Mixtapes have been a staple in hip-hop culture for decades. Artists primarily use them to build buzz for their commercial releases in an effort to increase their album sales. As useful as mixtapes have been for the artists who use them, it wasn’t until relatively recently that their effectiveness as promotional vehicles surfaced in pop culture. Read more…
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FL Studio Guru – Plugin Delay Compensation (PDC) Made Simple
Posted by imageline in January 17th, 2010
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FL Studio Guru – Plugin Delay Compensation (PDC) Made Simple
Visit LoopTalk to see the FL Studio Guru thread http://forum.image-line.com/viewtopic.php?p=328899#328899 with downloads and more! 
All Guru series videos can be seen at: http://flstudi…
Supersize Your Sound with the New Pro Tools Instrument Expansion Pack
Posted by Digidesign | Product News in January 13th, 2010
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Get your hands on practically every musical instrument imaginable at a spectacular price. The Pro Tools Instrument Expansion Pack is the ultimate professional virtual instrument collection for Pro Tools, featuring all five best-in-class virtual instruments — Structure, Strike, Velvet, Transfuser, and Hybrid — at an unbelievable price of $499.
Whether you like to rock, groove, swing, score, funk out, or jazz it up, the Pro Tools Instrument Expansion Pack gives you a …
Supersize Your Sound with the New Pro Tools Instrument Expansion Pack – Now Available
Posted by Digidesign | Product News in January 13th, 2010
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Get your hands on practically every musical instrument imaginable at a spectacular price. The Pro Tools Instrument Expansion Pack is the ultimate professional virtual instrument collection for Pro Tools, featuring all five best-in-class virtual instruments — Structure, Strike, Velvet, Transfuser, and Hybrid — at an unbelievable price of $499.
Whether you like to rock, groove, swing, score, funk out, or jazz it up, the Pro Tools Instrument Expansion Pack gives you a …
Supersize Your Sound with the New Pro Tools Instrument Expansion Pack – Now Available.
Posted by Digidesign | Product News in January 13th, 2010
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Get your hands on practically every musical instrument imaginable at a spectacular price. The Pro Tools Instrument Expansion Pack is the ultimate professional virtual instrument collection for Pro Tools, featuring all five best-in-class virtual instruments — Structure, Strike, Velvet, Transfuser, and Hybrid — at an unbelievable price of $499.
Whether you like to rock, groove, swing, score, funk out, or jazz it up, the Pro Tools Instrument Expansion Pack gives you a …
Pro Tools 8 and Sibelius Win Electronic Musician Editors’ Choice Awards
Posted by Digidesign | Product News in December 23rd, 2009
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Avid has been honored with two 2010 Electronic Musician Editors’ Choice awards for Pro Tools 8 and Sibelius 6 software. Featured in the January 2010 issue, Electronic Musician gave top honors to Pro Tools 8 in the DAW category, citing the software’s quality and quantity of features, including its expanded virtual …
Pro Tools 8.0.3 Now Available
Posted by Digidesign | Product News in December 16th, 2009
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Avid is excited to announce Pro Tools 8.0.3 software, a free update for all registered Pro Tools HD 8, Pro Tools LE 8, Pro Tools M-Powered 8, and Pro Tools M-Powered Essential 8 users. Get official Mac OS X 10.6 Snow Leopard support, plus over 100 of your most requested software improvements and fixes. In addition, you can use Pro Tools 8.0.3 on Windows 7* as a public beta, or as a fully supported release with Pro Tools M-Powered Essential.
Important: For information …
VENUE D-Show 2.8.1 Software Now Available
Posted by Digidesign | Product News in December 14th, 2009
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Ready to gain even more flexibility and ease of use from your VENUE system? The new VENUE D-Show® 2.8.1 software upgrade is available now to all VENUE users for just $149 (USD).
Get it today from your local VENUE dealer and discover new innovative workflows, including VCA and Group Spill, enjoy popular user-requested features, and benefit from many enhancements and improvements that’ll increase your efficiency, no matter what type of show or live performance …
The Avid Transformation
Posted by Digidesign | Product News in December 9th, 2009
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You’ve probably noticed quite a few changes across all parts of Digidesign and Avid this past year — changes that are part of a larger plan to bring cutting-edge technologies and solutions to you faster than ever before. As we continue our journey to create a new, unified Avid, we’d like to share some news about the changes you’ll begin seeing now and in the future.
Who is Avid?
Digidesign first began working with Avid Technology back in 1991, designing …
Avid Music Creation Products Land Top Awards
Posted by Digidesign | Product News in November 12th, 2009
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It’s the time of year when magazines start handing out awards for the top music technology products—and Avid® certainly isn’t going away empty-handed. Pro Tools® 8 software, BX8a Deluxe monitors, and Axiom® MIDI controllers are the latest offerings to receive high honors from the press. At Audio Pro International magazine’s annual Audio Pro Awards, a panel of more than 100 industry experts and executives cast their votes and declared Pro Tools 8 software the “Best New Studio Product” of …
PRODUCT REBATE – Free Headphones with MINIAK
Posted by News Item in October 30th, 2009
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Introducing Eleven Rack — The Ultimate Guitar Recording and Effects Processing System
Posted by Digidesign | Product News in September 22nd, 2009
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The wait is over. We’re proud to introduce Eleven Rack™ — a revolutionary new guitar recording and effects processing solution designed to eliminate the challenges that guitarists have faced in the studio and on stage. Experience the most sought-after guitar amp tones in the world — complete with all the sonic details that make playing through real amps feel like playing through real amps. Record guitar without audible latency using the included studio-standard Pro Tools® …
Pro Tools Prerelease Now Available for Mac OS X Snow Leopard
Posted by Digidesign | Product News in September 21st, 2009
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Avid/Digidesign is pleased to announce the immediate availability of a prerelease version* of Pro Tools software that provides expanded Mac OS X 10.6.x Snow Leopard compatibility to Pro Tools 8 users. If you’re a Mac-based Pro Tools 8.0.x user, Pro Tools 8.0.3pr software is provided as a convenience should you wish to begin your transition to Snow Leopard before a fully tested and qualified version of Pro Tools becomes available.
Download the Free Pro Tools …
AKAI PRO SPONSORS TRESOR AWARD CONTEST
Posted by News Item in September 14th, 2009
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EUROPEAN DJs:
Akai Professional and Numark, along with the famous Tresor club in Berlin, proudly presented the 2009 Tresor.award. This battle competition shone the spotlight on some of the best DJs from all over Europe. The Tresor Club, home to the finest techno DJs, was the venue for this outstanding and unique battle. The finals included Akai Pro APC40 and Numark NS7 showcases by DJ ESKEI83, IDA Show World Champion AKD, and IDA Scratch World Champion Rob Bankz.
The winners of the contest were:
Here are some photos and video directly from the club.
The first place winner took home two Numark TTX USB turntables and a DXM PRO mixer.
The second place winner got an Akai Pro APC40 and Ableton Live 8.
For details in German, visit the Tresor Club site here.
BPM REVIEWS APC40
Posted by News Item in September 3rd, 2009
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Posted By: So Roberta
This past January at the big industry only sneak peak they call NAMM, I came across something that really got me excited, and no it was not Mini Kiss signing autographs.It was the new Ableton controller from Akai, the APC40. Finally there was a controller specifically designed for the mighty Ableton Live that was something you really could use. The question was when could I get my hands on one? After about 7 months of patiently waiting I finally got my hands on one.
The Akai APC 40 is a controller that is really going to allow users to push the Live experience to new levels, I cant wait to see what Girl Talk will do with it.
Unlike other controllers this one has an interface called the clip launch matrix. This matrix of pads allows direct access to start and stop clips in Ableton itself. Something that I really liked (still being an intermediate user of Ableton Live) was the LED based system that lets you know whats happening in each clip. There are forty buttons in total that give you a complete overview of your session. Essentially the light color indicates whats happening in the Live session, green means its playing and a yellow button mean the clip is loaded and ready. You can stop and start a scene all at once as well, along with other really intuitive functionality. A lot of this stuff is just common sense for the experienced Ableton user and the APC 40 just makes the experience seamless.
The controller knows what Ableton is doing and Ableton knows what the controller is doing, they work together incredibly well. This is really the only way to go if you are serious about Ableton and especially if you are going to be doing live performances. Excellent!
New Pro Tools 8.0.1 Software Update Available
Posted by Digidesign | Product News in August 30th, 2009
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In our ongoing effort to provide you with the best experience possible, Avid has released Pro Tools 8.0.1, a free software update that provides many fixes, enhancements, and improvements, and is recommended for all Pro Tools 8 users.
Experience faster, more streamlined performance thanks to the software’s snappier interface. View and work with audio selections more easily through improved selection drawing. And gain more efficiency and stability through enhanced workflows, fixes, and …
AKAI PRO NAMED BEST IN SHOW AT SUMMER NAMM
Posted by News Item in July 21st, 2009
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The results are in. We came, we saw, we won! Akai Professional was chosen as a “Company to Watch” in the 2009 Summer NAMM Best in Show awards. The awards are moderated by Frank Alkyer, Publisher, Music Inc. magazine.
Check out all of the new gear that helped make Akai Professional the company to watch!
NASHVILLE, TENN. On the final day of Summer NAMM, held July 1719, a panel of music retail experts presented some true gear fireworks during Best In Show, a NAMM University session. Six retail buyers, representing single-store operations, small- to mid-sized chains and e-tailing, offered their views on the best products and services they saw during Summer NAMM.
Nearly 300 attendees were treated to Best In Show. The panelists were asked to discuss their choices in four specific categories:
- Something Small A great product thats either small in price or small in size.
- Gotta Stock It A product that retailers want to stock right now, if they havent already got it.
- Companies to Watch An exhibitor that is making a difference with trendsetting products or services.
- Best In Show The best product or service that panelists saw at NAMM.
This years panelists included:
- John Grabowski, director of purchasing for Sweetwater Music, an e-tailing superstore based in Fort Wayne, IN.
- Mike Guillot, director of purchasing for Mississippi Music, a four-store chain based in Hattiesburg, MS.
- George Hines, owner and president of Georges Music, a 10-store chain headquartered in Berwyn, PN.
- Jim Rupp, owner and president of Columbus Pro Percussion in Columbus, OH
- Myrna Sislen, owner of Middle C Music in Washington, D.C.
- Todd Skaw, owner of Guitars Etc. in Longmont, CO.
COMPANIES TO WATCH
Grabowski said of Akai Professional:
“A lot of dealers may hear Akai and immediately think of kids making beats on MPCs, but Akai Professional has a strong, expanded direction that includes a full range of keyboard controllers. Most notable, though, is the APC 40, which they developed in cooperation with the software manufacturer Ableton. Going forward, I think the integration of hardware and software is going to be an important trend to watch.”
Here are some images from the show floor in Nashville:
Pro Tools Compatibility with Upcoming Microsoft Windows 7
Posted by Digidesign | Product News in June 29th, 2009
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Microsoft has announced that they will begin shipping the new Windows 7 32/64-bit operating system on October 22, 2009. Avid is working closely with Microsoft to deliver compatible, high-quality versions of Pro Tools®, including compatibility with the 64-bit version, as soon as possible. Please check back periodically for updates on Avid’s Windows 7 …
FUTURE MUSIC REVIEWS THE APC40
Posted by News Item in June 19th, 2009
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DV HELPS LAUNCH AKAI PRO APC40 ABLETON CONTROLLER IN THE UK
Posted by News Item in May 15th, 2009
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AKAI Pro is coordinating a simultaneous worldwide shipping launch of the AKAI PRO APC40 Ableton controller on Saturday, May 30, 2009.
The AKAI PRO UK and Ableton official launch event will be held at the DV Retail Warehouse in Romford, East London on this date.
Further events are also scheduled at DV Birmingham, DV West London (Acton) and DV South London (Clapham) during the first week of June. London School of Sound’s Ableton Guru Federico Bersano Begey will be a special guest at the DV Clapham event.
All events are free but for more information and to pre-register click here . If you prefer, just e-mail apc40@digitalvillage.co.uk to register which event you would like to attend.
You could win a London School of Sound One Day Intensive APC40 Ableton Training Course worth 159 if you attend any of the events. No purchase necessary, just register and turn up!
- Saturday 30th May: DV Retail Warehouse (East London) 11am – 3pm
- Monday 1st June: DV Birmingham 11am – 3pm
- Thursday 4th June: DV West London 3pm – 6pm
- Saturday 6th June: DV South London (Clapham) 11am – 3pm with special guest London School Of Sound’s Ableton Guru Federico Bersano Begey
Special Akai and Ableton deals will also be available at all events and complimentary beverages will be served with the beats!
Visit the new online resource dedicated to the APC40: www.APC40.com.
BEAT MAGAZINE (GERMANY) INTERVIEWS AKAI PRO
Posted by News Item in May 11th, 2009
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Thomas Raukamp, chief editor of the BEAT magazine sat down with Akai Professional Product Manager, Glen Darcey to talk shop. The interview is being previewed here before the next issue of BEAT gets released on June 5th.
Beat Magazine: Glen, thanks for taking the time to answer some questions. The APC40 is a great piece of hardware. How did this project start? Was it Akai Pro’s idea or did Ableton contact you?
GD: This was a product idea that Id had for about three years. I have been an a Live user since version 1.0. I’ve never found a controller that did the things I wanted it to do with Live. There were many things that would work, but I could never find an elegant solution. Akai Pro president, Jack O’Donnell, was familiar with Ableton Live and he saw how it was growing in popularity. He recognized Lives potential, mated with our hardware designs. I approached Ableton at the 2007 Winter NAMM show and we started discussions at that time. A year later, we finalized the deal and got moving on developing what would eventually be the APC40.
BM:If you look at Live’s Session View, a hardware controller seems so obvious actually. Why do think it took so long before a company made it happen?.
GD: I’m not sure. It was pretty obvious too me it has been since I first bought the software all those versions ago. Other manufacturers had approached Ableton over the years wanting to develop Live controllers. Ableton had been holding out for the right partner who would build a controller that had high standards of excellence. The quality and design ethic of our MPK and MPD series of controllers impressed them in a way that no others had. It was really about the right company coming at the right time, with proven success in controllers and the right product concept.
BM: How close was the collaboration – especially concerning design and layout? Did Ableton already have a concept of the hardware in mind or did you work together on the whole concept?
GD: We brought our own initial design concepts and drawings to Ableton. And those early drawings probably held up to make up about 90% of what you see in the final APC40. Once Akai Pro and Ableton decided to work together, we did a lot of brainstorming together to come up with the final feature set. We each had our own pools of end users, who gave their input. Many emails and conference calls followed. The final decision on each feature was really made equally by both companies.
BM: Was there something like an APC-Team with members from Akai Pro and Ableton?
GD: Myself, Alex Souppa and Daniel Gill were the leads at Akai and Gerhard Behles, Jesse Terry and Jan Buckholz were the lead people at Ableton. There were many others involved from sales, industrial design, firmware and software development, beta test and many end users. Both Akai and Ableton are fairly small companies so all of us were involved in this and other projects at the same time. We have expertise in making hardware and have quite a few dedicated Live users in house. There was a range of different kinds of users: fans of our controllers, fans of other manufacturers products, and even some who made their own custom controllers for Live, all of whom were represented on the initial feature committee. Once actual development of hardware and software began, the team scaled down to a few core people. The others came back during beta testing.
BM:When did this whole project start?
GD: Our kickoff meeting was in March of 2008.
BM: What were the main goals behind it?
GD:Our goal was to make a unique controller that gave the user a more musical experience than you get with a mouse. In fact, that is our goal with all of our controllers. A mouse and a track pad are not very good musical controllers or input devices for audio software. The integration of the hardware and software was key as was the build quality. We also wanted to make something that brought back the performer. There is nothing more boring to me than watching some guy hunched over his laptop during a gig. For all I know he’s checking his email or uploading stuff to his facebook page. A live gig should be about performance; a controller should be about enabling the musician to realize his ideas.
BM: Looking at examples like NI’s Maschine or Vestax’ TR-1 for Traktor building dedicated hardware seems to be a recent trend. Why do we see this happen now after long years of ‘software-only’ for so many companies?
GD:Music software started out with very general purpose programs like sequencers, then sequencers and audio recorders, then adding plug-ins, mixing, etc. The first sequencers like Logic, Cubase, and Sonar have grown and added plug-ins and features galore. What they lack is a concise workflow that helps you make better music and allows you to realize your ideas or jumpstart new ideas. They have incredible feature sets but it gets back to the point of what are you trying to do? Do you want to make music or become a programmer or engineer? In the last few years we have seen more dedicated programs that have fewer features than the DAWs, but they do something whatever that is very well. I think we are at a time, or coming to a time at which feature sets are less important than the musical experience.
The MPC is a testimony to that. DAWs can do a lot, but the MPC gives you a musical experience that many have tried to copy but just have not matched. We are seeing a growing DIY market and there are more modular synths on the market than ever before. People are looking for different ways to make music. Programs like Ableton Live and Serato Scratch LIVE and Traktor offer people better and different ways to make music, but they lack the hands-on experience though that artists want. This has opened up the dedicated controller market that wasn’t there before. We saw this early on and applied a hardware workflow approach with our products like APC40 and Numark’s NS7 that has proven to be popular.
BM: May this only be the first product in a lasting relationship? Can we expect something like an Akai Pro-Ableton audio interface for example?
GD: This joint project went as smoothly as could be imagined. Ableton is a great company with people who are passionate about their product and customers. We are as well. We have strong friendships between the two companies as well as a healthy business relationship. I can definitely see more things happening in the future, but you will just have to wait and see!
APC40 Quick Facts
Features
- Designed in partnership with Ableton for Ableton Live
- Unique clip matrix with multicolor lighting displays current clip status
- No mapping required; every knob, button, and fader is customizable
- Bidirectional communication between APC40 and Ableton Live
- Solid, professional feel with rugged, metal chassis and premium controls
- Comes with Ableton Live Akai Professional APC40 Edition software
- Works with standalone editions of Ableton Live
- USB plug-and-play connection for Mac and PC
- Premium controller with rugged, metal chassis
Specifications
- Dimensions: 16.88 x 13.13 x 2.62 (WxDxH) / 429mm x 334mm x 67mm (WxDxH)
- Weight: 5.8 lbs / 2.64 kg
- Power Supply: 12V 2.0A pin-positive, included
- Communication: USB-MIDI with proprietary hardware/software handshake
- Inputs: USB, Two assignable footswitch inputs
- Mac Requirements: G4 or faster/Intel Mac recommended, 512 MB RAM/1 GB recommended, OS 10.3.9, 10.4 or later. recommended, QuickTime 6.5 or higher, DVD-ROM drive, USB port
- PC Requirements: 1.5 GHz or faster, 512 MB RAM/1 GB recommended, Windows XP or Vista, Windows-compatible sound card/ASIO driver support recommended, QuickTime 6.5 or higher, DVD-ROM drive, USB port
Website – WWW.APC40.COM
Introducing VENUE SC48 — The Definitive, All-in-One Live Sound Console
Posted by Digidesign | Product News in May 5th, 2009
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Setting a new standard for sound quality, size efficiency, and price, Digidesign’s new, fully integrated VENUE SC48 makes its mark as the most affordable and portable VENUE system yet. Combining all I/O, digital signal processing, and tactile control into a single compact console, SC48 delivers amazing sound quality, performance, and reliability, and supports studio-quality audio plug-ins and Pro Tools LE® integration (Pro Tools LE software included). Plus, it …
AKAI PRO TOURS EUROPE WITH ABLETON
Posted by News Item in April 22nd, 2009
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Sprechen Sie Deutsch? If not, don’t worry, all are welcome as Ableton and Akai Professional begin a whirlwind tour of Germany, Austria and Switzerland to give you a sneak preview of the APC40 along with the MPK25 and other Akai Professional gear. Ableton will also be premiering Ableton Live 8. Tour dates are as follows:
Germany
12. Mai 2009 18-21 Uhr
Digital AudionetworX Berlin
Winsstr. 69, 10405 Berlin Prenzlauer Berg
www.da-x.de
13. Mai 2009 18-21 Uhr
justmusic Berlin Wilmersdorf
Pariser Str. 9, 10719 Berlin
www.justmusic.de/local/berlin-1.html
14. Mai 2009 18-21 Uhr
justmusic Berlin Prenzlauer Berg/Kulturbrauerei
Knaackstr. 97, 10435 Berlin
www.justmusic.de/local/berlin-1.html
18. Mai 2009 17-20 Uhr
J&M Musikland Erfurt
Barferstr. 16, 99084 Erfurt
www.musikland-online.de
19. Mai 2009 18-21 Uhr
Deejayladen Oschatz
Thomas-Mntzer-Strae 4, 04758 Oschatz, OT Lonnewitz
www.deejayladen.com und www.musikhaus-korn.de
20. Mai 2009 18-21 Uhr
Laconic Records Dresden
Rothenburger Str. 13, 01099 Dresden
www.laconic-records.de
22. Mai 2009 18-21 Uhr
justmusic Mnchen
Hanauer Str. 91a, 80993 Mnchen
www.justmusic.de/local/muenchen-3.html
25. Mai 2009 19-22 Uhr
justmusic Hamburg
Feldstr. 66, 20359 Hamburg
www.justmusic.de/local/hamburg-2.html
26. Mai 2009 19-22 Uhr
Musicstore Kln/Senats Hotel (TBC)
Senats Hotel, Unter Goldschmied 9, 50667 Altstadt-Nord, Kln
www.musicstorekoeln.de
28. Mai 2009 19-22 Uhr
Rock Shop Karlsruhe
Am Sandfeld 21, 76149 Karlsruhe
www.rockshop.de
29. Mai 2009 18.30 21.30 Uhr
Soundland Fellbach
Schorndorfer Str. 25, 70736 Fellbach
www.soundland.de
31. Mai 2009 12-15 Uhr
Humpty Records Saarbrcken
Cecilienstr. 16, 66111 Saarbrcken
www.myspace.com/humptyrecordssb
03. Juni 2009 19-22 Uhr
Musik Schmidt Frankfurt/M.
Ort wird noch bekannt gegeben
www.musik-schmidt.de
05. Juni 2009 16-19 Uhr
Musik Produktiv Ibbenbren
Fuggerstr. 6, Ibbenbren/Laggenbeck
www.musik-produktiv.de
08. Juni 2009 18-21 Uhr
Digital Audio Service Hamburg
Neuer Kamp 32, 20357 Hamburg
www.digitalaudioservice.de
12. Juni 2009 17.30 20.30 Uhr
Hieber Lindberg Mnchen
Sonnenstr. 15, 80331 Mnchen
www.hieber-lindberg.de
14. Juni 2009 Hausfest, ganztags
Musikhaus Thomann Burgebrach
Treppendorf 30, Burgebrach
www.thomann.de
Austria
09. Juni 2009 19-22 Uhr
Friendly House Wien
Wiedner Hauptstr. 39, 1040 Wien
www.friendlyhouse.at
10. Juni 2009 19 -22 Uhr
Klangfarbe Wien
Einsiedlerplatz 4, Wien 5, Margareten
www.klangfarbe.at
Switherland
TBD
INTERVIEW WITH DJ NU-MARK
Posted by News Item in April 22nd, 2009
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DJ Nu-Mark started spinning as a teenager in Los Angeles. Over the course of the following two decades, he built a collection of over 35,000 records, refining his skills and style to the tune of global recognition in the DJ world. Recognized for his work in Jurassic 5, Nu-Mark is responsible for half of the production of the gold-selling groups body of work, and his innovative DJ routines and creative on-stage antics have made him a favorite of crowds all over the world.
Nu-Mark is well known for his innovative sonic creativity, such as attaching a rubber band to his turntables needle and playing it like an upright bass or tapping on the turntable dust cover to simulate a bass drum. Incorporating a wide range of musical styles from soul to funk, hip-hop to samba, Nu-Mark loves to surprise an audience with a forgotten gem, an unknown banger, or a fresh take on a well-known hit.
Akai Professional: Tell us how you got your name.
DJ Nu-mark: I started DJing in a crew called Bum Rush Productions in 1988 and we started doing parties. I figured I needed a name. My name is Mark and my partner Monty and I were at a gig and he said, its probably underneath your nose and there it was: a Numark mixer. Numark mixers were at the forefront of DJ culture and they kept coming out with dope new mixers. I was doing house parties and at every party I went to they always had Numark mixers.
AP: What Akai Pro gear are you using?
DN: I use an MPK49, MPD32, MPC1000, MPC500, and an MPC2000. [predecessor to the MPC2500].
AP: Thats quite a list! Do you use all these piece of gear together?
DN: I use the MPK49 and the MPD32 together for making beats with Ableton Live [music creation software]. They work really well hand in hand because I can tap out any of the drums on the MPD32 and it reminds me of the early days of the MPCs like with the MPC2000 and MPC3000. Anything melody-related I do on the MPK49.
AP: What has led you to use so many pieces of Akai Pro gear?
DN: Its the standard. Akai Pro has been the industry standard for so many years for tapping out dope beats and getting an idea down quickly. A lot of software is designed to make things easier but there are a lot of things they could borrow and learn from Akais world, like getting a wav to a drum pad quickly. With an MPC your sound is always just right there on your pad. With software you have to truncate sometimes and manipulate to get things to happen. I make my beats in software but I use the Akai Pro controllers because I have the functions like 16-Level and I love the way the pads feel.
AP: How does a DJ incorporate the MPC into a gig?
DN: I use my MPC500 to trigger my cue points in Serato [Scratch LIVE DJ software]. If theres a part I want to jump to, I use my MPC500 to jump from cue point to cue point. I can tap out beats if I put the markers in Serato and I can make beats with the MPC500. Its the smallest controller out there. Its a two-for-one deal because I can drop samples in the MPC AND use it as a performance MIDI trigger.
AP: Talk about how you use the MPK49 live.
DN: I use it a lot on stage. I do a show with all kids toys where Ive rewired them. I tap out kicks and snares hats with the MPK49 live, then Ill jump from that to the most modern kids toy out there and play that. Theyre all audio toys that I use. I then jump from that to an old school toy like the chimp with the cymbals. Then Ill go to the MPC and play along with the chimp. Its a lot of fun.
AP: Do you use preset mappings on the MPK49 or create custom mappings?
DN: On the MPK49 I use my own custom mapping. The ones that come with it the Cubase setting is a good start. Then I build on bank B, C, and D because it doesnt correlate with the Drum Rack in Ableton Live. Its great. I love it.
AP: Do you use MPK49 in conjunction with any unique devices?
DN: The MPCs get used a lot in live applications. I used to use five MPC1000s. With my old band, Jurassic 5, I had my designer retrofit the MPCs inside the desk so the pads were exactly level with the desk so they were concealed in a cut underneath it. This worked great for touring.
AP: Tell us about your upcoming projects
DN: I just did a remix for Pharcyde on 4 Better or 4 Worse. I just did a song with Pharoahe Monch, legendary MC and Hilltop Hoods out of Australia. Im also working on my album, which is just beginning. Im also working with Andy Sambergs group Lonely Island from SNL. I worked on two tracks for that and heard one of my beats on a Spring Break commercial on MTV. It was cool. I did something on Revolutions latest album. Im doing something for Charlie Tunas new album. Ive got a lot of guests on my album too so Im keeping busy.
AP: Do you have any tips youd like to share with young producers and DJs out there?
DN: Production you should be well versed in hardware AND software. Software is growing tremendously and in my humble opinion, I dont think software has caught up to the hardware in terms of the feel of making beats on a drum machine but its damn close. The biggest software problem is that a lot of the software [different programs] doesnt talk to each other so you have to experiment with what you like. Its not like the 80s when you needed to make some beats and you just went and bought a drum machine to make beats. You have to pick your weapons of choice carefully and talk to a lot of people. My weapons of choices are the Akai Pro MPK49 and Ableton Live. Ive been through Pro Tools, Logic, and countless others. Since my group broke up, Ive done nothing but gear. I like making music in a computer because I like 24-bit technology. I like that crystal clear starting point. I like starting with high-resolution samples because I dont want to start with a blurry picture then mess with it from there.
DJ Nu-Marks Resume
Discography
Albums
with Jurrasic 5
- 2006 Feedback
- 2003 Jurassick!
- 2003 Pre-Historik Rarities
- 2002 Power in Numbers
- 2000 Quality Control
- 1998 Jurassic 5 LP
Credits
- 2008 King of the Decks DJ Revolution (Producer)
- 2007 Hood Treason N.Y. Oil (Vocals)
- 2005 Mushroom Jazz, Vol. 5 Mark Farina (Producer)
- 2005 Atlantiquity Various Artists (Producer, Remixing, Mixing, Tracking)
- 2004 Wake Up Everybody [CD & DVD] Various Artists (Producer, Engineer)
- 2004 Peace Not War, Vol. 2 Various Artists (Producer)
- 2004 Ice T Presents the WestsideIce-T (Producer)
- 2004 Hands OnDJ Nu Mark (Producer, Engineer, Mixing)
- 2004 Genocide in SudanVarious Artists (Producer)
- 2004 Blend Crafters DJ Nu-Mark & Pomo (Producer, Engineer, Mixing)
- 2003 That Was Then… This Is Now Baby Doc & Miss SJ (Producer)
- 2003 Mastercuts: UrbanVarious Artists (Producer)
- 2003 Being Black Various Artists (Producer)
- 2002 Quality Control [Australia Bonus CD] Jurassic 5 (Scratching, Producer, Mastering, Mixing, Cover Art Concept, Concept Design)
- 2002 Private Press [Special Package] DJ Shadow (Performer)
- 2002 Power in Numbers Jurassic 5 (Scratching, Producer, Engineer, Cut)
- 2002 Power in Numbers [Clean] Jurassic 5 (Producer, Engineer)
- 2002 Power in Numbers [Bonus DVD] Jurassic 5 (Scratching, Producer, Engineer)
- 2002 Live at the Variety Arts Center, 1997 Cut Chemist (Turntables)
- 2001 Trust No One Dave Navarro (Producer, Drum Programming)
- 2000 Quality Control Jurassic 5 (Producer)
- 2000 Quality Control [Clean] Jurassic 5 (Scratching, Producer, Mixing, Cover Art Concept, Cut)
- 1999 This or That Sway & King Tech (Producer)
- 1999 ImproviseJurassic 5 (Producer, Mixing)
- 1999 Funky Precedent Various Artists (Producer)
- 1998 World Famous Beat Junkies, Vol. 2 The Beat Junkies (Producer)
- 1998 Return of the B-GirlT-Love (Mixing)
- 1998 Mix Tape, Vol. 1 The Cali Kings (Producer)
- 1998 Lyricist Lounge, Vol. 1 Various Artists (Producer, Engineer, Mixing)
- 1998 Jurassic 5 LP Jurassic 5 (Producer, Engineer, Mixing)
- 1998 Chef Aid: The South Park Album [Extreme] South Park (Performer)
- 1996 Tha Mexakinz Tha Mexakinz (Scratching, DJ)
- 1996 Down to Earth Grav (Scratching, Mixing)
- 1995 Audio Sedative Mannish (Scratching, Producer)
Website – www.myspace.com/djnumark
INTERVIEW WITH JAMES VENABLE
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the MPC has a certain feel to it that I have yet to find anywhere else.
Multiple award-winning composer James Venable has scored films including Jay & Silent Bob Strike Back, Jersey Girl and most recently Zack and Miri Make a Porno and American Carol. Additionally, Venables work on television shows The Powerpuff Girls and Samurai Jack on Cartoon Network have showcased for his diverse scoring talent. We took a few minutes to catch up with James and hear about how he uses MPCs in his work.
Akai Professional: How did you get started scoring films?
James Venable: I started with an interest in instrumental music in the 80s when I was playing drums in rock bands. I liked doing my own music that wasnt lyric-driven. Instrumental music has a great life in film and TV so it was a natural transition to make. I started in animation first because my first contact getting into the business was working in the field of animation. I always dug how you can express yourself in animation because quite often you can just go nuts. Unlike traditional film scores, where your objective is often to stay out of the way, in animation youre over the top in most cases. I was always a fan of Warner Brothers Carl Stalling stuff. I got to see a live orchestral session where James Newton Howard paid tribute to Carl Stallings work with the film Space Jam and that impressed me. I thought to myself, Id love to tackle that kind of project. Powerpuff Girls was my big breakthrough and a chance to do just that. Except in Powerpuff, I would be able to do all the big orchestral music combined with tons of cool beat driven electronica.
AP: How do you use your MPC?
JV: The MPC is where I prefer to create beats from scratch. I use two MPC1000s: one in the studio and one at home. The way I work with the MPC, there are certain things I need out of a computer and certain things I can only get out of an MPC. The MPC gives me everything I need from a workability and workflow perspective, and I combine that with the computer for added flexibility and power. The computer and the MPC are a perfect combo. I use Logic [Pro DAW software] as my sound source, and I love the sequencer and workflow in the MPC so I have it trigger my sounds in Logic.
AP: What model was your first MPC?
JV: Believe it or not, I started off with and got familiar with the Linn Drum 9000, [predecessor to the original MPC60] which exposed me to electronic beats. Producer Andre Cymone of Prince and Jody Watley fame was a neighbor of mine and on rare occasions I got to hang out with him and heard all this amazing music he produced with it. My first MPC was the MPC4000 and I was always keyed into what that box was about through my exposure to Andres work, and the Linn drum.
AP: Which feature do you use most on your MPC?
JV: For me, its definitely the sequencer. Theres sort of a combined relationship that happens between the pads and the sequencer that causes you to go to different places than you would go sitting in front of a computer and piano keyboard. Through talking to different producers of all kinds of music including hip-hop and R&B, I find agreement with them that the MPC has a certain feel to it that I have yet to find anywhere else. I tried to recreate that feel using a computer and it just never happened. The MPC really leads me to the feel I want. If Im sitting there working on my eight bars of chorus, it just gets me thinking and nudges my creativity in terms of how that section ties together. Its my groove microscope so to speak. I love the way the MPC works and triggers my creativity. The MPC pads lead you to different places because youre not sitting in front of a computer keyboard, your muscle memory gets disarmed and it can take you to different places that you wouldnt normally find without using an MPC.
AP: What was the biggest or most challenging project you have done using your MPC?
JV: A movie I just finished called Zack and Miri make a Porno ended up being a perfect forum for my use of the MPC because it was a non-orchestral groove driven score that tipped a hat to 70s porn music mixed with electronica. I started that score composing away from the picture getting the feeling and emotion of the characters with 4 and 8 bar “vamps”. This where I composed my palette of themes and vibes for the score. I would write an eight-bar phrase that made me think of a character or situation in the movie. What I ended up with was a bunch of eight-bar loops, that process helped me select the instruments and feels I would use throughout the score. Id spend time fleshing those bars out, adding layer after layer then spread that out across 32 bars so that it developed into a full score from smaller pieces. Then I went in and applied these to specific scenes using Logic to arrange and sync my elements to what we spotted in the picture. The thing with scores is that theyre not symmetrical as say, a song so theres a lot of freedom there.
A lot of people that are doing film scores think if theyre using Performer [sequencing software] as a sequencer on their computer, then they have to be all about Performer and should just stick to that. They are missing out on some of the best reasons to use an MPC. Any film composer will eventually come to the place Ive come to in my work, especially when working with hip-hop or any other groove music, it is very difficult if not impossible to get this style to sound authentic without the authentic tool…the MPC. The MPC can have a great relationship with their sequencer that composers might not have thought about, it interacts with Logic (or other sequencers) seamlessly, talking to all of the different instruments in the sequencer, while getting all the benefits of the MPC workflow.
People tend to think, Im just a computer guy or Im just a hardware guy. These two points of view do not have to be mutually exclusive of one another. Youll notice in some photos the MPC is by my side, in others I use it’s front and center. I place it wherever it’s best for what Im working on and its perfect. Most film composers get asked to do so many things, not just orchestral stuff. We do hybrid scores in todays films constantly, mixing all kinds groove and beat based stuff with traditional score. Having the MPC there is a cool way to create original great sounding beats and a time-saver for me.
AP: Do you own any other Akai Pro instruments?
JV: Back when the S900 [hardware sampler] was king I used to dig those. I do a little VJing on the side and I cant wait to get my hands on an MPK49 to use with ArKaos GrandVJ software. I hear its a great combo.
AP: Are there any upcoming projects you can tell us about?
JV: Right now my focus has been on music for animation, kind of back to my roots. Fosters Home for Imaginary Friends has a special that is coming out around Thanksgiving and I also just completed a 10th Anniversary Powerpuff Girls special that will be airing on Cartoon Network.
AP: How can our readers learn more about you and your work?
JV: They can visit me on the web at venablemusic.com.
Logic Pro is a trademark of Apple, Inc., registered in the United States and other countries.
Performer is a registered trademark of MOTU Inc.
INTERVIEW WITH GARY GARRITAN
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Gary Garritan is an entrepreneur with a passion for music. He has built a legendary series of sound libraries that bear his name: Garritan Libraries. Most recently, Gary developed Aria, a series of instrument sounds bundled with Akai Professionals new EWI USB. With Aria as the sound source of this new instrument, we spent some quality time with this visionary sound master.
Akai Professional: What inspired your interest in music and what was your first instrument?
Gary Garritan: I’ve been playing instruments since I was a tot. I have always had a passion for music. Accordion was probably my first instrument. I started with lessons at just five years old. Not long after, I picked up guitar and took classical piano lessons. I played saxophone in elementary and middle school band programs. Then, as a teenager I found my instrument, which is the harp. Before I became a pro harpist I was an attorney but I always loved music and wanted to pursue that instead.
AP: What got you started making sound libraries?
GG: As a professional harpist I invented a MIDI harp in the early 1990s. There was an article in Electronic Musician about it and I got a lot of interest from that. I had lots of ways to make my harp sound like a tuba and other instruments, but I didnt have an actual harp sound so I sampled one. I heard about Gigasampler [sample software] and developed Gigaharp for it. This was one of the first sample libraries for that platform.
AP: How many sound libraries do you currently have in your arsenal?
GG: My current library is a great mix. I have a complete orchestra called Personal Orchestra, the Jazz and Big Band Collection, Concert and Marching Bands and more. There are some libraries, such as the Gigaharp and Stradivari Violin that that were made a while ago and discontinued, that are going to be revived. In fact, one of my new libraries will combine Orchestral Strings and the Stradivari (as well as solo viola, cello and bass). Were also coming out with a World Instrument library soon that will be ideally suited for the EWI USB.
AP: When did you first decide to try the EWI?
GG: Akai Professional approached us with the opportunity to be a part of this new instruments development. Our Director of Programming, Tom Hopkins has been a pro jazz trumpeter for 35 years and he loves the EWI so it was a natural fit we had to explore. We were all very impressed by its capabilities.
At the NAMM show a few years ago, people saw what we were doing with our Jazz and Big Band instruments and liked what they heard. A number of our customers were using the EWI4000s and making really good music with it combined with our samples. Our sampling approach and the EWI USB were a marriage made in heaven. This is still a first step as were working on even more enhancements and were excited about this collaboration.
This EWI USB collaboration could not have happened without Glen Darcey, Product Manager at AKAI Professional. Glen did much of the conceptual planning and programming of the instruments. I cannot overstate Glens role and ingenuity in making this happen.
AP: Aside from Akai Professional, what other kind of collaborations have you worked on in the musical instrument industry?
GG: Next on horizon is the aforementioned Orchestral String collection, but specifically for EWI users were going to be bringing our Jazz and Big Band library to the game. That will be something like 16 different saxophones. Every saxophone from sub-contrabass to sopranino sax. 50 wind instruments in all. There are also going to be world instruments with a large collection of Asian and Indian flutes, Arabian oboes, Native American whistles and flutes. A lot of new instruments will be available for download directly from Garritan.com.
AP: What are your thoughts on the importance of music education?
GG: Our strong commitment to education is evident with our online free orchestration course, with 26 lessons and a free Jazz-arranging course by legendary jazz master Chuck Israels. Knowledge and music education are more important than many people realize. I believe that the magic of music is with the magician, not just the wand.
AP:: What is your philosophy toward music libraries, and how did that fit in with the Aria library included with the EWI USB?
GG: Our philosophy is to make things accessible and affordable to musicians. We share that same goal with AKAI. People love the EWI4000s and its clear that the EWI USB is going to bring that excitement to a lot more people.
INTERVIEW WITH GERHARD BEHLES
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With the introduction of the APC40 we thought it was a great time to catch Ableton CEO Gerhard Behles for a quick interview. Have a look at what Gerhard had to say about APC40, Ableton Live and the future of music production.
Akai Professional: Why do you think hardware is still so popular with such powerful software available such as Live?
Gerhard Behles: A musician is also interested in expression and expression is tied to the tactile experience. You’re trying to use your body to express your emotions.
AP: If you could look into the future, what do you think you’d see in terms of where music production is going for software and hardware tools?
GB: You’re going to see more of this type of thing, tighter integration as with the APC40 and Live. It’s needed. The generic approach that we have seen is great but also limited. We’re going to see less signal processing via hardware and more control via hardware, because that’s the part that’s intrinsically and necessarily tied the hardware. Sound processing is at a point where we can do it really well with powerful generic computers.
AP: What does Live offer for musicians that just isn’t found anywhere else?
GB: I think what we keep hearing over and over boils down to: it’s more fun, thats what musicians keep reiterating. It’s a more fun approach to making music and it brings the fun back to what has become a very cerebral activity. Many say that they open Live and they smile.
AP:: How much of a role did customers play in the development of a partnership with Akai Professional.
GB: Ableton Live users have long asked for a dedicated controller for Live, and we listen very closely to what our customers wish for. Akais success with the MPD 32, MPK 49 and of course the MPC line has been particularly impressive. When Akai reached out with a preliminary design, we knew we had to work with them to make this product the best that it could be.
AP:Live has quite a following among electronic and dance musicians. What does Live bring to the table for Hip-hop producers?
GB: In short, fluid beatmaking, dead easy sample chopping and timestretching all without stopping the program. Were seeing a huge increase in hip-hop producers using Live, and when Ableton Live users like Jazzy Jeff, DJ Numark and Ski Beatz tell us how they think the program should work, we listen to their requests and weigh their ideas strongly. Lives Impulse, Drum Racks and Simpler instruments deliver an easy drag and drop workflow and layout that should be familiar to users of hardware like the MPC.
AP:Would the MPC and APC40 work well together, or are they not likely to be found on the same tabletop?
GB: The MPC and APC40 absolutely can coexist in the same setup. The MPC is legendary on stage and in the studio and this is something we at Ableton are obviously influenced and indebted to. Both Live and the MPC line are dedicated to a particular workflow that enhances creativity and we are not in a position to tell any musician how they should make music. Theres a time and a place for computers and a time when you just want to turn on a hardware piece and make a beat without the risk of getting sidetracked on the Internet.
AP:Is there anything exclusive that people get with the bundled version of Live in the APC40 that they can only get with the hardware?
GB: The APC40 is the first controller to have official, Ableton supported control of Lives Session View. No other controller works in the way the APC40 does with Live with such an easy two way communication and set up. We worked long and hard bringing our engineering teams together to find a quick, intuitive method for putting vast numbers of effects, instruments and Audio and MIDI clips at your fingertips, and Live users wont be disappointed.
AP: Are you planning any features in the future that would take advantage of the APC and let musicians do things in ways that would be much harder to do with software alone?
GB: Its quite fortuitous for Live users thats weve worked for Akai at this time, as it coincides with our product partnership with Cycling 74, Max for Live. Owners of the APC40 who also own Max for Live can change the way the APC40 controls Live, and completely customize their experience. This means things like step sequencers and drum rack support and other things that only feel right with hardware will now be available for people who own these two great products. The boundaries of what you can do with complete customization and hundreds of LEDs are infinite.
AP:: Many people might think of Ableton Live only as a studio tool, while others make quick use of it for live performance. Do you see the APC40 shifting that balance one direction or the other?
GB: Not at all. We will always have and support both kinds of users, and frankly most of our users are some combination of both creative producers who make music and sometimes or often take it to the stage. Giving them a tool like the APC40 only enhances this flexibility you get to know the APC40 in daily use in the studio and you feel confident to take it onstage, much as you would use a guitar or set of drums in both places
INTERVIEW WITH THE ALCHEMIST
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Leading hip-hop producer sits down with Akai Pro to talk business, technology, and the industry.
The Alchemist is a hip-hop producer who has produced for many of hip-hop’s leading artists in the 2000s, and has been hailed as one of the top producers in the game. Whether or not you know his name, chances are, you know his work on some of the biggest projects by name-brand artists.
As a teenager, the Alchemist was half of the duo The Whooliganz and a member of rap collective The Soul Assassins, which included Cypress Hill and House of Pain. The Alchemist studied beat making with DJ Muggs of Cypress Hill and Evidence of Dilated Peoples.
After moving to New York, the Alchemist produced Mobb Deep, Pharoahe Monch, Royce da 5’9, Fat Joe, Defari, Freddy Foxxx, Ludacris, Big Daddy Kane, and Ghostface Killah, and even rock acts Linkin Park and Morcheeba. In 2004 the Alchemist released his first solo full-length, 1st Infantry, which, besides featuring his own beats, also had him rapping alongside Nas, Stat Quo, the Game, Lloyd Banks, Mobb Deep, and Dilated Peoples. In 2005, the Alchemist toured with Eminem as his DJ on the Anger Management 3 tour.
The Alchemist plans to release an ambitious three new albums in 2009. He is also currently serving as the music producer of the tenth installment of the Grand Theft Auto video game. He shared his background and his views on the current state production with us.
Akai Professional: Where did you get your name?
The Alchemist: From a friend of mine who is into music; he was a rapper. He put a twist on my name, Al, because I had an interest in the scientific side of music and how it is put together. I discovered the meaning in the book The Alchemist. The metaphor made a lot of sense. I read the book after I got my name. Anyone who reads that book will find it inspiring.
AP: When did you first get into music?
TA: I was into it from my induction into earth but I really started around 13 when I started messing around. I was writing raps, using turntables trying to scratch. I remember my first beats were like pause tapes. Id record like one bar off a record and dub it and make a loop with it. Just messing around. I had an ear for music and just took it far.
AP: What was your first MPC?
TA: The MPC3000, which was loaned to me by a friend. I guess I wasnt ready yet but I loved the sound coming out of it. All my favorite producers used it. My first beats were on the [Ensoniq] ASR10 keyboard. I discovered you can get more busy to make rhythms with the [MPC] pads than with the keys because its feel is more like a drum.
AP: What has the MPC5000 brought to the scene that made producing better for you? Were you able to use it on your upcoming release, Chemical Warfare?
TA: Yes. The thing about it is so crazy to me is the sound inside. I guess for the first time ever, the synth sounds really got me. The warmth and the quality and the way you can adjust sounds similar to a Moog or other analog instrument. You know when Id start twisting knobs I started making sounds that are really unique.
I feel like my creativity is way iller with the 5000. Prior to this Id sample [to create] all my beats but this machine encourages me to make stuff, not with just samples. I mean, if you know what youre doing to can make stuff that sounds just like samples. Some of my favorite ones [were made with the MPC5000s virtual analog synthesizer] too because the sonicness of it, its like it almost sounds like it uses more of the speaker, you now what I mean? 
With the beats that I play off of the 5000, its like the whole speaker is being utilized versus more of a mono-sounding beat that I would hear with the ASR. Theres something about that machine, man. Thats what I like most about it is the fact that you can collaborate samples so you dont have to stray from your sampling style of beats. You can still chop beats and then you can layer them with the sounds that come with it or that you can load into it. You know, sometimes I ended up dropping out the loop entirely. Once I got it layered up I have a whole new product, so thats whats dopest to me about the MPC5000.
AP: What other artists have you worked with and how did they influence your music?
TA: Ive been blessed to work with so many great artists from all different sides of the spectrum from Tone Loc to Cypress Hill, Mobb Deep, I mean theres so many different artists I mean lately Ive been working with Three 6 Mafia, Maxwell I did records for Linkin Park for a remix album so I think being able to have a wide variety of sound and not stuck to a genre is the cool thing about being a producer. 
I feel like as a producer, it shows more versatility to be able to produce a rock or R&B record while at the same time you could be making a hip-hop record. Its the whole spectrum of music. Also, I DJ a lot. When Eminem tours, I DJ for him, so lately Ive been DJing more parties and adding that element into my production. When you DJ, you get to see the records that drive the crowds crazy and adding that element into the production is great for staying current.
AP: What do you think it is that has made the MPC so widely used by producers?
TA: I think its probably hands down the most handy machines when it comes to production. It has just what you need. It pretty much defined the standard of production for beats in the same way that when you go to record vocals these days, they use Avalon [microphone preamplifiers] and they have the Neumann U 87 [microphones]. Its like the combination of these two as microphone and preamp are the standard for 85-90% of records as far as rap vocals.
I feel like with the MPC its the standard. Partly because of the swing capabilities [MPC Swing] in it, which made the drums for a lot of producers over the years. You knew automatically because of their drum swing that it was something the MPC did. Even when I used the ASR10, I was always trying to simulate the style of production that was made on the MPC. Once I got to the MPC, I was like, YES, this is what I was trying to do the whole time!
From the way that the pads are set, you can set them to chop each other off or each sample cuts each other off. The timing from the timing-correct button to the velocity on the pads, which enables you to give it more of a live feel.
Also, its like an instrument. I know some people who work the machine in a way where on stage with no sequencer, its incredible. I cant think of any machine thats similar. It seems like theyre just imitating it, even as they sound, its a similar machine with a virtual something. They always seem like they have to have the 16 pads and basically simulate the style of the MPC. I was watching a demo of one and thought, this is very MPC-esque.
In general, MPC always has and always will be the standard as far as when youre talking about rap, beats and production. You know, my favorite producers from day one were Premier MPC. Pete Rock? MPC. Diamond D? MPC. I mean I could go down the list forever. Its pretty much the standard. Its good to be able to even follow in those footsteps and keep that tradition going forward. You know, making music that comes out of that machine it sounds crazy.
Impersonation has gotten to extreme levels with regards to MPC with people trying to copy it but I think at the end of the day with the sound that comes out of it, I can usually call it. I can say, thats MPC, yo. Theres a lot of other technology that can let you make beats with a computer and stuff but I think it takes away from the live ability. In general the MPC is an instrument because of what you can do with it. Ive seen guys treating it like a turntable. The turntable was made for one thing and you can make creative turntablism out of it. With the MPC theres like a whole style of live entertainment that actually hasnt been fully explored. Its crazy. Thats what separates it from a lot of these new things. You cant use your little computer out live and then treat it like an instrument its a computer!
AP: Have you used any other Akai Pro equipment than the MPC?
TA: I go from the MPC right into ProTools. I dont run it through too much. To me, because of the built-in compressor that it has and the effects, the EQ and master, I try to make my beats coming out of the machine sounding like the way I want them to be when I mix them. So when it comes time to mix, I dont have to have the engineer do magic tricks for my beat. What Im delivering him right out of the machine is pretty much what its going to sound like. So that way when Im playing beats live, or when Im playing beats for someone I want it to sound you know, I spend time with the EQ, I spend time with the edit steps, Ill move a kick one to the right if its too much, one to the left its too little, so its like I get it exactly where I want it to be. Especially with the new 5000 and the 960ppq [sequencer] resolution, I mean its crazy. Its as close as you can come to a live drummer as far as the swinging. The closest thing to that is taking the timing [quantization] off entirely and just being Clyde Stubblefield on the MPC. You know what I mean? They got it down to a science now with the swing.
AP: We noticed you have some turntables here too. Tell us about those.
TA: I use the Numark TT500. I love that turntable because the reverse on one button, thats like my favorite feature. I dont even take the needle off when Im going through records. Ill just reverse that back. If I hear that sample, Ill hit reverse instead of picking the needle up because sometimes I hear something when its playing backwards, and its like, woah! that little sound is good for something. Making beats for hip-hop, anything goes, so I might take a snare backwards and load it back into the MPC. The backward button is crazy. You know, just on command, go reverse. Oh yeah, plus the pitch range on that is killing all the other turntables. Sometimes I wanted to hear a record extremely slow, but it wouldnt go that way. I used to have to put my finger on the side of the Technics to try to make it sound slow and it would just be wobbling it just wasnt it. With the TT500 you can speed it up and slow it down so much youre almost unlimited when you want to hear something in a different tone or pitch, or whatever it will work.
AP: What is your current project and what Akai Pro products are you using on it?
TA: My current album called Chemical Warfare and is a follow-up to my first album, which was called 1st Infantry. Its basically a collaboration album with a lot of artists Ive worked with in the past. I have a new single trying to get out and Im basically in the studio just finishing up the final mixes on the album and get it out by the middle of the year. Thats going to take me out of the studio a little bit so Im happy just to take the MPC, pack it up and take it on the bus.
When you go into album mode you also have to go into promote mode, which isnt always my favorite. If it was up to me, Id be in studio all day. But Ill probably be out on the road doing a lot of promotion with a couple of tours to promote this album.
Im also just getting ready to shoot a video to gear up for the album. Hopefully Eminem is going to come out with his album. Im pretty sure hes going to come out with his album this year, and Ill probably hit the road with him. Thats always quite an experience going on the road with him.
AP: Is your latest work a departure from anything youve done in the past or are you sticking to a formula that works well for you?
TA: Its a little bit new and I think the last album I hadnt started working on the MPC yet. This is the first one where Ive been able to work on the MPC and showcase the beats. Also I was able to develop what I consider somewhat of a new style for the album where I was chopping up samples and trying to move them like hi-hats instead of using hi-hats and keeping the production real sparse with just kick and snare and making the music move around. Its an intense album as far as the sound. I love the way the beats came out. I was able to really showcase the new sound as far as the MPC on this album. Its exciting to me. I think as I put the album together it has a vibe that I was able to make with a lot of different artists. Its hard you know sometimes youre working with 15 different rappers that have nothing to do with each other. You wonder, whats going to be the current sound [when the album is released]? Whats going to keep this album together? That was my challenge, but I think I did it well and it all fits in a strange way. Its an experience.
On the new album I started with the MPC2500 and once I got my hands on the 5000 I was able to start experimenting. One record I put out was a CNN record, Capone-N-Noreaga, called Follow The Dollar. They just shot a video that should be out in early 2009. Were using the MPC5000 for both albums. Everybody really loved the sound. They thought the synth stuff I did was a sample but it wasnt. Also Im able to I go back to songs I started on it. I fooled a lot of people. They thought it was a sample. It wasnt. The cats out the bag or whatever. I was playing around with some people and they said, yeah was that a sample or not? What Ill do is I go back to songs that I started with the 2500 and Ill sprinkle that with sounds I got from the 5000. So as Im finishing the album, I like to have the 5000 there just cuz its like, its foreign. The sounds that are in it if I need something real quick like to lay on top of a sound, or I need a pad to lay underneath the hook, or I might need a hi-hat or something, that to me is what I need at the end of the album for some spice.
AP: When is your current project due out?
TA: May 2009. We just released the first single called Smile featuring Maxwell, Twista and myself. Im rapping more on this one than the last one, like maybe about 30% of the album. I just try to follow in Dres footsteps. Not soundwise I mean, because nobody can compare, obviously to Dr. Dre, but the way that he put out albums that were technically compilation albums, and hes still able to rap on a song here and there, throughout the album and it still felt like his album. Even if he wasnt on the song its still his album and he played a part on a product that was his. Im trying to follow in those footsteps and that model and get people into me without changing totally who I am.
AP: Do you have any tips or tricks you’d like to share with up and coming producers who may be reading this interview?
TA: Persistence overcomes resistance and that goes across the board. That might mean go back to that sample that you got defeated by, or couldnt hook up the right way, try that loop again or write that song again. The bottom line is that I dont think its a battle of talents its a battle of spirits and who goes hardest. Keep your spirit up and enjoy it. If you can find a way to get paid making music you know theres nothing better but the money thing shouldnt motivate you, in the end it should be the icing on the cake, So just keep on.
The Alchemists Resume
Discography
Albums
- 1st Infantry (2004)
- Return of the Mac (with Prodigy) (2007)
- The Alchemist’s Cookbook (2008)
- Chemical Warfare (2009)
- Step Brothers album (2009)
- Gangrene album (2009)
Mix Tapes
- The Cutting Room Floor Vol. I (2003)
- No Days Off (2006)
- The Chemistry Files Vol. 1 (2006)
- The Cutting Room Floor Vol. II (2008)
Instrumentals
- Action/Drama (2001)
- Gangster Theme Music (2000)
- The Ultimate Music Machine (2002)
- Lab Tested (2004)
- Rapper’s Best Friend (2007)
- GTA Chinatown Wars (2009)
Singles
- “Block Value/ More Like Us” (Feat. Mobb Deep and Big Noyd) (2001)
- “We Gonna Make It” (Feat. Jadakiss, Styles P, Eve)
- “The Man: The Icon” (Feat. Big Daddy Kane) (2001)
- “Different Worlds/ B.I.G. T.W.I.N.S.” (Feat. Twins) (2001)
- “Bangers” (Feat. Lloyd Banks) (2004)
- “Hold You Down” (2004)
Production Credits
- 1999: Terror Squad (album) (Terror Squad album): “99 Live” (featuring Prospect)
- 1999: Build and Destroy (Royce Da 5’9″ album): “I’m the King”
- 1999: Focused Daily (Defari album): “Focused Daily”
- 1999: A Tear for the Ghetto (Group Home album): “Stupid Muthaf**kas (30 Minutes to War)”
- 1999: Home Field Advantage (The High and Mighty album): “Top Prospects” and “Open Mic Night (Remix)” (featuring Thirstin Howl III and Wordsworth)
- 1999: Balance (Swollen Members album): “Front Street”, “Circuit Breaker”, “Strength”, and “Horrified Nights”
- 1999: Murda Muzik (Mobb Deep album): “Thug Muzik” (featuring Infamous Mobb and Chinky) and “The Realest” (featuring Kool G. Rap)
- 1999: Internal Affairs (Pharoahe Monch album): “No Mercy” (featuring M.O.P.)
- 2000: The Platform (Dilated Peoples album): “The Platform”, “Guaranteed”, “The Main Event”, “Annihilation”, and “The Last Line of Defense”
- 2000: The Reunion (Capone-N-Noreaga album): “Queens” (featuring Complexions) and “Bang Bang” (featuring Foxy Brown)
- 2000: “Eat At Whitey’s” (Everlast album) “Deadly Assassins” (Featuring B-Real)
- 2001: H.N.I.C. (Prodigy album): “Keep It Thoro”, “Three” (featuring Cormega), “Trials of Love” (featuring B.K.), and “Veteran’s Memorial”
- 2001: Endangered Species (Big Pun album): “Mama”
- 2001: The Realness (Cormega album): “Fallen Soldiers (Remix)”
- 2001: Baldhead Slick and da Click (Guru album): “In Here” (featuring Timbo King, Killah Priest and Black Jesus)
- 2001: He Think He Raw (Casual album): “I Gotta (Get Down)”
- 2001: Kiss tha Game Goodbye (Jadakiss album): “We Gonna Make It” (featuring Styles P) and “Feel Me (Skit)”
- 2001: Jealous Ones Still Envy (J.O.S.E.) (Fat Joe album): “Definition of a Don” (featuring Remy Martin)
- 2001: Expansion Team (Dilated Peoples album): “Live on Stage”, “Worst Comes to Worst” and “Panic”
- 2001: Bad Dreams (Swollen Members album): “Bad Dreams”
- 2001: Bulletproof Wallets (Ghostface Killah album): “The Forest”, “The Juks” (featuring Trife) and “Street Chemistry” (featuring Prodigal Sunn and Trife)
- 2001: Infamy (Mobb Deep album): “Get at Me” “Home Sweet Home”
- 2002: A Gangster and a Gentleman (Styles P album): “A Gangster and a Gentleman” and Black Magic” (featuring Angie Stone)
- 2002: The Lost Tapes (Nas album): “My Way” and “No Ideas Original”
- 2002: The True Meaning (Cormega album): “The Legacy”
- 2002: Loyalty (Fat Joe album): “Bust at You” (featuring Scarface and Baby)
- 2002: Reanimation (Linkin Park album): “Frgt/10″ (featuring Chali 2Na)
- 2002: God’s Son (Nas album): “Book of Rhymes”, “Mastermind” and “Revolutionary Warfare” (featuring Lake)
- 2003: Walk Witt Me (Sheek Louch album): “Turn It Up”
- 2003: Only the Strong (Big Noyd album): “Only the Strong”, “Shoot ‘Em Up (Bang Bang) Part 1″, “Noyd Holdin’ It Down” (featuring Havoc), “Shoot ‘Em Up (Bang Bang) Part 2″ (featuring Mobb Deep), “Air It Out” (featuring Havoc), and “N.O.Y.D.”
- 2003: The Awakening (PMD album): “The Awakening”
- 2004: Neighborhood Watch (Dilated Peoples album): “Marathon”, “Neighborhood Watch”, “Poisonous” (featuring Devin the Dude), and “World on Wheels”
- 2004: Till Death Do Us Part (Cypress Hill album): “Latin Thugs” (featuring Tego Calderon)
- 2004: Amerikaz Nightmare (Mobb Deep album): “Win or Lose”, “Got It Twisted”, “When U Hear The”, and “Got It Twisted (Remix)” (featuring Twista)
- 2004: Sweat (Nelly album): “Playa” (featuring Mobb Deep and Missy Elliott)
- 2004: RandG (Rhythm and Gangsta): The Masterpiece (Snoop Dogg album): “(Intro) I Love to Give You Light”
- 2004: Kiss of Death (Jadakiss album): “Still Feel Me”
- 2005: The Diamond Mine (Diamond D album): “Y’all Niggaz Need to Know”
- 2005: After Taxes (Sheek Louch album): “Movie Niggas” (featuring Ghostface Killah)
- 2005: Who’s Hard? (Big Shug album): “Who? (Got My Back)” and “Who’s Hard?”
- 2005: Witness My Growth (Elzhi album): “The Alchemist”
- 2006: Street Music (Defari album): “Make My Own” (featuring Evidence)
- 2006: Black Magic (Swollen Members album): “Weight” (featuring Ghostface Killah and The Alchemist)
- 2006: Time is Money (Styles P album): “I’m Black” (featuring Marsha Ambrosius)
- 2006: Blood Money (Mobb Deep album): “The Infamous” (featuring 50 Cent)
- 2006: Killa Season (Cam’Ron album): “Wet Wipes”
- 2006: 20/20 (Dilated Peoples album): “Back Again” and “20/20″
- 2006: You Already Know (Agallah album): “Ride Out (O.G.G.G.)” (featuring The Alchemist) and “On the Ave”
- 2006: The Re-Up – Eminem Presents: “We Ride For Shady” (Obie Trice and Cashis); “There He Is” (Bobby Creekwater): “Tryin’ Ta Win” (Stat Quo)
- 2006: The Medicine (Planet Asia album): “Over Your Head”
- 2006: Eat or Die (Ras Kass album): “Get It In”
- 2007: Return of the Mac (Prodigy album): All songs
- 2007: The Release Party (Dilated Peoples): “Spit It Clearly”
- 2007: The Death of Tragedy (Tragedy Khadafi album): “Milk Murder”
- 2007: Desire (Pharoahe Monch album): “Desire”
- 2007: The Weatherman LP (Evidence album): “Letyourselfgo” (featuring Phonte), “Chase the Clouds Away” (featuring Kamilah), “Evidence is Everywhere”, “Line of Scrimmage” (featuring Slug), and “Born in LA” (featuring Chace Infinite and Sick Jacken)
- 2007: Super Gangster (Extraordinary Gentleman) (Styles P album): “Green Piece of Paper” and “All I Know is Pain”‘
- 2008: Kiss My Ass (Jadakiss album) “From Now Til Then’”
- 2008: The Elephant in the Room (Fat Joe album): “My Conscience” (featuring KRS-One)
- 2008: H.N.I.C. Pt. 2 (Prodigy album): “The Life”, “Young Veterans”, “Illuminati”, “Veteran’s Memorial Part II” and “Dirty New Yorker”
- 2008: Deified (Keak Da Sneak album): “That Go (Remix)”
- 2008: Tha Carter III (Lil Wayne album) “You Ain’t Got Nuthin’” (featuring Fabolous and Juelz Santana)
- 2008: I.A.Dap (Lil’ Dap album): “Intro I.A.Dap” and “Get It”
- 2008: Politics As Usual (Termanology album): “Hood Shit” (featuring Prodigy)
- 2008: Fresh Rhymes and Videotape Vol. 1: “The Last Shall Be First” (Dilated Peoples) and “Road Stop” (88-Keys and Aceyalone)
- 2008: The Layover EP (Evidence album): “So Fresh” (Evidence and Alchemist aka Step Brothers), “The Far Left” (featuring The Alchemist and Fashawn), “To Be Determined” (featuring Elzhi and Aloe Blacc)
- 2009: Smoke and Mirrors (B-Real album): “6 Minutes” (featuring Young De and Tek)
Website – www.alchemistbeats.ning.com
INTERVIEW WITH THE ALCHEMIST
Posted by News Item in February 20th, 2009
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Leading hip-hop producer sits down with Akai Pro to talk business, technology, and the industry.
The Alchemist is a hip-hop producer who has produced for many of hip-hop’s leading artists in the 2000s, and has been hailed as one of the top producers in the game. Whether or not you know his name, chances are, you know his work on some of the biggest projects by name-brand artists.
As a teenager, the Alchemist was half of the duo The Whooliganz and a member of rap collective The Soul Assassins, which included Cypress Hill and House of Pain. The Alchemist studied beat making with DJ Muggs of Cypress Hill and Evidence of Dilated Peoples.
After moving to New York, the Alchemist produced Mobb Deep, Pharoahe Monch, Royce da 5’9, Fat Joe, Defari, Freddy Foxxx, Ludacris, Big Daddy Kane, and Ghostface Killah, and even rock acts Linkin Park and Morcheeba. In 2004 the Alchemist released his first solo full-length, 1st Infantry, which, besides featuring his own beats, also had him rapping alongside Nas, Stat Quo, the Game, Lloyd Banks, Mobb Deep, and Dilated Peoples. In 2005, the Alchemist toured with Eminem as his DJ on the Anger Management 3 tour.
The Alchemist plans to release an ambitious three new albums in 2009. He is also currently serving as the music producer of the tenth installment of the Grand Theft Auto video game. He shared his background and his views on the current state production with us.
Akai Professional: Where did you get your name?
The Alchemist: From a friend of mine who is into music; he was a rapper. He put a twist on my name, Al, because I had an interest in the scientific side of music and how it is put together. I discovered the meaning in the book The Alchemist. The metaphor made a lot of sense. I read the book after I got my name. Anyone who reads that book will find it inspiring.
AP: When did you first get into music?
TA: I was into it from my induction into earth but I really started around 13 when I started messing around. I was writing raps, using turntables trying to scratch. I remember my first beats were like pause tapes. Id record like one bar off a record and dub it and make a loop with it. Just messing around. I had an ear for music and just took it far.
AP: What was your first MPC?
TA: The MPC3000, which was loaned to me by a friend. I guess I wasnt ready yet but I loved the sound coming out of it. All my favorite producers used it. My first beats were on the [Ensoniq] ASR10 keyboard. I discovered you can get more busy to make rhythms with the [MPC] pads than with the keys because its feel is more like a drum.
AP: What has the MPC5000 brought to the scene that made producing better for you? Were you able to use it on your upcoming release, Chemical Warfare?
TA: Yes. The thing about it is so crazy to me is the sound inside. I guess for the first time ever, the synth sounds really got me. The warmth and the quality and the way you can adjust sounds similar to a Moog or other analog instrument. You know when Id start twisting knobs I started making sounds that are really unique.
I feel like my creativity is way iller with the 5000. Prior to this Id sample [to create] all my beats but this machine encourages me to make stuff, not with just samples. I mean, if you know what youre doing to can make stuff that sounds just like samples. Some of my favorite ones [were made with the MPC5000s virtual analog synthesizer] too because the sonicness of it, its like it almost sounds like it uses more of the speaker, you now what I mean? With the beats that I play off of the 5000, its like the whole speaker is being utilized versus more of a mono-sounding beat that I would hear with the ASR. Theres something about that machine, man. Thats what I like most about it is the fact that you can collaborate samples so you dont have to stray from your sampling style of beats. You can still chop beats and then you can layer them with the sounds that come with it or that you can load into it. You know, sometimes I ended up dropping out the loop entirely. Once I got it layered up I have a whole new product, so thats whats dopest to me about the MPC5000.
AP: What other artists have you worked with and how did they influence your music?
TA: Ive been blessed to work with so many great artists from all different sides of the spectrum from Tone Loc to Cypress Hill, Mobb Deep, I mean theres so many different artists I mean lately Ive been working with Three 6 Mafia, Maxwell I did records for Linkin Park for a remix album so I think being able to have a wide variety of sound and not stuck to a genre is the cool thing about being a producer. I feel like as a producer, it shows more versatility to be able to produce a rock or R&B record while at the same time you could be making a hip-hop record. Its the whole spectrum of music. Also, I DJ a lot. When Eminem tours, I DJ for him, so lately Ive been DJing more parties and adding that element into my production. When you DJ, you get to see the records that drive the crowds crazy and adding that element into the production is great for staying current.
AP: What do you think it is that has made the MPC so widely used by producers?
TA: I think its probably hands down the most handy machines when it comes to production. It has just what you need. It pretty much defined the standard of production for beats in the same way that when you go to record vocals these days, they use Avalon [microphone preamplifiers] and they have the Neumann U 87 [microphones]. Its like the combination of these two as microphone and preamp are the standard for 85-90% of records as far as rap vocals.
I feel like with the MPC its the standard. Partly because of the swing capabilities [MPC Swing] in it, which made the drums for a lot of producers over the years. You knew automatically because of their drum swing that it was something the MPC did. Even when I used the ASR10, I was always trying to simulate the style of production that was made on the MPC. Once I got to the MPC, I was like, YES, this is what I was trying to do the whole time!
From the way that the pads are set, you can set them to chop each other off or each sample cuts each other off. The timing from the timing-correct button to the velocity on the pads, which enables you to give it more of a live feel.
Also, its like an instrument. I know some people who work the machine in a way where on stage with no sequencer, its incredible. I cant think of any machine thats similar. It seems like theyre just imitating it, even as they sound, its a similar machine with a virtual something. They always seem like they have to have the 16 pads and basically simulate the style of the MPC. I was watching a demo of one and thought, this is very MPC-esque.
In general, MPC always has and always will be the standard as far as when youre talking about rap, beats and production. You know, my favorite producers from day one were Premier MPC. Pete Rock? MPC. Diamond D? MPC. I mean I could go down the list forever. Its pretty much the standard. Its good to be able to even follow in those footsteps and keep that tradition going forward. You know, making music that comes out of that machine it sounds crazy.
Impersonation has gotten to extreme levels with regards to MPC with people trying to copy it but I think at the end of the day with the sound that comes out of it, I can usually call it. I can say, thats MPC, yo. Theres a lot of other technology that can let you make beats with a computer and stuff but I think it takes away from the live ability. In general the MPC is an instrument because of what you can do with it. Ive seen guys treating it like a turntable. The turntable was made for one thing and you can make creative turntablism out of it. With the MPC theres like a whole style of live entertainment that actually hasnt been fully explored. Its crazy. Thats what separates it from a lot of these new things. You cant use your little computer out live and then treat it like an instrument its a computer!
AP: Have you used any other Akai Pro equipment than the MPC?
TA: I go from the MPC right into ProTools. I dont run it through too much. To me, because of the built-in compressor that it has and the effects, the EQ and master, I try to make my beats coming out of the machine sounding like the way I want them to be when I mix them. So when it comes time to mix, I dont have to have the engineer do magic tricks for my beat. What Im delivering him right out of the machine is pretty much what its going to sound like. So that way when Im playing beats live, or when Im playing beats for someone I want it to sound you know, I spend time with the EQ, I spend time with the edit steps, Ill move a kick one to the right if its too much, one to the left its too little, so its like I get it exactly where I want it to be. Especially with the new 5000 and the 960ppq [sequencer] resolution, I mean its crazy. Its as close as you can come to a live drummer as far as the swinging. The closest thing to that is taking the timing [quantization] off entirely and just being Clyde Stubblefield on the MPC. You know what I mean? They got it down to a science now with the swing.
AP: We noticed you have some turntables here too. Tell us about those.
TA: I use the Numark TT500. I love that turntable because the reverse on one button, thats like my favorite feature. I dont even take the needle off when Im going through records. Ill just reverse that back. If I hear that sample, Ill hit reverse instead of picking the needle up because sometimes I hear something when its playing backwards, and its like, woah! that little sound is good for something. Making beats for hip-hop, anything goes, so I might take a snare backwards and load it back into the MPC. The backward button is crazy. You know, just on command, go reverse. Oh yeah, plus the pitch range on that is killing all the other turntables. Sometimes I wanted to hear a record extremely slow, but it wouldnt go that way. I used to have to put my finger on the side of the Technics to try to make it sound slow and it would just be wobbling it just wasnt it. With the TT500 you can speed it up and slow it down so much youre almost unlimited when you want to hear something in a different tone or pitch, or whatever it will work.
AP: What is your current project and what Akai Pro products are you using on it?
TA: My current album called Chemical Warfare and is a follow-up to my first album, which was called 1st Infantry. Its basically a collaboration album with a lot of artists Ive worked with in the past. I have a new single trying to get out and Im basically in the studio just finishing up the final mixes on the album and get it out by the middle of the year. Thats going to take me out of the studio a little bit so Im happy just to take the MPC, pack it up and take it on the bus.
When you go into album mode you also have to go into promote mode, which isnt always my favorite. If it was up to me, Id be in studio all day. But Ill probably be out on the road doing a lot of promotion with a couple of tours to promote this album.
Im also just getting ready to shoot a video to gear up for the album. Hopefully Eminem is going to come out with his album. Im pretty sure hes going to come out with his album this year, and Ill probably hit the road with him. Thats always quite an experience going on the road with him.
AP: Is your latest work a departure from anything youve done in the past or are you sticking to a formula that works well for you?
TA: Its a little bit new and I think the last album I hadnt started working on the MPC yet. This is the first one where Ive been able to work on the MPC and showcase the beats. Also I was able to develop what I consider somewhat of a new style for the album where I was chopping up samples and trying to move them like hi-hats instead of using hi-hats and keeping the production real sparse with just kick and snare and making the music move around. Its an intense album as far as the sound. I love the way the beats came out. I was able to really showcase the new sound as far as the MPC on this album. Its exciting to me. I think as I put the album together it has a vibe that I was able to make with a lot of different artists. Its hard you know sometimes youre working with 15 different rappers that have nothing to do with each other. You wonder, whats going to be the current sound [when the album is released]? Whats going to keep this album together? That was my challenge, but I think I did it well and it all fits in a strange way. Its an experience.
On the new album I started with the MPC2500 and once I got my hands on the 5000 I was able to start experimenting. One record I put out was a CNN record, Capone-N-Noreaga, called Follow The Dollar. They just shot a video that should be out in early 2009. Were using the MPC5000 for both albums. Everybody really loved the sound. They thought the synth stuff I did was a sample but it wasnt. Also Im able to I go back to songs I started on it. I fooled a lot of people. They thought it was a sample. It wasnt. The cats out the bag or whatever. I was playing around with some people and they said, yeah was that a sample or not? What Ill do is I go back to songs that I started with the 2500 and Ill sprinkle that with sounds I got from the 5000. So as Im finishing the album, I like to have the 5000 there just cuz its like, its foreign. The sounds that are in it if I need something real quick like to lay on top of a sound, or I need a pad to lay underneath the hook, or I might need a hi-hat or something, that to me is what I need at the end of the album for some spice.
AP: When is your current project due out?
TA: May 2009. We just released the first single called Smile featuring Maxwell, Twista and myself. Im rapping more on this one than the last one, like maybe about 30% of the album. I just try to follow in Dres footsteps. Not soundwise I mean, because nobody can compare, obviously to Dr. Dre, but the way that he put out albums that were technically compilation albums, and hes still able to rap on a song here and there, throughout the album and it still felt like his album. Even if he wasnt on the song its still his album and he played a part on a product that was his. Im trying to follow in those footsteps and that model and get people into me without changing totally who I am.
AP: Do you have any tips or tricks you’d like to share with up and coming producers who may be reading this interview?
TA: Persistence overcomes resistance and that goes across the board. That might mean go back to that sample that you got defeated by, or couldnt hook up the right way, try that loop again or write that song again. The bottom line is that I dont think its a battle of talents its a battle of spirits and who goes hardest. Keep your spirit up and enjoy it. If you can find a way to get paid making music you know theres nothing better but the money thing shouldnt motivate you, in the end it should be the icing on the cake, So just keep on.
Akai Professional MPC5000 Artist
The Alchemists Resume
Discography
Albums
- 1st Infantry (2004)
- Return of the Mac (with Prodigy) (2007)
- The Alchemist’s Cookbook (2008)
- Chemical Warfare (2009)
- Step Brothers album (2009)
- Gangrene album (2009)
Mix Tapes
- The Cutting Room Floor Vol. I (2003)
- No Days Off (2006)
- The Chemistry Files Vol. 1 (2006)
- The Cutting Room Floor Vol. II (2008)
Instrumentals
- Action/Drama (2001)
- Gangster Theme Music (2000)
- The Ultimate Music Machine (2002)
- Lab Tested (2004)
- Rapper’s Best Friend (2007)
- GTA Chinatown Wars (2009)
Singles
- “Block Value/ More Like Us” (Feat. Mobb Deep and Big Noyd) (2001)
- “We Gonna Make It” (Feat. Jadakiss, Styles P, Eve)
- “The Man: The Icon” (Feat. Big Daddy Kane) (2001)
- “Different Worlds/ B.I.G. T.W.I.N.S.” (Feat. Twins) (2001)
- “Bangers” (Feat. Lloyd Banks) (2004)
- “Hold You Down” (2004)
Production Credits
- 1999: Terror Squad (album) (Terror Squad album): “99 Live” (featuring Prospect)
- 1999: Build and Destroy (Royce Da 5’9″ album): “I’m the King”
- 1999: Focused Daily (Defari album): “Focused Daily”
- 1999: A Tear for the Ghetto (Group Home album): “Stupid Muthaf**kas (30 Minutes to War)”
- 1999: Home Field Advantage (The High and Mighty album): “Top Prospects” and “Open Mic Night (Remix)” (featuring Thirstin Howl III and Wordsworth)
- 1999: Balance (Swollen Members album): “Front Street”, “Circuit Breaker”, “Strength”, and “Horrified Nights”
- 1999: Murda Muzik (Mobb Deep album): “Thug Muzik” (featuring Infamous Mobb and Chinky) and “The Realest” (featuring Kool G. Rap)
- 1999: Internal Affairs (Pharoahe Monch album): “No Mercy” (featuring M.O.P.)
- 2000: The Platform (Dilated Peoples album): “The Platform”, “Guaranteed”, “The Main Event”, “Annihilation”, and “The Last Line of Defense”
- 2000: The Reunion (Capone-N-Noreaga album): “Queens” (featuring Complexions) and “Bang Bang” (featuring Foxy Brown)
- 2000: “Eat At Whitey’s” (Everlast album) “Deadly Assassins” (Featuring B-Real)
- 2001: H.N.I.C. (Prodigy album): “Keep It Thoro”, “Three” (featuring Cormega), “Trials of Love” (featuring B.K.), and “Veteran’s Memorial”
- 2001: Endangered Species (Big Pun album): “Mama”
- 2001: The Realness (Cormega album): “Fallen Soldiers (Remix)”
- 2001: Baldhead Slick and da Click (Guru album): “In Here” (featuring Timbo King, Killah Priest and Black Jesus)
- 2001: He Think He Raw (Casual album): “I Gotta (Get Down)”
- 2001: Kiss tha Game Goodbye (Jadakiss album): “We Gonna Make It” (featuring Styles P) and “Feel Me (Skit)”
- 2001: Jealous Ones Still Envy (J.O.S.E.) (Fat Joe album): “Definition of a Don” (featuring Remy Martin)
- 2001: Expansion Team (Dilated Peoples album): “Live on Stage”, “Worst Comes to Worst” and “Panic”
- 2001: Bad Dreams (Swollen Members album): “Bad Dreams”
- 2001: Bulletproof Wallets (Ghostface Killah album): “The Forest”, “The Juks” (featuring Trife) and “Street Chemistry” (featuring Prodigal Sunn and Trife)
- 2001: Infamy (Mobb Deep album): “Get at Me” “Home Sweet Home”
- 2002: A Gangster and a Gentleman (Styles P album): “A Gangster and a Gentleman” and Black Magic” (featuring Angie Stone)
- 2002: The Lost Tapes (Nas album): “My Way” and “No Ideas Original”
- 2002: The True Meaning (Cormega album): “The Legacy”
- 2002: Loyalty (Fat Joe album): “Bust at You” (featuring Scarface and Baby)
- 2002: Reanimation (Linkin Park album): “Frgt/10″ (featuring Chali 2Na)
- 2002: God’s Son (Nas album): “Book of Rhymes”, “Mastermind” and “Revolutionary Warfare” (featuring Lake)
- 2003: Walk Witt Me (Sheek Louch album): “Turn It Up”
- 2003: Only the Strong (Big Noyd album): “Only the Strong”, “Shoot ‘Em Up (Bang Bang) Part 1″, “Noyd Holdin’ It Down” (featuring Havoc), “Shoot ‘Em Up (Bang Bang) Part 2″ (featuring Mobb Deep), “Air It Out” (featuring Havoc), and “N.O.Y.D.”
- 2003: The Awakening (PMD album): “The Awakening”
- 2004: Neighborhood Watch (Dilated Peoples album): “Marathon”, “Neighborhood Watch”, “Poisonous” (featuring Devin the Dude), and “World on Wheels”
- 2004: Till Death Do Us Part (Cypress Hill album): “Latin Thugs” (featuring Tego Calderon)
- 2004: Amerikaz Nightmare (Mobb Deep album): “Win or Lose”, “Got It Twisted”, “When U Hear The”, and “Got It Twisted (Remix)” (featuring Twista)
- 2004: Sweat (Nelly album): “Playa” (featuring Mobb Deep and Missy Elliott)
- 2004: RandG (Rhythm and Gangsta): The Masterpiece (Snoop Dogg album): “(Intro) I Love to Give You Light”
- 2004: Kiss of Death (Jadakiss album): “Still Feel Me”
- 2005: The Diamond Mine (Diamond D album): “Y’all Niggaz Need to Know”
- 2005: After Taxes (Sheek Louch album): “Movie Niggas” (featuring Ghostface Killah)
- 2005: Who’s Hard? (Big Shug album): “Who? (Got My Back)” and “Who’s Hard?”
- 2005: Witness My Growth (Elzhi album): “The Alchemist”
- 2006: Street Music (Defari album): “Make My Own” (featuring Evidence)
- 2006: Black Magic (Swollen Members album): “Weight” (featuring Ghostface Killah and The Alchemist)
- 2006: Time is Money (Styles P album): “I’m Black” (featuring Marsha Ambrosius)
- 2006: Blood Money (Mobb Deep album): “The Infamous” (featuring 50 Cent)
- 2006: Killa Season (Cam’Ron album): “Wet Wipes”
- 2006: 20/20 (Dilated Peoples album): “Back Again” and “20/20″
- 2006: You Already Know (Agallah album): “Ride Out (O.G.G.G.)” (featuring The Alchemist) and “On the Ave”
- 2006: The Re-Up – Eminem Presents: “We Ride For Shady” (Obie Trice and Cashis); “There He Is” (Bobby Creekwater): “Tryin’ Ta Win” (Stat Quo)
- 2006: The Medicine (Planet Asia album): “Over Your Head”
- 2006: Eat or Die (Ras Kass album): “Get It In”
- 2007: Return of the Mac (Prodigy album): All songs
- 2007: The Release Party (Dilated Peoples): “Spit It Clearly”
- 2007: The Death of Tragedy (Tragedy Khadafi album): “Milk Murder”
- 2007: Desire (Pharoahe Monch album): “Desire”
- 2007: The Weatherman LP (Evidence album): “Letyourselfgo” (featuring Phonte), “Chase the Clouds Away” (featuring Kamilah), “Evidence is Everywhere”, “Line of Scrimmage” (featuring Slug), and “Born in LA” (featuring Chace Infinite and Sick Jacken)
- 2007: Super Gangster (Extraordinary Gentleman) (Styles P album): “Green Piece of Paper” and “All I Know is Pain”‘
- 2008: Kiss My Ass (Jadakiss album) “From Now Til Then’”
- 2008: The Elephant in the Room (Fat Joe album): “My Conscience” (featuring KRS-One)
- 2008: H.N.I.C. Pt. 2 (Prodigy album): “The Life”, “Young Veterans”, “Illuminati”, “Veteran’s Memorial Part II” and “Dirty New Yorker”
- 2008: Deified (Keak Da Sneak album): “That Go (Remix)”
- 2008: Tha Carter III (Lil Wayne album) “You Ain’t Got Nuthin’” (featuring Fabolous and Juelz Santana)
- 2008: I.A.Dap (Lil’ Dap album): “Intro I.A.Dap” and “Get It”
- 2008: Politics As Usual (Termanology album): “Hood Shit” (featuring Prodigy)
- 2008: Fresh Rhymes and Videotape Vol. 1: “The Last Shall Be First” (Dilated Peoples) and “Road Stop” (88-Keys and Aceyalone)
- 2008: The Layover EP (Evidence album): “So Fresh” (Evidence and Alchemist aka Step Brothers), “The Far Left” (featuring The Alchemist and Fashawn), “To Be Determined” (featuring Elzhi and Aloe Blacc)
- 2009: Smoke and Mirrors (B-Real album): “6 Minutes” (featuring Young De and Tek)
Website – www.alchemistbeats.ning.com
INTERVIEW WITH GERHARD BEHLES
Posted by News Item in January 15th, 2009
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With the introduction of the APC40 we thought it was a great time to catch Ableton CEO Gerhard Behles for a quick interview. Have a look at what Gerhard had to say about APC40, Ableton Live and the future of music production.
AP: Why do you think hardware is still so popular with such powerful software available such as Live?
GB: A musician is also interested in expression and expression is tied to the tactile experience. You’re trying to use your body to express your emotions.
AP: If you could look into the future, what do you think you’d see in terms of where music production is going for software and hardware tools?
GB: You’re going to see more of this type of thing, tighter integration as with the APC40 and Live. It’s needed. The generic approach that we have seen is great but also limited. We’re going to see less signal processing via hardware and more control via hardware, because that’s the part that’s intrinsically and necessarily tied the hardware. Sound processing is at a point where we can do it really well with powerful generic computers.
AP: What does Live offer for musicians that just isn’t found anywhere else?
GB: I think what we keep hearing over and over boils down to: it’s more fun, thats what musicians keep reiterating. It’s a more fun approach to making music and it brings the fun back to what has become a very cerebral activity. Many say that they open Live and they smile.
AP:: How much of a role did customers play in the development of a partnership with Akai Professional.
GB: Ableton Live users have long asked for a dedicated controller for Live, and we listen very closely to what our customers wish for. Akais success with the MPD 32, MPK 49 and of course the MPC line has been particularly impressive. When Akai reached out with a preliminary design, we knew we had to work with them to make this product the best that it could be.
AP:Live has quite a following among electronic and dance musicians. What does Live bring to the table for Hip-hop producers?
GB: In short, fluid beatmaking, dead easy sample chopping and timestretching all without stopping the program. Were seeing a huge increase in hip-hop producers using Live, and when Ableton Live users like Jazzy Jeff, DJ Numark and Ski Beatz tell us how they think the program should work, we listen to their requests and weigh their ideas strongly. Lives Impulse, Drum Racks and Simpler instruments deliver an easy drag and drop workflow and layout that should be familiar to users of hardware like the MPC.
AP:Would the MPC and APC40 work well together, or are they not likely to be found on the same tabletop?
GB: The MPC and APC40 absolutely can coexist in the same setup. The MPC is legendary on stage and in the studio and this is something we at Ableton are obviously influenced and indebted to. Both Live and the MPC line are dedicated to a particular workflow that enhances creativity and we are not in a position to tell any musician how they should make music. Theres a time and a place for computers and a time when you just want to turn on a hardware piece and make a beat without the risk of getting sidetracked on the Internet.
AP:Is there anything exclusive that people get with the bundled version of Live in the APC40 that they can only get with the hardware?
GB: The APC40 is the first controller to have official, Ableton supported control of Lives Session View. No other controller works in the way the APC40 does with Live with such an easy two way communication and set up. We worked long and hard bringing our engineering teams together to find a quick, intuitive method for putting vast numbers of effects, instruments and Audio and MIDI clips at your fingertips, and Live users wont be disappointed.
AP: Are you planning any features in the future that would take advantage of the APC and let musicians do things in ways that would be much harder to do with software alone?
GB: Its quite fortuitous for Live users thats weve worked for Akai at this time, as it coincides with our product partnership with Cycling 74, Max for Live. Owners of the APC40 who also own Max for Live can change the way the APC40 controls Live, and completely customize their experience. This means things like step sequencers and drum rack support and other things that only feel right with hardware will now be available for people who own these two great products. The boundaries of what you can do with complete customization and hundreds of LEDs are infinite.
AP:: Many people might think of Ableton Live only as a studio tool, while others make quick use of it for live performance. Do you see the APC40 shifting that balance one direction or the other?
GB: Not at all. We will always have and support both kinds of users, and frankly most of our users are some combination of both creative producers who make music and sometimes or often take it to the stage. Giving them a tool like the APC40 only enhances this flexibility you get to know the APC40 in daily use in the studio and you feel confident to take it onstage, much as you would use a guitar or set of drums in both places
Akai Professional at PLASA 2008
Posted by News Item in August 19th, 2008
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Akai Professional at PLASA 2008
Make some platinum beats at Earls Court.
PLASA 2008 was the place to be for the latest in pro audio, DJ, live sound, and more, September 7 10, 2008. Held at Londons Earls Court (U.K.), the Akai Pro booth, stand E17, was the place to check out the latest, including the flagship MPC5000 and the controllers that are like no other: MPD32 and MPK49.
If you didn’t make it to London, akaipro.com is still your source for the inside scoop. Check out the pictures from the show!
STEVE TAVAGLIONE BRINGS THE POWER OF THE EWI TO WALL-E
Posted by News Item in July 16th, 2008
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AKAI PROFESSIONAL ARTIST SPOTLIGHT: Steve Tavaglione
Musician/Sound Designer Steve Tavaglione is serious about music. How serious? He has worked on dozens of blockbuster films like the Finding Nemo, American Beauty, A Bugs Life, and many more. Disneys new film WALL-E made headlines as one of the biggest summer openings ever, and features some of Steves best work. Akai Professionals EWI4000s was a crucial part of Steves work on WALL-E
In addition to film, Steve has worked on numerous TV shows including CSI: Las Vegas, CSI: New York, Charmed, Star Trek: Enterprise, Lois and Clark, and more all with the trusted EWI4000s at his side. We caught up with Steve and asked him about his work with the EWI400s.
AKAI PRO: How long have you been using the EWI4000s?
STEVE TAVAGLIONE: I have been using the EWI since it first arrived. I tried other wind controllers and they just werent intuitive enough. Things like pitch bend and the way they deal with octaves just wasnt there for me. If its not serving any function to trigger a note, why add a controller for it? Theres really nothing else like the EWI. As a sax player seeing the EWI for the first time, one might think that you plug it in and its all sax but thats just the tip of the iceberg.
AKAI PRO: Steve, you used the EWI4000s in the making of WALL-E. Tell us about that.
STEVE TAVAGLIONE: I found the EWI to be one of the most flexible and useful tools in my arsenal on this film. Aside from being an amazing project on which to work, the nature of WALL-E and his story presented me with some new ways to use the EWI. There is a lot more than simple traditional orchestral composition going on in the soundtrack and the EWI helped me improvise and find some new techniques that I am sure to use in future films. I used it in so many ways that it really became the standard controller for this project. For example, I created a randomized choir and triggering one note on the EWI would trigger the entire choir on a constrained scale. I used it to trigger brass horn randomization and clusters of sounds. They shot some video with me for the DVD that goes a little more in-depth. If it ends up on the DVD release, it will show the EWI in action.
AKAI PRO: Where else have you used the EWI4000s?
STEVE TAVAGLIONE: In addition to the movies Ive worked on Ive used it on TV shows and music tracks for Peabo Bryson, Sergio Mendez and others. Whether its for music, TV or Film, I often have to sit with others and audition new pieces. One really cool thing about the EWI is that it can sound so much like a real instrument its scary. On shows like One Life to Live, Ive had people believe they were hearing a real cello or woodwind when its just me and the EWI. On Star Trek: Enterprise I used it for incredible Ethnic Winds and French Horn parts.
AKAI PRO: Are there any other uses you have found for the EWI4000s that people might not know about?
STEVE TAVAGLIONE: Well, most of the time I use the EWI, a computer with Kontakt, and just plug right into the mixing board. However, I had a lot of fun using a wireless MIDI transmitter to allow the EWI to be completely mobile. The internal sounds are great but this thing can play any software synth in the world. I had sessions inside and outside the studio! I was able to play out on the lot and wirelessly transmit to inside the studio. Its interesting how being outside the studio changed my perspective.
Steves work and more information on his career can be found at his MySpace page
MORE ART OF THE EWI FROM BERNIE KENERSON
Posted by News Item in July 1st, 2008
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Master EWI performer Bernie Kenerson’s latest Art of the EWI album, “Bernie Game” showcases the artist’s prowess and unbridled creativity. At the heart of his musical mind is the Akai Professional EWI4000s [link to product page] innovative wind instrument with built-in sound module. Bernie’s release is a funky, contemporary, smooth-jazz project featuring the Art of the EWI.
“My EWI playing is mainly influenced by Chick Corea, Herbie Hancock, George Duke, Joe Zawinul, Tom Schuman, Jan Hammer Bob Mintzer and Michael Brecker,” says Kenerson. The producer, composer, arranger, and musician selected EWI4000s as his main instrument for its wealth of expression and unique performance capabilities.
For more information on “Bernie Game The Art of the EWI” and Bernie Kenerson, visit berniekenerson.com
DJ NU-MARK TAKES CREATIVE CONTROL WITH THE MPK49 PERFORMANCE CONTROLLER
Posted by News Item in April 7th, 2008
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DJ Nu-Mark started spinning as a teenager in Los Angeles. Over the course of the following two decades, he built a collection of over 35,000 records, refining his skills and style to the tune of global recognition in the DJ world. Recognized for his work in Jurassic 5, Nu-Mark is responsible for half of the production of the gold-selling groups body of work, and his innovative DJ routines and creative on-stage antics have made him a favorite of crowds all over the world. 
Nu-Mark is well known for his innovative sonic creativity, such as attaching a rubber band to his turntables needle and playing it like an upright bass or tapping on the turntable dust cover to simulate a bass drum. Incorporating a wide range of musical styles from soul to funk, hip-hop to samba, Nu-Mark loves to surprise an audience with a forgotten gem, an unknown banger, or a fresh take on a well-known hit.
DJ- Numark uses the MPK49 Performance Controller from Akai Professional as an integral tool at his gigs. This 49-key semi-weighted professional keyboard controller boasts 12 genuine MPC pads with Note Repeat and Swing for crafting beats, and an arpeggiator for creating quick riffs and bass lines. With an amazing 76 assignable controls, eight full-sized pots and sliders, eight assignable backlit switches, and a large, easy-to-read custom backlit display, the MPK49 is DJ Nu-Marks choice for live and studio production.
From Sao Paolo to Sydney, from Toronto to Tokyo, Nu-Marks carefully crafted, explosively energetic sets never fail to get a party rocking. With the addition of the Akai Professional MPK49 to his rig, you can be sure that Nu-Marks post as hip-hops Innovator-in-Chief is certain to produce some wild new sounds!
STEVE TAVAGLIONE’S EWI4000S KEEPS HIM BUSY
Posted by News Item in March 21st, 2008
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Recently we checked in with EWI4000s aficionado Steve Tavaglione to see what he’s been up to and to make sure that the EWI4000s is living up to his expectations and keeping up with his busy schedule.
Here’s what Steve had to say:
“The EWI4000s helps me stay in the midst of what’s happening in the electronic music world. I wouldn’t be doing what I’m doing without it. That world is always moving forward.”
Not only is Steve the ever-busy live performer, he’s also quite the go-to-guy in Hollywood film composition. Below is a list of current films that Steve has been busy working on.
- Wall.e for Pixar
- Revolutionary Road starring Leonardo DiCaprio and Kate Winslet
- Righteous Kill with Robert DeNiro and Al Pacino
- Sex in the City starring Sara Jessica Parker
- College Road Trip from Disney
- Tropic Thunder featuring Ben Stiller, Jack Black, & Robert Downey Jr.
- Powder Blue
- Meet the Browns
- Flash of Genius
- Lake City
- Step up to the Streets
- Martian Child
- Why Did I Get Married
- The Jane Ausin Bookclub
- Good Luck Chuck
Steve’s penchant for live performance is still alive and well, here’s a list of live gigs:
Electronic Music Concert Parikel Series
University of California Riverside – March 15th
Scott Kinsey Band – April 3rd at La Va Lees.
SAE Electronic Music School – Date TBA
MARK MAHONEY AND THE POWER OF AKAI PRO’S MPK49
Posted by News Item in March 13th, 2008
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Mark Mahoney describes himself as an ambient/experimental musician, but often his music will embrace other genres as well. When performing, his compositions will take the listener through mysterious inner journeys that have many musical twists and turns.
Mahoney has been a musician most of his life. Evolving from saxophone, bass guitar, acoustic/electric guitar, and now synthesizers, Mahoney is comfortable on any of these instruments. Referencing greats such as John Coltrane, Steve Roach, and Robert Rich, Mahoney approaches his craft in a very thoughtful and cerebral manner that defines post-modern ambient music. He utilizes both analogue and digital synthesizers in performance.
Mark recently picked up the Akai Pro MPK49 and it has been a breakthrough instrument for his performances.
“The Akai MPK49 is the first portable keyboard controller that meets my needs as a performer. The arp and pads really put this controller on another level and bring a totally new aspect of playability to my soft synths and synth modules.”
-Mark Mahoney
Mark Mahoney Homepage: http://www.limitedwave.com/subterraneous/news.html
DIVINCI TALKS MPC5000
Posted by News Item in March 13th, 2008
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Writer/Producer/MPCeeJay/MPCist DiViNCi has been referred to as the Jimi Hendrix of the MPC. With a rep like that, who better to give a sneak peek at the all-new MPC5000? Akai Professional brought the MPC5000 to DiViNCi so he could bang some beats out of it.
“When I sit down in front of the 5000, I feel like I’m working with something that has history. It has features that go beyond what you would expect from an MPC, but still manages to encapsulate the vibe of all the models before it. Not only has the feature list been expanded to enhance use in the studio and on stage, but a good amount of the things that have made previous models special are reintroduced in the 5000.”
-DiViNCi
DiViNCi recently performed a drum solo and his own version of the National Anthem (Jimi Hendrix style) on his three MPCs at the 2008 Plug Independent Music Awards show in New York. He is currently hard at work finishing up a new record called “No More Heroes” by his group, Solillaquists of Sound, which is scheduled be released this year.
AKAI PROFESSIONAL LAYS DOWN THE GROOVE AT MUSIKMESSE FRANKFURT 2008!
Posted by News Item in March 12th, 2008
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DAY 2 & 3
Check out some video clips of Akai Professional – straight from Musikmesse!
The Akai Professional stand was packed with people from around the globe who flocked to see the latest new products including the new MPC5000, XR20, and MPD32 .
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DAY 1
Akai has been the center of attention at the 2008 Musikmesse trade show in Frankfurt, Germany. Akai’s success has even been recognized by readers of KEYS magazine, which just awarded the MPC500 “Best Groovetool” in a people’s choice decision.
Musikmesse Frankfurt 2008 was kicked off with a bang at the Akai Professional booth today. Akai Professional celebrated several new product introductions including the all new MPC5000, which was demonstrated in full force. People from all over the world flocked to check out the MPC5000 for themselves. Akai Professional product specialist, Mike Hosker, demonstrated the MPC5000 for throngs of fascinated attendees.
After its powerful debut at Winter NAMM 2008 the MPC5000 has attracted attention from some of the best producers, engineers and performers from around the world including; Warren G, Lil John, The Alchemist and many more.
Akai Professional also highlighted the new XR20 hip hop drum machine as well as the MPD32 controller and the MPK49 keyboard controller.
The show is just getting warmed up so be sure to check back for more great news live from Akai Professional at Musikmesse Frankfurt 2008.
JEFF KASHIWA CALLS THE EWI4000S A DREAM COME TRUE
Posted by News Item in March 5th, 2008
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Jeff Kashiwa takes his music seriously. In fact, as one of the foremost working jazz players today, Jeff will be playing the Akai Professional EWI4000s live on tour with The Rippingtons and with his own band, Coastal Access.
For more information go to: www.jeffkashiwa.com and click on the tour link.
“I love playing the EWI 4000s! It’s an exceptional instrument. Even though it’s synthesized the EWI plays like a woodwind instrument, because the internal sounds are responsive, organic and very musical. The headphone jack is great for practicing in hotel rooms, on planes or at 3 AM! The editing software is straight forward, easy to use and flexible. It’s a dream come true!” ~Jeff Kashiwa
BOB MINTZER & THE YELLOWJACKETS NOW ON TOUR IN EUROPE WITH EWI4000S
Posted by News Item in February 28th, 2008
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Arranger and saxophonist Bob Mintzer has made his mark merging a traditional jazz approach with an all encompassing modernism that embraces lyricism, a strong sense of swing, and arrangements that take the listener on an unpredictable and vibrant journey. Besides leading his own New York-based big band since the early 1980s, Bob leads a jazz quartet, is a 15 year member of the Yellowjackets, and is active in music education. In addition to his busy schedule playing and teaching others, Bob still manages to find time to write saxophone quartets, symphony music, big band arrangements, music for the ‘Jackets, and etude books.
Bob honed his skills playing and writing for Buddy Rich, Thad Jones, Mel Lewis, Art Blakey, Sam Jones, Jaco Pastorius, The GRP Big Band, Mike Manieri, Tito Puente, Eddie Palmieri, and the New York Philharmonic. He also has done session work for James Taylor, Queen, Steve Winwood, Aretha Franklin, and countless others.
Bob has been nominated for thirteen Grammy awards both for his solo work and big band recordings (Art of the Big Band, Departure, Homage To Count Basie, One Music, and Only In New York) and his work with the Yellowjackets (Blue Hats, Club Nocturne, Dreamland, Greenhouse, Like a River, Live Wires, Runferyerlife, Time Squared). Homage to Count Basie won the Grammy in the best large ensemble category for the 44th Annual Grammy Awards, 2001.
Bobs big band arrangements have become standard repertoire for big bands all over the world. His arrangements are published by Kendor Music and Warner Brothers Publications. His signature writing style is easily recognizable, and can be heard on jazz radio and in university settings, high schools, and jazz venues.
Following Bobs 23 year, 12 album relationship with Digital Music Products, the Bob Mintzer big band now resides on the MCG Jazz label.
Bob is currently touring Europe with the Yellowjackets, performing almost nightly on his EWI4000s. He is also working on new CD. Be sure to look out for Bob Mintzer and the EWI at town near you. Go to www.bobmintzer.com to learn more.
BERNIE KENERSON’S EWI FOCUSED RELEASE
Posted by News Item in January 22nd, 2008
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The EWI has been known to spice up a tune as evidenced by some classic Smooth Jazz. An entire album of jazz with the EWI4000s as lead, however, moves this instrument to the forefront and gives it some due respect. Enter innovator, composer and multi-instrumentalist Bernie Kenerson with extensive musical background includes saxes, flutes, clarinets and keyboards. His playing is brilliant, and with a live rhythm section he completely immerses himself in the improvisation and energy of his instrument and, more importantly, conveys it convincingly to his listeners.
Learn more about Kenerson and this release at:
