to be used almost exclusively to make records, rendering expensive multitrack tape machines (such as the 1967 Studer) almost obsolete.
The chief economic impact of these changes was a dramatic decline in revenues from recorded music. In the 21st century, consumers spent far less money on recorded music than they had in 1990s, in all formats. Total revenues for CDs, vinyl, cassettes and digital downloads in the U.S. dropped from a high of $14.6 billion in 1999 to $9 billion in 2008.
The popularity of internet music distribution has increased and by 2007 more units were sold over the internet than in any other form.[2] However, as The Economist reported, "paid digital downloads grew rapidly, but did not begin to make up for the loss of revenue from CDs."[3] The 2000s period stands in stark contrast from the "CD boom" of 1984-1995, when profit margins averaged above 30% and industry executives were notorious for their high profile, even frivolous spending.[4]
The major record labels consistently failed to heed warnings or to support any measures that embraced the change in technology.[4] In the early years of the decade, the industry fought illegal file sharing, successfully shutting down Napster in 2001 and threatening thousands of individuals with legal action. This failed to slow the decline in revenue and was a public relations disaster.[4] Some academic studies have even suggested that downloads were not the true cause of the decline.[5]
The turmoil in the industry changed the balance of power among all the various players. The major music-only stores such as Tower Records (which once wielded considerable influence in the industry) went bankrupt, replaced by box stores (such as Wal-Mart and Best Buy). Recording artists began to rely primarily on live performances and merchandise for their income, which in turn made them more dependent on music promoters such as Live Nation (which dominates tour promotion and owns a large number of music venues.)[6] In order to benefit from all of an artist's income streams, record companies began to rely on the "360 deal", a new business relationship pioneered by Robbie Williams and EMI in 2007.[7] At the other extreme, record companies also used simple manufacturing and distribution deals, which gives a higher percentage to the artist, but does not cover the expense of marketing and promotion. Many newer artists no longer see any kind of "record deal" as an integral part of their business plan at all. Inexpensive recording hardware and software made it possible to create high quality music in a bedroom and distribute it over the internet to a worldwide audience.[8] This, in turn, caused problems for recording studios, record producers and audio engineers: the Los Angeles Times reported that, by 2009, as many as half of the recording facilities in that city had failed.[9] Consumers benefited enormously from the ease with which music can be shared from computer to computer, whether over the internet or by the exchange of physical CDs. This has given consumers unparalleled choice in music consumption and has opened up performers to niche markets to which they previously had little access.
The initial stage (from approximately 1998 to 2001) of the digital music revolution was the emergence of peer-to-peer (P2P) networks that allowed the free exchange of music files (such as Kazaa and Napster). By 2001, the cost of hard drive space had dropped to a level that allowed pocket-sized computers to store large libraries of music. The iPod and iTunes system for music storage and playback became immensely popular, and many consumers began to transfer their physical recording media (such as CDs) onto computer hard drives. The iTunes music store offered legal downloads beginning in 2003, and competitors soon followed, offering a variety of online music services, such as internet radio. Digital music distribution was aided by the widespread acceptance of broadband in the middle of the decade.[1] At the same time, recording software (such as Avid's ProTools) began to be used almost exclusively to make records, rendering expensive multitrack tape machines (such as the 1967 Studer) almost obsolete.
The chief economic impact of these changes was a dramatic decline in revenues from recorded music. In the 21st century, consumers spent far less money on recorded music than they had in 1990s, in all formats. Total revenues for CDs, vinyl, cassettes and digital downloads in the U.S. dropped from a high of $14.6 billion in 1999 to $9 billion in 2008.
The popularity of internet music distribution has increased and by 2007 more units were sold over the internet than in any other form.[2] However, as The Economist reported, "paid digital downloads grew rapidly, but did not begin to make up for the loss of revenue from CDs."[3] The 2000s period stands in stark contrast from the "CD boom" of 1984-1995, when profit margins averaged above 30% and industry executives were notorious for their high profile, even frivolous spending.[4]
The major record labels consistently failed to heed warnings or to support any measures that embraced the change in technology.[4] In the early years of the decade, the industry fought illegal file sharing, successfully shutting down Napster in 2001 and threatening thousands of individuals with legal action. This failed to slow the decline in revenue and was a public relations disaster.[4] Some academic studies have even suggested that downloads were not the true cause of the decline.[5]
The turmoil in the industry changed the balance of power among all the various players. The major music-only stores such as Tower Records (which once wielded considerable influence in the industry) went bankrupt, replaced by box stores (such as Wal-Mart and Best Buy). Recording artists began to rely primarily on live performances and merchandise for their income, which in turn made them more dependent on music promoters such as Live Nation (which dominates tour promotion and owns a large number of music venues.)[6] In order to benefit from all of an artist's income streams, record companies began to rely on the "360 deal", a new business relationship pioneered by Robbie Williams and EMI in 2007.[7] At the other extreme, record companies also used simple manufacturing and distribution deals, which gives a higher percentage to the artist, but does not cover the expense of marketing and promotion. Many newer artists no longer see any kind of "record deal" as an integral part of their business plan at all. Inexpensive recording hardware and software made it possible to create high quality music in a bedroom and distribute it over the internet to a worldwide audience.[8] This, in turn, caused problems for recording studios, record producers and audio engineers: the Los Angeles Times reported that, by 2009, as many as half of the recording facilities in that city had failed.[9] Consumers benefited enormously from the ease with which music can be shared from computer to computer, whether over the internet or by the exchange of physical CDs. This has given consumers unparalleled choice in music consumption and has opened up performers to niche markets to which they previously had little access.
Would you sign a record contract with a major label?
When it comes to getting a record deal, finding the right "fit" with a label is the most important thing - but are you likely to fit in better at an indie label or a major label? Here, take a look at the pros and cons of working with an indie, and don't forget to check out the pros and cons of working with a major label before you make any final decisions about which kind of label is right for you.
Indie Label Deals - Pros
They Love Your Music: Indie labels generally have the freedom to work with whomever they like. There isn't the pressure that there is at major labels to sacrifice your tastes in favor of seeking out chart success, so when you get signed to an indie label, in almost every instance it is because the label is a big fan of your music. That means that they'll be working extra hard for you because they believe in what you're doing.
Close Working Relationships: Because indie labels have smaller staffs and smaller rosters, it's easier for musicians to develop a close relationship with the people working on their record. Although it's not always the case that artists can pick up the phone and get an answer to whatever question is on their mind with an indie, there is a much better chance of it happening than there is with a major.
Artist Friendly Deals: Some larger indie labels have relatively complex contracts, but smaller indies often do business on little more than a handshake and a profit split agreement. You seldom find indie labels demanding any measure of creative control over their artists, and most indies don't lock their artists into long term, multi album contracts.
Indie Label Deals - Cons
Money: Money came in the number one spot on the "pros" column for the majors, and it definitely tops the list of the "cons" for indies. Some indie labels are sitting pretty financially, but most small indies are just trying to stay afloat. That means they don't have the money to fund an all out media assault like the majors and that they often have to get creative with promotion ideas. They also can't afford big advances, fancy packaging, large recording budgets, tour support and other things a major can throw at you. With indie labels, you're usually going to have to remain financially invested in your own music career.
Disorganization: Not every indie label is disorganized, but the informal nature of operations at many smaller indie labels means things can get a tad bit confusing. For you as an artist, this means that sometimes things may slip through the crack, or it can be hard to figure out things like accounting.
Size: Size is another factor that was in the "pro" list for the majors. Although the size of indie labels have their upside - it is the smaller size that makes them more accessible to their artists - there is also a downside. They don't have the purchasing power of major labels, and because they have a small roster, they have fewer strings to pull with the press.
Indie Label Deals - Pros
They Love Your Music: Indie labels generally have the freedom to work with whomever they like. There isn't the pressure that there is at major labels to sacrifice your tastes in favor of seeking out chart success, so when you get signed to an indie label, in almost every instance it is because the label is a big fan of your music. That means that they'll be working extra hard for you because they believe in what you're doing.
Close Working Relationships: Because indie labels have smaller staffs and smaller rosters, it's easier for musicians to develop a close relationship with the people working on their record. Although it's not always the case that artists can pick up the phone and get an answer to whatever question is on their mind with an indie, there is a much better chance of it happening than there is with a major.
Artist Friendly Deals: Some larger indie labels have relatively complex contracts, but smaller indies often do business on little more than a handshake and a profit split agreement. You seldom find indie labels demanding any measure of creative control over their artists, and most indies don't lock their artists into long term, multi album contracts.
Indie Label Deals - Cons
Money: Money came in the number one spot on the "pros" column for the majors, and it definitely tops the list of the "cons" for indies. Some indie labels are sitting pretty financially, but most small indies are just trying to stay afloat. That means they don't have the money to fund an all out media assault like the majors and that they often have to get creative with promotion ideas. They also can't afford big advances, fancy packaging, large recording budgets, tour support and other things a major can throw at you. With indie labels, you're usually going to have to remain financially invested in your own music career.
Disorganization: Not every indie label is disorganized, but the informal nature of operations at many smaller indie labels means things can get a tad bit confusing. For you as an artist, this means that sometimes things may slip through the crack, or it can be hard to figure out things like accounting.
Size: Size is another factor that was in the "pro" list for the majors. Although the size of indie labels have their upside - it is the smaller size that makes them more accessible to their artists - there is also a downside. They don't have the purchasing power of major labels, and because they have a small roster, they have fewer strings to pull with the press.
Band History:
Neumatic Impact aka Mark Lorette grew up in Central Fall's riding bikes and skateboards. He interests including break dancing hip hop and heavy metal. He was also into graffiti and aerosol art. He formed a band called Pyro and completed a series of Pyro cassettes. For example, Pyro 1 , Pyro 2, Pyro 3 etc. Multiple copies were made and distributed however, the cassettes were ill recieved and Pyro disbanded. Later Mark auditioned for a band called Rubber Band aka Fugue. Uniformity, the band didn't want him to join but felt his style was pretty unique. A year later his was accepted into Mama Dropped Me. A few Years later Thought Process NI VS MTS
Your influences?
Dark Lotus
Das EFX
Dc Talk
Dead Celebrity Status
Dead Prez
Deep Puddle Dynamics
Deepspace5
Def Con Dos
De La Soul
Delinquent Habits
The Delinquents
Deltron 3030
Dem Franchize Boyz
Demon Boyz
Die Fantastischen Vier
Digable Planets
Digital Underground
Dipset
Dilated Peoples
Disciplinska komisija
The Disposable Heroes of Hiphoprisy
Disturbing tha Peace
DJ Jazzy Jeff & the Fresh Prince
DJ Mahmut and Murat G
Tha Dogg Pound
The Dove Shack
Dragon Ash
Dragon Fli Empire
Dream Warriors
Drunken Tiger
Dubmatique
[edit]E
Earatik Statik
The Eastsiders
Eightball & MJG
El pus
EPMD
Eric B. & Rakim
ETW[disambiguation needed]
Eyedea & Abilities
Above the Law
Achozen
3rd Bass
504 Boyz
69 Boyz
7L and Esoteric
7 Notas 7 Colores
99 Posse
Company Flow
Compton's Most Wanted
The Conscious Daughters
Control Machete
The Coup
Crime Mob
Crooked Stilo
The Cross Movement
Crown City Rockers
Cunninlynguists
CYNE
Cypress Hill
[edit]D
D12
D4L
D.I.T.C.
Da Band
Da Bush Babees
Dangerdoom
Advanced Chemistry
Afro-Rican
Tha Alkaholiks
Analog Brothers
Anjel
Another Bad Creation
anticon.
Antipop Consortium
Army of the Pharaohs
The Arsonists
Arrested Development
Articolo 31
Assassin
Atmosphere
Atoms Family
A Tribe Called Quest
Audio Two
[edit]B
Bad Meets Evil
Basehead
Beastie Boys
Beat Junkies
Beatnuts
Beginner
Bell Biv DeVoe
Big Bang
Big Brovaz
Big Tymers
Binary Star
Black 47
Blackalicious
Black Alien & Speed
The Black Eyed Peas
Black Moon
Black Noise
Black Sheep
Black Star
Blazin' Squad
Blood of Abraham
Tha Blue Herb
Body Head Bangerz
The Bomb Squad
Bomfunk MC's
B.O.N.E. Enterpri$e
Bone Thugs-N-Harmony
Boogie Down Productions
Boot Camp Clik
Boyz n da Hood
Brand Nubian
BrassMunk
The Bravehearts
Breezy Beat MC
Brother Ali
BS 2000
B.U.G. Mafia
[edit]C
Camp Lo
Cannibal Ox
Capone-N-Noreaga
Cartel
Cartel de Santa
The Cat Empire
The Cataracs
C.I.A.
Citizen Cope
City High
Clipse
CLOUDDEAD
Cocoa Brovaz
The Cold Crush Brothers
Collapsed Lung
Commodore 64
The Goats
Goldie Lookin' Chain
Goodie Mob
Gorillaz
Grand Analog
Grand Buffet
Grandwizard Theodore & the Fantastic Five
Grave Plott
Gravediggaz
Greenthink
Gröûp X
GRITS
G-Unit
Gunshot
Gym Class Heroes
[edit]H
Handsome Boy Modeling School
Hardnoise
Headset
Heartsdales
Heavy D & the Boyz
Heiruspecs
Heltah Skeltah
The Herd
Hieroglyphics
The High & Mighty
Hijack
Hilltop Hoods
Hip Hop Hoodíos
Hobo Junction
Hot Boys
House of Krazees
House of Pain
The HRSMN
Hurby Azor
Hypnotize Minds
[edit]I
IMx
Immortal Technique
Infinite Mass
INI
Inner City Posse
Insane Clown Posse
Invisibl Skratch Piklz
[edit]J
The JJ Boys
J J Fad
Jedi Mind Tricks
Joe & Joey Records
Juice Crew
Jungle Brothers
Junior M.A.F.I.A.
Jurassic 5
Just D
The Justified Ancients of Mu Mu
[edit]K
K7
Kaliber 44
Kane and Abel
Kid 'n Play
Killarmy
KJ-52
KMD
Kris Kross
[edit]L
La Cliqua
La Familia
La Fossa
LA Symphony
The Latin Kings
Latyrx
Lazy Mutha F***a
LBC Crew
Leaders of the New School
Les Nubians
Lifesavas
Liricas Analas
Limp Bizkit
Little Brother
Living Legends
London Posse
Looptroop
Lords of the Underground
The Lost Boyz
Low Profile
The L.O.X.
L'Trimm
Luny Tunes
[edit]M
Madvillian
Made Men
Main Source
Makale
Malos Cantores
manifest
Manau
Mantronix
Marginal Prophets
Mars ILL
Massive Töne
Masta Ace Incorporated
Masters of Illusion
MC Frontalot
MC Tunes
Ministère AMER
Mobb Deep
Monsta Island Czars
Mood
Moorish Delta 7
M.O.P.
MUD FAMILY
Murat & Jose
Mutual Concepts
MVP
Mystik Journeymen
[edit]N
Nappy Roots
Native Deen
Native Tongues Posse
Naughty by Nature
NB Ridaz
The Neptunes
Newcleus
Nice & Smooth
Nitro Microphone Underground
Non Phixion
Non-Prophets
Northern State
N.W.A
[edit]O
O.G.C.
Omega 1ne
Onyx
Organized Konfusion
Organized Rhyme
Orishas
Osdorp Posse
The Outhere Brothers
OutKast
Tha Outlawz
Oxide & Neutrino
[edit]P
P-27
P.A.
Paktofonika
Parazi?ii
Paris
Party Fun Action Committee
People Under the Stairs
The Perceptionists
Pete Rock & CL Smooth
Petey Pablo
Pharcyde
Pigeon Hole
P.M. Dawn
Point 5 Covenant
Poor Righteous Teachers
Positive Attitude
Primer 55
Primitive Lyrics
Prophets of Da City
Proyec
Das EFX
Dc Talk
Dead Celebrity Status
Dead Prez
Deep Puddle Dynamics
Deepspace5
Def Con Dos
De La Soul
Delinquent Habits
The Delinquents
Deltron 3030
Dem Franchize Boyz
Demon Boyz
Die Fantastischen Vier
Digable Planets
Digital Underground
Dipset
Dilated Peoples
Disciplinska komisija
The Disposable Heroes of Hiphoprisy
Disturbing tha Peace
DJ Jazzy Jeff & the Fresh Prince
DJ Mahmut and Murat G
Tha Dogg Pound
The Dove Shack
Dragon Ash
Dragon Fli Empire
Dream Warriors
Drunken Tiger
Dubmatique
[edit]E
Earatik Statik
The Eastsiders
Eightball & MJG
El pus
EPMD
Eric B. & Rakim
ETW[disambiguation needed]
Eyedea & Abilities
Above the Law
Achozen
3rd Bass
504 Boyz
69 Boyz
7L and Esoteric
7 Notas 7 Colores
99 Posse
Company Flow
Compton's Most Wanted
The Conscious Daughters
Control Machete
The Coup
Crime Mob
Crooked Stilo
The Cross Movement
Crown City Rockers
Cunninlynguists
CYNE
Cypress Hill
[edit]D
D12
D4L
D.I.T.C.
Da Band
Da Bush Babees
Dangerdoom
Advanced Chemistry
Afro-Rican
Tha Alkaholiks
Analog Brothers
Anjel
Another Bad Creation
anticon.
Antipop Consortium
Army of the Pharaohs
The Arsonists
Arrested Development
Articolo 31
Assassin
Atmosphere
Atoms Family
A Tribe Called Quest
Audio Two
[edit]B
Bad Meets Evil
Basehead
Beastie Boys
Beat Junkies
Beatnuts
Beginner
Bell Biv DeVoe
Big Bang
Big Brovaz
Big Tymers
Binary Star
Black 47
Blackalicious
Black Alien & Speed
The Black Eyed Peas
Black Moon
Black Noise
Black Sheep
Black Star
Blazin' Squad
Blood of Abraham
Tha Blue Herb
Body Head Bangerz
The Bomb Squad
Bomfunk MC's
B.O.N.E. Enterpri$e
Bone Thugs-N-Harmony
Boogie Down Productions
Boot Camp Clik
Boyz n da Hood
Brand Nubian
BrassMunk
The Bravehearts
Breezy Beat MC
Brother Ali
BS 2000
B.U.G. Mafia
[edit]C
Camp Lo
Cannibal Ox
Capone-N-Noreaga
Cartel
Cartel de Santa
The Cat Empire
The Cataracs
C.I.A.
Citizen Cope
City High
Clipse
CLOUDDEAD
Cocoa Brovaz
The Cold Crush Brothers
Collapsed Lung
Commodore 64
The Goats
Goldie Lookin' Chain
Goodie Mob
Gorillaz
Grand Analog
Grand Buffet
Grandwizard Theodore & the Fantastic Five
Grave Plott
Gravediggaz
Greenthink
Gröûp X
GRITS
G-Unit
Gunshot
Gym Class Heroes
[edit]H
Handsome Boy Modeling School
Hardnoise
Headset
Heartsdales
Heavy D & the Boyz
Heiruspecs
Heltah Skeltah
The Herd
Hieroglyphics
The High & Mighty
Hijack
Hilltop Hoods
Hip Hop Hoodíos
Hobo Junction
Hot Boys
House of Krazees
House of Pain
The HRSMN
Hurby Azor
Hypnotize Minds
[edit]I
IMx
Immortal Technique
Infinite Mass
INI
Inner City Posse
Insane Clown Posse
Invisibl Skratch Piklz
[edit]J
The JJ Boys
J J Fad
Jedi Mind Tricks
Joe & Joey Records
Juice Crew
Jungle Brothers
Junior M.A.F.I.A.
Jurassic 5
Just D
The Justified Ancients of Mu Mu
[edit]K
K7
Kaliber 44
Kane and Abel
Kid 'n Play
Killarmy
KJ-52
KMD
Kris Kross
[edit]L
La Cliqua
La Familia
La Fossa
LA Symphony
The Latin Kings
Latyrx
Lazy Mutha F***a
LBC Crew
Leaders of the New School
Les Nubians
Lifesavas
Liricas Analas
Limp Bizkit
Little Brother
Living Legends
London Posse
Looptroop
Lords of the Underground
The Lost Boyz
Low Profile
The L.O.X.
L'Trimm
Luny Tunes
[edit]M
Madvillian
Made Men
Main Source
Makale
Malos Cantores
manifest
Manau
Mantronix
Marginal Prophets
Mars ILL
Massive Töne
Masta Ace Incorporated
Masters of Illusion
MC Frontalot
MC Tunes
Ministère AMER
Mobb Deep
Monsta Island Czars
Mood
Moorish Delta 7
M.O.P.
MUD FAMILY
Murat & Jose
Mutual Concepts
MVP
Mystik Journeymen
[edit]N
Nappy Roots
Native Deen
Native Tongues Posse
Naughty by Nature
NB Ridaz
The Neptunes
Newcleus
Nice & Smooth
Nitro Microphone Underground
Non Phixion
Non-Prophets
Northern State
N.W.A
[edit]O
O.G.C.
Omega 1ne
Onyx
Organized Konfusion
Organized Rhyme
Orishas
Osdorp Posse
The Outhere Brothers
OutKast
Tha Outlawz
Oxide & Neutrino
[edit]P
P-27
P.A.
Paktofonika
Parazi?ii
Paris
Party Fun Action Committee
People Under the Stairs
The Perceptionists
Pete Rock & CL Smooth
Petey Pablo
Pharcyde
Pigeon Hole
P.M. Dawn
Point 5 Covenant
Poor Righteous Teachers
Positive Attitude
Primer 55
Primitive Lyrics
Prophets of Da City
Proyec
Favorite spot?
Providence, RI
Equipment used:
RM1X, realistic microphone, tape recorders, computer software, guitars, cd copiers, Casio Keyboards, computer mouse pad, chairs, desk, microwave
Anything else...?
Photos
THOUGHT PROCESS
