tag:blogger.com,1999:blog-24484653395905714742023-11-15T23:13:05.947-08:00Heavy In The StreetsDJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.comBlogger353125tag:blogger.com,1999:blog-2448465339590571474.post-38672837948295043902016-08-09T06:48:00.000-07:002016-08-09T06:48:04.890-07:00If You Liked HITS, Check Out Micro-Chop<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEWlUpkxuCnmTj4Ux7PN_yRCkrtq_gmCARASUxyVjsSUiZfQxhh1IIFbLLeDG9vPnauQ6aGUp-B2ocH0x6QQHuYcXEjWsnyHmFbOrEzoN8bgmBq4e9k444ymxFzWmbjr10B5IVHYFFl7s/s1600/E-mu_SP-1200_front_of_machine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEWlUpkxuCnmTj4Ux7PN_yRCkrtq_gmCARASUxyVjsSUiZfQxhh1IIFbLLeDG9vPnauQ6aGUp-B2ocH0x6QQHuYcXEjWsnyHmFbOrEzoN8bgmBq4e9k444ymxFzWmbjr10B5IVHYFFl7s/s320/E-mu_SP-1200_front_of_machine.jpg" width="320" /></a></div>
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Thank you so much to everyone who supported my blog over the years. As you can see, I haven't updated Heavy In The Streets for quite some time. As of now, Heavy In The Streets will remain inactive.<br />
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These days I do most of my writing over at Medium. You can check out my personal page <a href="https://medium.com/@ginosorcinelli">here</a>. I also have a publication called <a href="https://medium.com/micro-chop">Micro-Chop</a> that features some republished HITS articles as well as many new articles about DJing, rapping, samplers, synths, and vinyl.<br />
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Thank you again for your support.<br /><span style="background-color: white; color: rgba(255, 255, 255, 0.94902); font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Oxygen, Ubuntu, Cantarell, "Open Sans", "Helvetica Neue", sans-serif; font-size: 24px;">samplers, synths, and vinyl.</span>DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-84441966597306136662014-02-14T05:07:00.001-08:002014-02-14T05:24:37.607-08:00On The Wheels of Steel He Is....<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;">(Via <a href="https://www.facebook.com/jerome.hewlet">DJ Cash Money's Facebook Page</a>)</span></div>
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I love that artists are able to easily share random photos and recordings from deep within their archives through the various social media platforms out there. Pictures from the 80's and 90's capture the aura of that time better than anything I am capable of writing. Above is a recent favorite that I stumbled upon while looking at DJ Cash Money's Facebook page of Cash Money and Marvelous performing live at an unnamed venue. The facial expressions of the people in the audience are priceless. <br />
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Also, check out this memorable picture of Cash with incarcerated rapper <a href="http://en.wikipedia.org/wiki/Cool_C">Cool C</a>.<br />
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<span style="font-size: x-small;">(Via </span><a href="https://www.facebook.com/jerome.hewlet" style="font-size: small;">DJ Cash Money's Facebook Page</a><span style="font-size: x-small;">)</span></div>
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And finally, Cash and Marv at Bayside Studios recording "All The Ugly People Be Quiet", vintage Pepsi bottle included.</div>
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<span style="font-size: x-small;">(Via </span><a href="https://www.facebook.com/jerome.hewlet" style="font-size: small;">DJ Cash Money's Facebook Page</a><span style="font-size: x-small;">)</span></div>
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DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-75427640764468375492014-02-13T13:27:00.000-08:002014-02-13T18:11:43.387-08:00Producer/Rapper Blueprint Proves Himself a Worthy Writer with The Making of Adventures in Counter-Culture<div class="separator" style="clear: both; text-align: center;">
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In all honestly, it had been a while since I had checked for something from Columbus, OH MC/producer Blueprint. I know him best for his work with RJD2, both on RJ's solo albums and their work as the duo Soul Position. I was a big fan of 2003 Soul Position debut <i><a href="http://www.amazon.com/8-Million-Stories-Soul-Position/dp/B007LNJ6Q8">8 Million Stories</a></i>, which dropped during my freshman year of college. Since then, however, I had lost track of both the man and his music. </div>
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Flash forward to a few weeks ago. I was checking <a href="https://twitter.com/jzonedonttweet">J-Zone's twitter feed</a> and saw a blog post by Blueprint that Zone had re-tweeted. Curious, I gave it a look. After reading it, I continued pouring through Blueprint's blog, admiring his fluid writing style and honest self-analysis. I loved his approach to writing about gear, production, and the struggles of someone trying to make it as an artist. </div>
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Seeing a link to the Kindle version of his book, <i><a href="http://www.amazon.com/Making-Adventures-Counter-Culture-BLUEPRINT-ebook/dp/B007UPOMD4/ref=sr_1_2?s=digital-text&ie=UTF8&qid=1392318863&sr=1-2">The Making of Adventures in Counter-Culture</a></i>, I decided to give it a look. I had yet to check the <i><a href="http://rhymesayers.com/releases/131">Adventures in Counter-Culture</a> </i>album, but I was eager to get a behind the scenes look at the album making process through the eyes of such a gifted writer. While brief (the last 30% of the book consists of the lyrics from <i>Adventures in Counter-Culture</i>), Blueprint's book is a highly engaging read. Hitting all of the marks that make good music writing captivating, Blueprint gives the reader insight into the trials, tribulations, and life events that inspired him to make <i>Adventures in Counter-Culture</i>. This is an extremely personal book that deals with alcoholism, depression, and the loss of friends and family. If you listen to a song like "<a href="http://www.youtube.com/watch?v=599YF7LmtNw&list=PL1FEBC72BFCBE2A74">Clouds</a>", the emotional intensity of the content is palpable. The haunting instrumentation coupled with the Columbus rapper's sobering lyrics will undoubtedly send chills down your spine </div>
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Throughout the book, it is evident to the reader that creating this album was a transformative experience. Formerly a sample-based producer, Blueprint moved away from his MPC 2000 and towards the DAW Reason (version 2.5). Instead of utilizing samples, he began making beats that focused on original instrumentation drawn from a MICROKORG synth and other sources. Making no apologies for this shift, it is clear that Print wanted to re-invent himself and see how far he could push the boundaries of his music. <br />
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<i><a href="http://www.amazon.com/Making-Adventures-Counter-Culture-BLUEPRINT-ebook/dp/B007UPOMD4/ref=sr_1_2?s=digital-text&ie=UTF8&qid=1392318863&sr=1-2">The Making of Adventures in Counter-Culture</a></i> also gives readers without much background knowledge of the Columbus, OH music scene some valuable insight into the inner workings and important acts. I loved reading about the interactions between the different genres and how Print would absorb every kind of live music imaginable while trying to remain inspired. Having never been to Columbus or even Ohio, his descriptions have me wishing I could come through for a show.</div>
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I did find the book's ending a bit abrupt, and would have liked to hear more about the uniqueness of his relationship with the Rhymesayers record label. That said, these were minor flaws. In the end, I thoroughly enjoyed reading this book and will gladly purchase future books from Blueprint. <i>The Making of Adventures in Counter-Culture</i> served its purpose by entertaining me and making me want to go out and buy Blueprint's music while schooling me on the Columbus music scene and Blueprint's record making process. I hope to see more books like this from Blueprint in the not-too-distant future. </div>
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I love the variety of Jake One's production credits. Check his catalog and you'll find tracks with with De La Soul, Evidence, G-Unit, Rick Ross, Scarface and countless other artists. Jake's a versatile producer who isn't afraid to push boundaries and step outside of his comfort zone. He also seems like a very approachable and humble dude, bringing refreshing honesty and openness to his video interviews. I particularly like his <i><a href="http://www.youtube.com/user/hiphopdrumsamples">Behind the Beat</a></i> videos, where he has broken down Chance the Rapper's "Acid Rain", <a href="http://www.youtube.com/watch?v=aW_hx9Ao5rM">De La's "Rock Co.Kane Flow"</a>, <a href="http://www.youtube.com/watch?v=vbNH5wtBgAA">Snoop and Wiz Khalifa's "French Inhale"</a>. Using his weapon of choice (the ASR-10), Jake walks viewers through the process of each song from the initial samples to the actual construction of the beat. Whether you are a aspiring producer looking to beef up your understanding of production techniques, or merely a fan of his work, all three videos are essential. The "Acid Rain" track is a thing of beauty and I've had the <i>Behind the Beat</i> video of it running on repeat all day. <br />
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While watching <i>Behind the Beat</i>, I stumbled upon a video of his appearance on the <a href="http://www.youtube.com/channel/UCHQAUG26VyeOuno-oopsNKQ?feature=watch"><i>Do the Math </i>podcast</a>. According to their<a href="https://itunes.apple.com/us/podcast/dothemathshows-podcast/id792054294"> iTunes podcast page</a>, <i>Do the Math </i>is dedicated to "Telling Seattle stories...long form interviews with the creators, innovators and legends of our Seattle Hip-Hop community." Their video with Jake One is exceptional, as they dig deep into various stages of his career. He talks at length about how he was influenced by Seattle legends like <a href="https://twitter.com/supremelarock">Supreme La Rock</a> and <a href="https://twitter.com/tallhomeyvita">Vitamin D</a>, his affiliation with Rhymesayers Entertainment, his <i>Snare Jordan</i> drum kit, and a variety of other topics that will get anyone reading this blog hype. I learned a lot from watching this interview and look forward to watching future episodes of <i>Do the Math</i> and being further educated on the history of Seattle hip-hop. <br />
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To purchase Jake One's <i>Snare Jordan</i> kit, click <a href="http://hiphopdrumsamples.com/products/drum-samples-the-official-jake-one-drum-kit-snare-jordan-digital-downloado">here</a>. <br />
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To read my 2008 <i>Can You Dig It?</i> interview with Surpreme La Rock, click <a href="http://heavyinthestreets.blogspot.com/2008/02/can-you-dig-it-vol-14-dj-mr-supreme.html">here</a>. DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com2tag:blogger.com,1999:blog-2448465339590571474.post-42064310409401984482014-02-05T08:38:00.000-08:002014-02-05T13:47:04.060-08:00Howard B. Knoxz in the Studio with His iMPC<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/1mhy1hNeuOs" width="560"></iframe><br />
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I was thrilled to see <a href="https://twitter.com/ScratchMagTV">Gadget</a> of <a href="http://www.scratchmagazinetv.com/">Scratch Magazine TV</a> post another great iMPC video of <a href="http://synamaticmuzik.bandcamp.com/">Howard B. Knoxz</a> recently. I wrote about <a href="http://heavyinthestreets.blogspot.com/2013/08/howard-b-knox-using-impc.html">Howard's iMPC car video this past summer</a> and requested he post a follow-up video showcasing more of his work with Akai's production app. Here we see Howard showcasing several iMPC beats of his and highlighting some of the programming for beats like "<a href="https://soundcloud.com/howdabeatknoxz/bodega-stories-prod-by-howard">Bodega Stories</a>" (9:00 minute mark). As he demonstrated in the above mentioned car video, one of the most attractive features of the iMPC is the portability. The most significant upside to the various beat making apps out there is that simplifying the transportation of gear gives producers the ability to tap their creativity in any setting. Howard explains around the 12:00 minute mark that you can use the iMPC, "In the bed, chillin' on the couch, parking lot...wherever". Viewers trying to master the iMPC will be happy to see that in addition to highlighting the portability of the app, Howard demonstrates some of the sampling and chopping features around the 13:00 minute mark. <br />
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As a fan of many of the DMV producers, I'm excited to see Howard continue to grow as a producer. It is clear he has a lot of talent and great ideas. I look forward to hearing more from him as he continues to master the iMPC and his various other samplers and keyboards. DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-53221372436367368172013-08-31T07:05:00.001-07:002013-08-31T07:06:30.525-07:00Skillz a.k.a. Mad Skillz Freestyle<div style="text-align: center;">
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(<span style="font-size: x-small;">Via <a href="http://pressrewind.wordpress.com/category/matty-c/">Press Rewind</a></span>)</div>
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I've always thought of Skillz, formerly known as Mad Skillz, as an underappreciated talent in the rap world. While hist 1996 debut <i>From Where??? </i>seems to have achieved a sort of cult status since the Internet boom, it still doesn't get the recognition it deserves. How can you wrong with two <a href="http://www.youtube.com/watch?v=-TPpSW_Yix4">early Dilla beats</a>, a Large Professor, Q-Tip, and Skillz <a href="http://www.youtube.com/watch?v=yqiQKqVJG1E">posse cut</a> over a Large Pro beat, and producers like The Beatnuts, Buckwild, and <a href="http://www.youtube.com/watch?v=xop6wlCUOj0">Shawn J. Period</a> rounding out the production roster? Add in Skillz' lyrical abilities and you have an extremely impressive rookie effort.</div>
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Since then, his sophomore effort <i>I Ain't Mad No More</i> was marred by label problems at Rawkus and he has yet to see any of his more recent albums find commercial success. While his solo career may not have panned out the way some fans would hope, it is good to know that Skillz <a href="http://www.styleweekly.com/richmond/hip-hop-confessions/Content?oid=1719102">has had major success as a songwriter for other artists</a>. Skillz seems happy with this arrangement and has recently announced his retirement as a solo artist (check link in previous sentence). I'm happy that Skillz is making a living off of music and enjoys working with other people, but I still hold out hope that some day he'll release a <i>Frow Where</i>-esque album. </div>
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While I can't share any new Skillz albums with you today, I can share this great freestyle from the Stretch Armstrong and Bobbito show from 1997. </div>
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This was posted on DJ Nes's <a href="http://dirtywaters.blogspot.com/">Dirty Waters blog</a>, one of the all-time great rap archive blogs out there. Endless freestyles, mix tapes, and rare 12"s for rap fanatics to drool over. Make sure to check it out. </div>
DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-37226981416123591342013-08-28T20:39:00.001-07:002013-08-28T20:39:40.638-07:00J-Zone Studio Video<iframe allowfullscreen="" frameborder="0" height="480" src="//www.youtube.com/embed/14X4JOdEKJI" width="580"></iframe><br />
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J-Zone's <a href="http://j-zone.bandcamp.com/">new album is dropping soon</a> and I can't wait. As much as I loved <i><a href="http://www.amazon.com/Root-For-The-Villain-Celebration/dp/0615532276">Root for the Villain</a></i>, it's nice to know J-Zone hasn't hung up the mic and MPC. It's also nice to know that J-Zone still likes his equipment half broken and his attitude curmudgeony. He's one of several producers featured on this blog who lives the motto less is more. This video perfectly captures his attitude towards making music and showcases his love of limitations. Enjoy. DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-80899338999131219922013-08-27T19:37:00.000-07:002013-08-27T19:43:10.880-07:0014KT- Nickel & Dimed<div style="text-align: center;">
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<span style="font-size: x-small;">(Via <a href="http://mellomusicgroup.bandcamp.com/album/nickel-dimed">Mellow Music Groups' Bandcamp</a>)</span></div>
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You've seen him before on Heavy In The Streets <a href="http://heavyinthestreets.blogspot.com/2013/08/14kt-making-beat-with-cool-edit.html">abusing the multi-track recording program Cool Edit</a> and <a href="http://heavyinthestreets.blogspot.com/2013/07/14-kt-lady.html">flipping the living hell out of D'Angelo's "Lady"</a>. Now, after waiting all summer, I'm happy to report that I can finally celebrate the release of 14KT's mostly instrumental album <i>Nickel & Dimed</i>. I bought it when I woke up this morning and I am happy to say it hasn't disappointed.<br />
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One of the album's highlights is the first track, "<a href="http://mellomusicgroup.bandcamp.com/track/five-ten">Five & Ten</a>". 14KT airs out greedy "fans" who refuse to pay for music and rappers who ask for free beats and rap about having lots of money. I'm sure his lyrics will resonate with many modern-day producers who are sick of not being compensated for their hard work or appreciated for their talent. I am still getting familiar with 14KT’s catalog and know more of his production than rapping. That said, he more than holds his own with verses like, "The spirit told me 'Pete, keep your eyes on the greater purpose. Gotta use your craft to show the weight of what your worth is.'” Well said. I hope 14KT continues to hone his craft because he is one hell of a talent. </div>
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Make sure to buy...yes <b><u>buy</u> </b><i>Nickel & Dimed </i>by clicking <a href="http://mellomusicgroup.bandcamp.com/album/nickel-dimed">here</a>. <b> </b> </div>
DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-29417408137673172262013-08-25T20:07:00.003-07:002013-08-25T20:08:37.544-07:00Count Bass D- Dwight Spitz: Deluxe Edition<div style="text-align: center;">
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<span style="font-size: x-small;">(Via <a href="http://countbassd.bandcamp.com/">Count Bass D's Bandcamp</a>)</span></div>
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I was pleasantly surprised when I saw a 10th anniversary deluxe edition of Count Bass D's classic <i>Dwight Spitz </i>on his Bandcamp page. Listening to these tracks for the first time in a long while brings back some great memories from my early college years. If <i>Dwight Spitz</i> is new to you, make sure to check out <a href="http://countbassd.bandcamp.com/track/august-25-2001">August 25, 2001</a>, Count's beautiful instrumental tribute to Aaliyah. The emotional potency of the song is impressive. This album is also notable for its flawlessly produced and unusually short songs, as well as several killer guest appearances from the likes of Edan and MF Doom. While I love many projects Count Bass D has been a part of, this is without question some of his finest work. </div>
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Make sure to purchase a copy by clicking <a href="http://countbassd.bandcamp.com/album/dwight-spitz-deluxe-edition">here</a>. </div>
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DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-61021482542906241582013-08-23T05:57:00.001-07:002013-08-23T05:57:25.818-07:00Kid Capri and Ron G Interview<iframe allowfullscreen="" frameborder="0" height="480" src="//www.youtube.com/embed/vts8P5gL_1Q" width="580"></iframe><br />
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Shout outs to <a href="https://www.youtube.com/user/deejayedyk?feature=watch">Edy K</a> for posting this vintage clip of Kid Capri and Ron G on Yo MTV Raps from 1992. Highlights include Kid Capri doing live blends of "Something in the Way You Make Me Feel" and "Remember the Time", Ron G rocking three turntables at once, and both Kid Capri and Ron G freestyling. This was aired when Kid Capri had just dropped <i><a href="http://en.wikipedia.org/wiki/The_Tape_(album)">The Tape</a>. </i>Towards the end of the interview he talks about his second album dropping, which makes you wonder what happened to that album, because his next studio release would be <i><a href="http://en.wikipedia.org/wiki/Soundtrack_to_the_Streets">Soundtrack to the Streets</a> </i>in 1998. If you know the back story here, speak on it in the comments section. DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-286750570402071582013-08-23T05:09:00.003-07:002013-08-23T05:11:01.535-07:00John Doe- "99 Problems" Juggle<iframe allowfullscreen="" frameborder="0" height="480" src="//www.youtube.com/embed/dikSqeLTqEg" width="580"></iframe><br />
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Nice video of <a href="http://heavyinthestreets.blogspot.com/2013/03/the-last-amateur-interview-with-john-doe.html">'Til My Tape Pop alumni</a> John Doe destroying some doubles of Jay-Z's "99 Problems". This is one of the cleanest beat juggles I've seen in a minute. I just wish John posted the entire routine instead of two snippets of it. Irrefutable proof that he can rip it live just as well as he can compose a classic tape. DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-5259373104854873372013-08-12T08:08:00.001-07:002013-08-12T08:09:01.641-07:0014KT Making A Beat with Cool EditThose of you who follow my blog already know that I am a fan of Detroit producer 14KT. I'm eagerly awaiting the release of his <i>Nickel & Dimed</i> album after being blown away by the <a href="https://soundcloud.com/14kt/nickel-dimed-audio-trailer">audio trailer</a>. While my <a href="http://heavyinthestreets.blogspot.com/2013/07/14-kt-lady.html">other post on 14KT</a> showed him using Native Instrument's Maschine, he is one of <a href="http://heavyinthestreets.blogspot.com/2013/08/apollo-brown-uses-broken-equipment-to.html">several producers</a> I've featured on Heavy In The Streets who has utilized the multi-track software Cool Edit (now Adobe Audition). <a href="https://twitter.com/nicktha1da">Nick Tha 1da</a> gets credit for putting me on to this video of 14KT making a beat with Cool Edit during <a href="http://heavyinthestreets.blogspot.com/2013/08/303s-and-404s-nick-tha-1da-pt-1.html">my recent interview with him</a>. My favorite part of the video starts around the 5 minute mark where 14KT compares the sampling process in Cool Edit to the MPC. He states that with Cool Edit, "There's so much freedom, because it's like a blank sheet of paper." This video serves as further proof that you can make great music with any program as long as you take a creative, positive approach. <br />
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<iframe allowfullscreen="" frameborder="0" height="360" src="//www.youtube.com/embed/h-7_-WnaJJY" width="580"></iframe>DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com2tag:blogger.com,1999:blog-2448465339590571474.post-35109135853799081332013-08-11T17:01:00.001-07:002013-08-11T21:42:14.258-07:00From Da Bricks Interview with Eddie James<div style="text-align: center;">
<img alt="[eddie.jpg]" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg2P1LlmGGnqyrWfmhoIXgnDmuOP35bicysnSQN860egMlwSA2WLnl4p-R47b133goCTaKAuiBlyFURWIkXf0Q0Sh9MFvTw9IGEPefFYQjnXYCczAVf3dZRzyLMALLDWqKM8LGKDCZwVA/s320/eddie.jpg" width="320" /></div>
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<span style="font-size: x-small;">(Via <a href="http://fromdabricks.com/2007/10/16/fdb-interview-spot-eddie-james/">From Da Bricks</a>)</span></div>
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<b>"Unfortunately, the streets are the streets and some people can’t get out of it. I haven’t spoken to him in about eight years bro. I wish him well, wherever he is."- Producer Eddie James on rapper AK Skillz</b><br />
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If you grew up on the east coast, it's almost guaranteed that you have a soft spot for New York independent rap singles from the mid to late '90's. Acts such as Cage, the Juggaknots, Mike Zoot and Shabaam Sahdeeq became household names for many of us as they provided the perfect counterbalance to shiny suit era rap that was dominating the airwaves. Few singles capture the sound of that era better than Ak Skills "<a href="http://www.youtube.com/watch?v=jgw-TZl_8OE">East ta West</a>" 12". I get goosebumps every time I hear this song and it reminds me of a simpler time in my life.<br />
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While I enjoyed Ak's other <a href="http://www.youtube.com/watch?v=9NAbohaAszQ">songs</a>, "East ta West" will always reign supreme for me. I was listening to the song recently and wondered about the whereabouts of Ak and the song's producer, Eddie James. While James' output was limited, he had production credits on a <a href="http://www.youtube.com/watch?v=sz4blgJlsqs">group of impressive singles</a> and showed a great deal of promise. Unfortunately, it seems that both he and Ak disappeared before they reached their full potential. I decided to do some Internet research and found this informative 2007 interview with Eddie James on the now defunct website <a href="http://fromdabricks.com/">From Da Bricks</a>. The interview contains good info about the equipment used to create Ak's singles and breaks down how they were constructed. I don't want to give away too much info because the interview speaks for itself. <br />
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Read it by clicking <a href="http://fromdabricks.com/2007/10/16/fdb-interview-spot-eddie-james/">here</a>. DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-47098636561696896812013-08-10T04:08:00.002-07:002013-08-10T04:19:06.603-07:00Bink! Interview with PMP World Wide Nice interview with Bink! (now going by <a href="https://twitter.com/BINKDOG">Binkdog</a>?) where he talks equipment, influences, and sample clearances. I like the influences part of the interview and found it interesting that he credits RZA for putting a lot of people on to sampling soul records. He also states that before RZA, a lot of producers were looking for jazz records because of A Tribe Called Quest. It's also refreshing to see a producer acknowledge that hip hop doesn't have to be one specific sounds (i.e. sampling crackly records), it can be a variety of sounds. To learn more about Bink!, check out his production credits at <a href="http://www.discogs.com/artist/Bink!#t=Credits_Production&q=&p=1">Discogs</a>.<br />
<br /><iframe allowfullscreen="" frameborder="0" height="360" src="//www.youtube.com/embed/4ZpuZ5YTFe0" width="480"></iframe>DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-13319137237981219982013-08-09T05:24:00.000-07:002013-08-09T05:27:32.964-07:00M16 Annihilates The 5th Dimension's "Aquarius" If you are a producer, I recommend that you subscribe to <a href="https://twitter.com/m16beats">M16</a>'s <a href="http://www.youtube.com/user/M16beatsM16tv?feature=watch">YouTube page</a> immediately. Best know for the Playaz Circle track "<a href="http://www.youtube.com/watch?v=ZBx-M2oRBLg">Duffle Bag Boy</a>" and Jeezy's "<a href="http://www.youtube.com/watch?v=hfNxZA0US8U">I Do</a>", he shows amazing versatility in his videos by making beats on a variety of platforms. I've written about <a href="http://heavyinthestreets.blogspot.com/2013/08/howard-b-knox-using-impc.html">my interest in iPad apps</a> and their place in the production world in earlier posts, so I was excited to see several videos of M16 using the <a href="http://www.youtube.com/watch?v=GlkO01-eJQU">app Beatmaker 2</a>. When I previously wrote about the<a href="https://itunes.apple.com/us/app/impc/id584548447?mt=8"> iMPC app,</a> I was especially interested in how it allowed producers to use it in unconventional settings. It appears that M16 is taking full advantage of the mobility of the iPad as there are several videos of him use <a href="http://www.youtube.com/watch?v=eDtQBaFk4Cc">Beatmaker 2 on the highway</a>. <br />
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The highlight of his YouTube page is the video that showcases him flipping the fuck out of "<a href="http://www.youtube.com/watch?v=kjxSCAalsBE">Aquarius</a>" by 5th Dimension with FL Studio 10 and the Open Labs Miko (Timberland Edition) keyboard. The video contains a wealth of information on sample chopping, adding drums, and using EQs to isolate baselines. It also succeeds at showing how efficient M16's work flow is as he composes a rough draft of the easily and quickly. Make sure to watch this if you want to be schooled on how to use a sample to create something completely different than the original song. <br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/v6RoPbO3SU0" width="560"></iframe>DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-80794672533687625442013-08-08T20:19:00.003-07:002013-08-08T20:23:19.775-07:00Since The Avalanches Left You<div style="text-align: center;">
<img height="277" src="http://onethirtybpm.com/wp-content/uploads/2010/02/The-Avalanches-Since-I-Left-You-single.jpg" width="320" /><br />
<span style="font-size: x-small;">(Via <a href="http://en.wikipedia.org/wiki/Since_I_Left_You_(song)">Wikipedia</a>)</span></div>
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Ever heard of The Avalanches? They released the sample based masterpiece <i><a href="http://en.wikipedia.org/wiki/Since_I_Left_You">Since I Left You</a> </i>in 2000 and have yet to release a follow-up. The album used an estimated 3,500 samples, many of which were sampled through an <a href="http://www.vintagesynth.com/akai/s2000.php">Akai S2000</a>. It is one of the most impressive sample based compositions ever created. For fans of The Avalanches, I have three pieces of good news for you. <br />
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1) They are remixing a song on the Australian band <a href="http://mushroom.com/news/releases/hunters-collectors-tribute-album-revealed">Hunters & Collector's upcoming tribute album</a>. The album becomes available for pre-order from a variety of websites tomorrow. <br />
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2) If you go to their <a href="http://www.theavalanches.com/">website</a> and register, you can download a ton of great mixes and unreleased material. <br />
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3) I found this fascinating <a href="http://www.soundonsound.com/sos/nov02/articles/avalanches.asp?print=yes">interview/article</a> about the making of <i>Since I Left You</i> on <a href="http://www.soundonsound.com/">Sound on Sound (SOS)</a>. The article gives an amazing amount of insight into the making of the album and the sampling process used by the group. While some of the technical lingo is way over my head, all of the interesting tidbits and background info make for a great read. </div>
DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-68611611003430095292013-08-07T08:16:00.000-07:002013-08-07T08:16:03.306-07:00Pipomixes- SP-1200 Volume 2<div style="text-align: center;">
<img height="320" src="https://i3.sndcdn.com/artworks-000053321715-vemjxi-t500x500.jpg?5ffe3cd" width="320" /></div>
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I've been messing with <a href="http://www.pipomixes.com/">Pipomixes</a> since I first started writing. While he is known for his impeccable mix tape taste, his site offers much more than just mix tape downloads. He also posts first-rate videos, interviews, and other interesting tidbits culled form all over the web. His site also features several mixes of his own that showcase his ability to flip 2Pac, Biggie, Dre, Gangstarr, and a variety of other artists. His most recent mix, which focuses on songs produced with the SP-1200, is right up my ally. <br />
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After reading the description on hid Soundcloud page, I'm glad to know I'm not the only person willing to spend endless hours researching and writing about vintage equipment. Pipo describes the background research that went into making the mix by saying, "I used the old "double source" system of verifying whether the 1200 was actually used on different songs or albums. In other words, if I read/heard two separate interviews where a given producer confirmed using the SP-1200 in some shape or form (whether for the whole beat or just the drums) that song became mix eligible." Huge props to Pipo for putting that much effort into his mix tape preparation. <br />
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You can download or stream the mix by using the widget below. Also make sure to check out his <a href="https://soundcloud.com/pipomixes">Soundcloud page</a> for more mix tape goodness. <br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F101773745" width="100%"></iframe>DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-50868499938341080702013-08-06T09:31:00.000-07:002013-08-06T09:31:57.546-07:00Ayatollah and Cormega Studio Session<div style="text-align: center;">
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<span style="font-size: x-small;">(Ayatollah and Cormega at the Studio Via <a href="https://twitter.com/AYATOLLAHBEATS">Ayatollah's Twitter</a>) </span></div>
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I just started following Ayatollah on Twitter and was instantly drawn to all of the <a href="https://twitter.com/AYATOLLAHBEATS/status/338013624939462656/photo/1">great pictures </a>he posts. I decided to share one of my favorites from a studio session with him and Cormega. In addition to having a cool Twitter feed, Ayatollah has an <a href="http://ughh.com/store/results.asp?keywords=Ayatollah&searchby=Producers">extensive resume</a> of <a href="http://en.wikipedia.org/wiki/Akai_MPC60">MPC 60</a> crafted bangers that you need to check out. </div>
DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com2tag:blogger.com,1999:blog-2448465339590571474.post-9401565305690061692013-08-06T09:17:00.000-07:002013-08-06T09:17:01.658-07:00DJ Pain 1- Undressed 3 (Instrumentals)<div style="text-align: center;">
<img height="320" id="cboxPhoto" src="http://gotinstrumentals.com/public/userSongs/41485.7969269213Undressed-Instrumentals-3_front_T1_W600_H600.jpeg" style="border: medium none; display: block; float: none; margin: auto;" width="320" /> </div>
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Madison, Wisconsin producer DJ Pain 1 continues to be one of the hardest working producers in the industry. He constantly uploads instructional videos to his <a href="http://www.youtube.com/user/jacksonwonderful">YouTube page</a> (a MUST if you use a program like Acid Pro), releases free <a href="http://www.djpain1.info/2012/10/free-loops-and-samples-hip-hoprnbpop.html">sample packs</a>, sells <a href="http://istandardproducers.com/shop/the-dj-pain1-collection/">drums kits</a>, and gives away instrumental albums filled with previously unreleased beats of his. His most recent instrumental album, <i>Undressed 3 (Instrumentals)</i>, is already generating a buzz and getting rave reviews from users of sites like <a href="http://www.datpiff.com/DJ-Pain-1-Undressed-Instrumentals-3-mixtape.515977.html">DatPiff</a>. Make sure to download it by clicking <a href="http://www.datpiff.com/DJ-Pain-1-Undressed-Instrumentals-3-mixtape.515977.html">here</a>. </div>
DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-69588834311733677592013-08-06T07:05:00.000-07:002013-08-06T07:08:14.371-07:00Apollo Brown Uses Broken Equipment to Make Great Music<div style="text-align: center;">
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<span style="font-size: x-small;">(Via <a href="http://www.kevinnottingham.com/2012/05/15/apollo-brown-speaks-on-the-making-of-trophies-how-detroit-impacted-o-c-his-wack-studio-setup/">Kevin Nottingham</a>)</span></div>
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When I was younger I thought being a great DJ and producer meant owning piles of expensive gear. I've realized over time that this is a completely flawed way of thinking. Growing up I was discouraged that I was unable to afford an "adequate" sampler and it prevented me from trying to produce earlier in life. I know some analog purists hate the fact that beats can now be made with cheap software, a computer, and mouse, but I think it is inspiring. DAWs provide a great entryway for people who want to produce but don't have a lot of capital to invest. <br />
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While some shake their heads and laugh to themselves when people mention programs like Acid Pro, Cool Edit, and FL Studio (formerly Fruity Loops), these programs can no longer be denied. Danger Mouse, one half of <a href="http://www.myplaydirect.com/broken-bells/features/5765669?utm_medium=referral&utm_source=brokenbells.com&cid=lg:49a">Broken Bells</a> and co-producer of numerous projects with <a href="http://www.theblackkeys.com/">The Black Keys</a>, has <a href="http://www.emusician.com/news/0766/danger-mouse/137317">used Acid Pro on several of his critically acclaimed projects</a>. Grammy award winning producers <a href="http://www.xlr8r.com/features/2008/05/9th-wonder-studio">9th Wonder</a> and <a href="http://www.hiphopcanada.com/2009/11/interview-boi-1da/">Boi-1da</a> have shown that award-winning, major label music can be created on FL Studio. And Apollo Brown, a veteran Detroit producer whose resume boasts collabos with <a href="http://soultemplemusic.bandcamp.com/album/twelve-reasons-to-die-the-brown-tape">Ghostface Killah</a> and <a href="http://mellomusicgroup.bandcamp.com/album/trophies">OC</a>, continues to use the obsolete multi-tracking program Cool Edit and a computer with a half-broken keyboard to crank out beats that are <a href="http://soultemplemusic.bandcamp.com/track/murder-spree">undeniable</a>.<br />
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In a must-read 2012 <a href="http://www.kevinnottingham.com/2012/05/15/apollo-brown-speaks-on-the-making-of-trophies-how-detroit-impacted-o-c-his-wack-studio-setup/">interview with Kevin Nottingham</a>, Apollo broke down the method to his madness. "I still have the same computer, I still have the same four blown speakers, and I still have the same keyboard that only 16 keys work because it got flood damage...Only thing that is different is my mouse because my other mouse broke...My setup is very basic, simple and that is what I live by…simplicity." Apollo's story helps re-enforce the ideal that you shouldn't stop being creative just because you don't have the means to afford pricey equipment. If you feel that you should be making music, try to find a way to make it, even if your setup isn't ideal. </div>
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Apollo's story is also inspiring because of his perseverance. He states in several interviews that he has been <a href="http://www.beatseatsandreads.com/2011/08/above-the-clouds-with-apollo-brown-exclusive-interview/">making music (with Cool Edit) since 1996</a>, but didn't receive a great deal of recognition until 2007. Now in his early 30s, Apollo appears poised to reach new highs with his music. This goes to show that hard work, passion, and a willingness to not give up can help you overcome various obstacles. If you are a producer struggling to get by right now, remember that instead of sitting around and counting the reasons why you haven't been recognized yet, you should start working on improving your craft and getting better every day. </div>
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For further inspiration form Apollo Brown, check out the video below. Also make sure to stop by his <a href="http://apollobrown.bandcamp.com/">Bandcamp page</a>. </div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/_6jDgC-wY0A" width="560"></iframe></div>
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<span style="font-size: x-small;">(Via <a href="http://www.youtube.com/user/audibletreats?feature=watch">Audible Treats</a>)</span></div>
DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-469832090137605552013-08-05T08:58:00.000-07:002013-08-05T08:59:54.134-07:00J-Force Rocking the SP-1200I love beat making tutorials, but I'm also a fan of fly on the wall videos where the audience simply watches a producer make music. <a href="http://www.youtube.com/user/unkutdotcom?feature=watch">Unkut TV</a> recently posted a perfect fly on the wall video of <a href="http://www.youtube.com/watch?v=jqt6m1a8-z8">SP-1200 destroyer</a> J-Force going to town in what appears to be his home studio. Shout outs to Unkut for doing some great work with their video series, I hope they keep postings videos like this. <br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/W4H-qvWsc8c" width="560"></iframe>DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-69633959682006453752013-08-05T08:26:00.000-07:002013-08-05T09:00:30.387-07:00Beat Critique Service from !llmind<div style="text-align: center;">
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<span style="font-size: x-small;">(Via <a href="http://www.youtube.com/watch?v=e4IZI2_AEXA">Kevin Nottingham</a>)</span></div>
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It seems to be a growing trend for established producers to provide <a href="http://symbolycone.com/blog/s1-new-1-on-1-i-chat-sessions/">consulting and feedback through services like Ustream</a>. Pr<span style="font-family: inherit;">oducer !llmind </span>(50 Cent, Erykah Badu, Kool G Rap, Ludacris, Redman, Scarface, etc.) i<span style="font-family: inherit;">s</span> currently doing this by offering "proper critique and direct video engagement" to aspiring producers through his website. For the very affordable price of $10 per track, you can submit a beat and have !llmind provide expert advice. While I have no direct feedback to offer because I have never utilized this service, it seems like an amazing opportunity for producers who are attempting to bring their sound to the next level. You can read more about it by clicking <a href="http://blap-kits.myshopify.com/products/beat-critique-service-for-music-producers-artists">here</a>. Also, if you are in need of samples to enhance your sound library, check out !llmind's <a href="http://blap-kits.myshopify.com/collections/frontpage">BLAP KIT series</a>. </div>
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If you end up utilizing !llmind's Beat Critique Service, please drop a comment to let readers know about your experience. </div>
</div>
DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-13740391577858386982013-08-04T06:30:00.005-07:002013-08-04T06:39:55.129-07:00303s and 404s: Nick Tha 1da Pt. 3<div style="text-align: center;">
<img height="320" src="http://a4.ec-images.myspacecdn.com/images01/46/fa4c0a478404453432766e8531c4ca5c/l.jpg" width="240" /></div>
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This is my third installment of <i>303s and 404s</i> with Nick Tha 1da. Make sure to check out <a href="http://heavyinthestreets.blogspot.com/2013/08/303s-and-404s-nick-tha-1da-pt-1.html">Pt. 1</a> and <a href="http://heavyinthestreets.blogspot.com/2013/08/303s-and-404s-nick-tha-1da-pt-2.html">Pt. 2</a> if you haven't already. </div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: What’s
your favorite genre to sample? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
I guess bossa nova. There are so
many bossa nova songs that don’t even have a Latin flair but are more on the
Jazz/soul side; almost like a funky aesthetic.
The first genre is bossa nova and the second is American covers done by
foreign artists. A lot of times you’ll
have a Polish group doing an Al Green song and their take of “Still Here with
You” or “Love and Happiness” is so much different, but it still has the same bass
line or vibe. When people hear it
they’re like, “It sounds like Al Green, but that ain’t what he sampled.” I can’t say I have a favorite genre because I
like all styles. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
How did you discover bossa nova?</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
When I first started collecting records, which was probably around ’97
or ’98. I went to visit my cousin Paul
and Thea and they’re in Texas. My cousin
thought I was only on the new stuff, but I was only listening to things from
before I was born. They were heavy into
jazz. They pulled out Sergio Mendes and
Brasil 66 and that was the first time I actually heard older Sergio
Mendes. I was familiar with his more
popular songs but once I heard the older stuff I was like, “Oh my goodness
that’s a Dilla sample.” <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Shortly after that I went to Brazil. I went to Rio for the first time and my mind
was blown. What people fail to realize
is that bossa nova is totally based on fusion.
They took the cool jazz of the west coast and the east and mixed it with
the samba rhythms. If you listen to a
lot of Samba songs it’s heavy in African drumming. If you like heavy percussive stuff, all of
those DJ breaks that you hear people play at break dances like “Soul Makossa”
and “Mamma Say Mamma Saw Mamaco Saw” were in bossa nova too. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">When I tried to come out with that first project, <i><a href="http://nicktha1da.bandcamp.com/album/bossabang">BossaBang!</a></i>,
which was all samples from Brazil with hip hop drums, that’s what sealed the
deal. I was fortunate enough to go to
Brazil a second time. I went to a couple
of places, but in Rio I realized, “If I only scratched the surface before, now
it’s really crazy.” I came
prepared. The funny thing about that
second <i>BossaBang!</i> is that I made a lot of those beats through the TV in the
room I was staying in. I had no speakers,
but I had my 303. I would hook the 303
outs into the TV that was in the apartment.
I would listen to all of the music through the 303. If you go back and listen to some of the
tracks you’re like, “Nick, why does that sound so murky and unmixed?” It’s because I did it in Brazil, in room,
with some bossa nova records. I feel
like a lot of projects now sounds too crispy and too professionally done, when
all of the hip hop that we loved was straight grimy. Onyx? Grimy. Kool G Rap?
All them joints was grimy. I feel
like recently everyone is getting into this overproduced sound. Going to other countries and seeing stuff, I
feel like everybody is like five or ten years behind in hip hop. They still like stuff sounding real dirty and
they get crazy when 50 Cent’s “In the Club” comes on. (Laughs)
They have a stronger respect for the culture, you know?<o:p></o:p></span></div>
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<img alt="BossaBang! cover art" src="http://f0.bcbits.com/img/a0640285800_2.jpg" /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">(Via <a href="http://nicktha1da.bandcamp.com/album/bossabang">Nick Tha 1da's Bandcamp</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
Yeah, I agree with you though, they seem to appreciate the cultural
aspects as much as the material parts of rap music. Have you ever ghost produced for anyone? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
I’ve definitely done some ghost producing. The funny thing is that it’s no big
names. If you hear my track record and
know my songs and my beats, I pretty much stay within my own realm. Just like I was saying, as far as major
labels go, it’s a little too overproduced for me. I’ve submitted several songs to major labels
and the first thing they would tell me is, “Yo your mixing is ridiculous…in a
bad way. What is this, it sounds like a
two track.” I’d say, “It is a two track.’ I didn’t put drums on one track, hi hats on another
and the baseline on another track.
Nooo. You just got it straight
out the machine. Like Dilla said,
“Straight off of the motherfucking cassette.”
More so than ghost producing I’ve supplied samples to the industry. I’ve been doing that for years now. I can say that with confidence. </span></div>
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<img height="254" src="http://www.paigeinfull.com/wp-content/themes/rockwell_v1.2/scripts/timthumb.php?src=http://www.paigeinfull.com/wp-content/uploads/postlandscape.jpg&w=940&zc=1" width="320" /><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> <o:p></o:p></span></div>
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<span style="font-size: x-small;">(Via </span><a href="http://www.paigeinfull.com/washington-post-review" style="font-size: small;">Paige in Full</a><span style="font-size: x-small;">)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: You
said that the songs you submitted to labels were criticized for their sound
quality. Would it be possible for a
producer on a major label to use the 303 or 404 as their main mode of
production? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da: </b>
Madlib is an inspiration. He used
the 303 to create some tracks for Madvillian with MF Doom if I’m not mistaken. Madlib does production for major labels. He did some Erica Badu, he did some Kweli
joints, and he did “Shopping Bags” by De La Soul. He <a href="http://www.stonesthrow.com/news/2005/05/mad-skills">made "Shopping Bags" on the MPC 2000</a>, which
he never does. I wonder if the label had
anything to do with it. The projects
where he is solely using the 303 were all released on Stones Throw. They’re more into the artistic side. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzghLVrz9zt1oAycOD3uqtLx5HNR2VNTsNH8RL7n00hRtODP1AAubbg1Bfea9Zt_XDFomtT9pFhm7uOmYHBCwRugpRxWqOwnIh057eo_ZcZ8lQ9AYOrJVT7ELsifmZJZGXaJjh963SrRs/s1600/madlib.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzghLVrz9zt1oAycOD3uqtLx5HNR2VNTsNH8RL7n00hRtODP1AAubbg1Bfea9Zt_XDFomtT9pFhm7uOmYHBCwRugpRxWqOwnIh057eo_ZcZ8lQ9AYOrJVT7ELsifmZJZGXaJjh963SrRs/s320/madlib.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">(Via <a href="http://www.youtube.com/watch?v=mMkGcEGW4U4">Brasilintime</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
Right. They have a different mindset
than a major and that’s why people like them.
I read <a href="http://www.stonesthrow.com/news/2005/05/phantom-menace-remix-mag-interview-with-madlib-and-engineer-dave-cooley">an interview with the engineer who mastered Quasimoto</a> and it sounds
like it took a lot to get the album from what Madlib made to being “studio”
quality.</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
I can see that. I look at him as
an inspiration, not only on the beat tip, but also for his aesthetic that you
can create what you want and let the people accept it for what it is. People absolutely loved Dilla’s Donuts and
the majority of it was made on the 303.
I’ve even heard his mom <a href="http://www.stonesthrow.com/news/2006/12/the-story-behind-some-of-j-dilla-s-greatest-productions">mention that he was going through a phase</a>; he
called it the Dill Withers phase. That’s
when he was straight up getting the records and chopping them. For anyone using a 303, it’s the simplest way
to do that. <o:p></o:p></span></div>
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<span style="font-size: x-small;">(Via <a href="http://www.wutang-corp.com/forum/showthread.php?t=91924">Wu-Tang Corp</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
While we’re talking about major label artists, I heard that your <a href="http://www.youtube.com/watch?v=iv9g-xqWRUo">Katrina beat</a> was almost used by Lil’ Wayne. </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
The vocal sample says, “I lost my man down in New Orleans.” You gotta
remember at the time, the way people felt about Katrina left the same taste in
our mouth as the whole Treyvon things.
As soon as I made the track I was in two beat battles. In both beat battles I was in, people went
nuts. I had somebody approach me like,
“Yo, you need to get somebody from New Orleans on this.” At the time Wayne was going real hard with
The Carter series. My ideal thing was to
pitch it to him, but he never got back to me.
From what I heard it did get down to their camp. To play it on the safe side, I only give them
a snippet with tags on it just because I didn’t want them to pull a jack
move. I wonder in retrospect if a jack
move was what I needed. I love that I
can still play that beat and people will go, “Yo, that still sounds fresh and relevant.” <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
How did you make <a href="http://www.youtube.com/watch?v=TyCBI1ptyMo">“Fuel”</a>? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da: </b>
I actually think I made it for a remix.
To make sure that beats are spit-able I’ll freestyle over it myself or
blend an a cappella over it. I think I did
<a href="http://www.youtube.com/watch?v=bQNDRrZflBA">Royce’s “Boom”</a> or something. I made that
when I was hitting the battle circuit hard.
People have told me that “Fuel” has a very Primoesque sound. To bring it back full circle, the sample to
that beat is <a href="http://www.youtube.com/watch?v=ptW6foThQrw">“Ain’t No Sunshine When She’s Gone” by Ken Boothe</a>. He’s a reggae artist from Jamaica and he did
a cover of Bill Withers. That’s what I
was saying when I said we gotta re-write these rules of hip-hop. I have no problem telling people my samples
as long as you don’t come knocking on my door on some crazy stuff like, “We
heard what you sampled. Now you gotta
pay this check.” <o:p></o:p></span></div>
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<img alt="Loop Diggin 101:Tha Mixes cover art" src="http://f0.bcbits.com/img/a2162496468_2.jpg" /></div>
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<span style="font-size: x-small;">(Via </span><a href="http://nicktha1da.bandcamp.com/album/loop-diggin-101-tha-mixes" style="font-size: small;">Nick Tha 1da's Bandcamp</a><span style="font-size: x-small;">)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: What
is your favorite feature of the 303 and the 404? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da: </b>
Favorite is the battery power.
I’ve never been able to make beats on the go. I always had to be in front of my computer or
my sampler. Even with the 303, I would
need electricity or something I could plug it into. With the 404…if I have six batteries and headphones,
I’m on the airplane, I’m on the bus, I’m
in a rice field in Cambodia, and it don’t matter. I’m making beats. Overall, I think the 303 is a beautiful
machine. It has very warm sound, great
pads, great effects, and great size. <o:p></o:p></span></div>
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<span style="font-size: x-small;">(Via Paige in <a href="https://www.facebook.com/PAIGEINFULL">Full Facebook Page</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: OK,
final question. What’s the most limiting
thing about the 303 and the 404? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
With the 303 it’s those smart media cards. They’re expensive and I can’t go into Office
Depot or Best Buy and buy those. So it’s
at an extreme disadvantage, especially when you fill up cards with the
quickness. The 404 sounds crunchier to
me, like the highs are a little bit louder on it. Whenever I want some low end bottom, I need
some 808s on deck to play on top of the beat because the highs and the mids are
really up there. I would look at that
like a disadvantage. I’ll play a record
and the record will be real warm and fuzzy.
Then, by the time I throw it in the 404, it already went up a couple of
notches, even if I didn’t do anything. <o:p></o:p></span></div>
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<span style="font-size: x-small;">(Via <a href="https://www.facebook.com/christylezbacon">Christylez Bacon's Facebook Page</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
It’s interesting, Dibia$e said that some people like the sound of the 303
so much that they’ll do part of the beat in the 303 and then dump it into the
404. </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
I have no idea, we’d have to talk to Roland, but I think when they were
making the 404 they said, “Let’s give the 404 more effects and let it do
more.” I don’t think they said, “Let’s
keep the sound the same”, so they ended up switching that too. But the sound on the 303 was just
perfect. <o:p></o:p></span></div>
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<span style="font-size: x-small;">(Via <a href="http://www.youtube.com/watch?v=Kch2QswiPuE">Behind the Beats</a>)</span></div>
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<b>Many thanks to Nick Tha 1da for inspiring me to start this series. His <a href="http://www.youtube.com/user/ld101?feature=watch">YouTube</a> videos showcasing his talents on both the 303 and 404 are some of the best on the internet. They are essential viewing if you like this sort of thing. Also make sure to check out his <a href="http://nicktha1da.bandcamp.com/">Bandcamp</a> page and his <a href="http://www.youtube.com/watch?v=Kch2QswiPuE">Behind the Beats interview</a>. </b> </div>
DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com2tag:blogger.com,1999:blog-2448465339590571474.post-6617702061216537872013-08-03T07:37:00.000-07:002013-08-04T06:43:14.373-07:00303s and 404s: Nick Tha 1da Pt. 2<div class="MsoNormal" style="text-align: center;">
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<b><a href="http://heavyinthestreets.blogspot.com/2013/08/303s-and-404s-nick-tha-1da-pt-1.html">During Pt. 1 of our interview</a>, Nick Tha 1da talked about Roland SP live performance, micro-chopping samples, and the need to limit quantization while making beats. For Pt. 2 of <i>303s and 404s, </i>Nick talks about the special bond shared by DMV producers, not pitching up records for sampling, and his love of records with "that grimy" sound. </b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: I
like when producers have the attitude that it’s OK to learn the new equipment,
but it’s also OK to keep your go-to method that you are most comfortable
with. Sticking with what you know can
help you maintain your signature sound.
</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
The beautiful thing about programs these days is that they have the
capability to produce sounds that you wouldn’t normally find on a record. But, as you said, analog all day. There’s something about physically touching
the pads and making music. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: I
think there is definitely something about the actual touching of pads and
pressing buttons that makes people feel something. I showed a friend of mine one of your videos
and he said, “That guy is playing the 303 like it’s an instrument.” I told him, “It is an instrument.” </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da: </b>
That was my intention all along.
At the time when I was getting interested in making beats you had Qbert
and Roc Raida <a href="http://www.youtube.com/watch?v=vCNjtk2fO6E">taking turntablism through the roof</a>. Before, you just had DJs rocking
parties. I wondered why nobody was
taking that approach with samplers and beat machines. Now you got <a href="http://www.youtube.com/watch?v=T20fgOaySQ0">AraabMuzik</a> and <a href="http://www.youtube.com/watch?v=0WgaDOc9y-M">Exile</a> doing killer
live performances on the MPC. It’s
actually here now and it has arrived. </span></div>
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<span style="font-size: x-small;">(Via <a href="http://pigeonsandplanes.com/2013/07/listen-to-exiles-live-mpc-remix-of-kanye-wests-i-am-a-god/">Pigeons & Planes</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
It seems like the live beat thing has really blown up. You have guys in LA like Dibia$e, Samiyam,
and Ras G <a href="http://www.youtube.com/watch?v=rgQ1p0neUz0">killing live shows </a>and making a name for themselves. It’s crazy, because I religiously listen to
rap music and have always been into DJ culture and production, and I really
didn’t know about a lot of this stuff until a year or two ago. </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
Oh man, the rap world goes hella deep.
That’s what I love about being a crate digger. Just when you think you’ve scratched the
surface there is so much more in the culture that you can experiment with and
learn about. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: You
recently started rocking the 404 as well as the 303. I’m curious what your opinion is of the
different effects and features of the 303 and 404. Sometimes a feature that people love will be
removed from an upgraded SP.</b> <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
Well, going from the 303 to the 404, Roland did make improvements, and
that’s what it’s all about. For
instance, I really like the pitch adjuster of the 404 over the 303. The 303’s is absolute hot garbage. It makes it sound like you’re playing samples
in a metal trash can. With the 404, if
you mess with the knobs and adjust the drive and the resonance correctly; it’s
the same exact sample, just in a different pitch. It doesn’t change any of the time stretching
or any of that. I love that effect on the
404. <o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;">I never looked
at the machines from a DJ point of view; I looked at them from more of a
producer point of view.</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;">I was always
more concerned with sequencing beats and how to clean up my chops so they cut
off at the correct time.</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;">After I
construct the beat, then I worry about the effects and all of that.</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;">The effects are awesome for doing live
shows.</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;">That’s really relevant when
you’re looking at the LA beat scene.</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;">
</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;">That’s one thing we don’t have over here.</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;">People in the clubs in DC, New York, and
Philly, they don’t want to start around for 30 minutes hearing a set of me just
playing beats.</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;">They need some type of
singers or open mic.</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;">That’s all cool,
but like I said, I really respect the LA beat scene for what they are doing
with bringing the producer to the forefront.</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;"> </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I have a couple of beat homies who are originally
from the East Coast, same as my side, and now they’re over there in L.A. doing
their thing. My homie <a href="http://mndsgn.bandcamp.com/">MNDSGN</a> is
definitely a favorite of mine on the producer tip. Mind Design uses a few different things, he
has a good ear, and <a href="https://www.youtube.com/watch?v=_SSvWU73FBc">he can play a lot of stuff out</a>. <a href="http://ohbliv.bandcamp.com/">Ohbliv</a> uses the 404 and <a href="http://www.youtube.com/watch?v=ocLTSO-jobo">he does his thing with it</a>. </span></div>
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<span style="font-size: x-small;">(Ohbliv Live Via <a href="https://www.facebook.com/OhBliv">Ohbliv's Facebook Page</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
You seem to be friendly with a lot of the
DMV producers. How did you get involved
in that scene?</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
I feel like <a href="http://kevbrown.bandcamp.com/">Kev Brown</a>, <a href="http://humblemonarch.bandcamp.com/">Roddy Rod</a>, and <a href="http://heavyinthestreets.blogspot.com/2013/07/asr-x-prostreet-orchestra.html">Street Orchestra</a> really influenced
me to keep moving on my journey as a producer.
I remember when I was getting into it seriously and there was a Beat Society
producer showcase. Beat Society was
brand new; I mean it hadn’t been out a year.
At the time I was only 20 and the event was 21 and up, so I couldn’t
even get in. I was like, “Damn yo, this
is what my life is about right now. I
totally want to check this out but I can’t get in.” I saw Roddy Rod and he said, “That beat CD
you sent me was good. You had some
joints on there.” I told him, “Yo, I
appreciate it, but I really want to see the show.” Sure enough, Roddy Rod gets me in. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The show that night was <a href="http://www.raheemdevaughn.com/">Raheem Devaughn</a>, Kev Brown,
Street Orchestra, and another producer who I can’t remember right now. They had SP-1200s, the MPC-2000, and everything
else sitting on the stage. People were going
nuts. They were doing their beats live
and Kev probably rocked Albany. At that
moment I was like, “Personal goal. I
gotta get on stage and play my junk.” It
was pretty much after that time that I got to know people. I’m a pretty open, talkative guy. We were already here and we were already
bubblin’ on the open mic and beat scene.
It just blossomed into watching each other evolve into the producers we
are today. <o:p></o:p></span></div>
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<span style="font-size: x-small;">(Via <a href="http://www.ticketfly.com/event/201123-beat-society-new-york/">Ticket Fly</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: I
like the community vibe. When I watch
the behind the <a href="http://www.youtube.com/user/digitalhustlefilms">Behind the Beats series or Scratch Magazine TV</a>, <a href="https://www.youtube.com/watch?v=2EgvW-tegAI">I can tell that people legitimately respect each other</a> when there are a group of producers in the same room.</b> <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
It’s no secret now that sometimes you can get more satisfaction if
you’re part of a movement. Look at
Wu-Tang and even 9<sup>th</sup> Wonder and his <a href="https://www.youtube.com/watch?v=zj5HKeWGAhQ">SOUL Council</a>. If you get a lot of like minded individuals
together, it gives you more of a push in the direction that you want to
go. <o:p></o:p></span></div>
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<span style="font-size: x-small;">(Via The <a href="http://www.youtube.com/watch?v=2EgvW-tegAI">Real Producers of the DMV Video</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: Earlier
in the interview we discussed sampling off of vinyl. I saw in the <a href="https://www.youtube.com/watch?v=Kch2QswiPuE">Behind the Beats interview</a> that
you don’t pitch your records down when you are sampling them. Is that still the case? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
I’d say 75% of the time they are the exact same speed that was played on
the turntable. That’s for the simple
fact that at one point, I wanted people to figure out what I was sampling. This was early on. I thought, “If I can keep it the same pitch they’ll
be like, ‘That could be Bobby Womack, but I’m not sure. He just killed it’.” You have to remember in the late '90s and
early 2000s everybody was pitching up records.
There’s nothing wrong with that; I’ve made plenty of beats like that
too, but at the time I wasn’t putting these releases out, so I wasn’t worrying
about sample clearances. I just kept it
at the original tempo. I also found it
easier to be able to have a portable turntable with the sampler and make beats
while traveling. I could immediately
make a beat as opposed to saying, “Oh man, I could change this pitch. I gotta go home and throw this on the
computer and do this and do that.” There
would be too much hesitation as opposed to actually getting a track
completed. <o:p></o:p></span></div>
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I’ve heard several producers talking about having a preference with
sampling a 45 or a 12” versus sampling off of a LP because of the difference in
sound quality. Do you have any
preference, or is it just whatever song catches your fancy? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Ni</b></span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;"><b>ck Tha 1da: </b>Strictly albums. I like to play
albums all the way through. Sometimes you
find your best stuff in the middle of the song or at the end of the song. Songs are always hot when they have the
sample straight in the front, but a lot of people miss out because they are
just looking for samples instead of actually appreciating music. The way you’re sitting at home trying to make
music, you gotta remember that somebody thirty years ago was in the same
position. They wanted people to hear
their music, not just skip through it. I
don’t put out a beat CD for you to listen to the first three seconds of each
track. I want you to listen to it. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
That’s a great point and I think you’re the first person I’ve ever
interviewed about sampling to make that point.
The people that we are sampling from had the same dreams as us. </b> <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da: </b>
There is a group called 21<sup>st</sup> Century. If you’re not familiar with them, as soon as
you look it up you’re going to be like, “Oh, this person and this person
sampled them.” I remember one time I was
talking to a friend who is in the industry now.
I was like, “Yo, check out this beat I just made.” It sampled 21<sup>st</sup> Century and I
thought the beat was fire. He said,
“Yeah, the beats alright.” I was like,
“Just alright?!” He said, “That’s my
father singing on the track. It’s cool,
but I talk to him all the time, and he’s always questioning, ‘What if this had
happened differently with my group?’” <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Musicians then had the same struggles that we go
through today as an artist. I feel like
once you have that real mutual respect and you can see where an individual is
coming from, it translates in your music and it’s more organic. Know something about the artist, as opposed
to saying, “I’m taking this Bob James” and you don’t even know who Bob James is
or what groups he played in. I’m not
saying you have to do that for everything you sample, but at least be knowledgeable. Show respect, the same way you want that
respect. <o:p></o:p></span></div>
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<span style="font-size: x-small;">(Via <a href="http://www.thecitrusreport.com/nothingcansaveyou/throwback-thursday-21st-century/ahead-of-our-time">Nothing Can Save You</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: I
think that’s a great point, especially in the digital era. It’s still important to listen to things
carefully. Do you have a favorite
digging city or town? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
I don’t have a favorite city; I just make a point to dig wherever I
go. Actually, to be honest, my favorite
place to dig is overseas. Everywhere
I’ve been overseas they have 50 cent records.
With the conversion of American money it comes out even cheaper. The whole issue with digging overseas is
shipping it back, unless you have some crazy DJ bags. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">You know what I think is the best kept secret here
in the states? A lot of people turn
their noses up at it, but Goodwill and the thrift shops. Don’t sleep because a lot of people are
loading off records they inherited. The
records just don’t have value to them that it did to the person in their family
who was collecting them. Here in
Maryland we got a place called<a href="http://en.wikipedia.org/wiki/Langley_Park,_Maryland"> Langley Park</a>.
It’s basically a Latino community, and if you go to the thrift shops
there it’s all salsa, meringue, bossa nova, and stuff that you wouldn’t find at
a normal record store for those prices.
You gotta always keep your eyes peeled.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
Do you have any dollar bin miracles or expensive records that you’ve
found for cheap?</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da: </b>
I have a lot of friends who are DJs and producers and they’ll say, “Yeah
man, I saw that Cortex record, but it’s all scratched up so I didn’t get
it.” When I ask them how much it was
they’ll say, “99 cents.” If you’re
making beats it shouldn’t matter if it has scratches or anything on it. If you’re a DJ, I can understand because you
don’t want the record the jump, but I like that grimy. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The one I just mentioned, Cortex, was a good find. It’s a French record and it’s hella
rare. The famous sample on it is MF
Doom’s “One Beer”. It was also used on
Jaylib for the song “No Games”. That
record normally goes for all types of money because it’s no longer pressed and
it’s French so it’s hard to find here. I
found it for $10 and that’s way outta my budget. I probably have dozen records that I paid $10
for. Everything else is a dollar or less.<o:p></o:p></span></div>
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<span style="font-size: x-small;">(Via <a href="http://weeklybeatsessions.com/tag/troupeau-bleu/">The Weekly Beat Sessions</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: I
haven’t heard of it before. I didn’t get
into trying to produce until two or three years ago, so I wasn’t really digging
that hard for samples before that. I was
trying to pick up 12 inches and stuff that I would actually play ou</b>t. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da: </b>
I’m the complete opposite. I like
buying stuff that’s not even danceable. I
found another good rare record for a dollar, the Lyman Woodard Organization. That’s a fire album. It’s been sampled a couple of times. I notice that when people sample records they
take the easiest song that is sample-able as opposed to listening to the whole
track. If I find a good record; I’ll go
ahead and sample the entire album. <o:p></o:p></span></div>
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<span style="font-size: x-small;">(Via <a href="http://www.soulstrut.com/index.php/forums/viewthread/74586/">Soulstrut</a>)</span><br />
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<div style="text-align: left;">
<b>Click <a href="http://heavyinthestreets.blogspot.com/2013/08/303s-and-404s-nick-tha-1da-pt-3.html">here</a> to read Pt. 3. </b></div>
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DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com0tag:blogger.com,1999:blog-2448465339590571474.post-8557175847188780192013-08-02T12:51:00.000-07:002013-08-04T06:45:25.113-07:00303s and 404s: Nick Tha 1da Pt. 1<b style="text-align: center;">The second entry of <i>303s and 404s</i> features the <a href="http://www.youtube.com/watch?v=zf_VPz2hTPY">original inspiration for the series</a>, Nick Tha 1da. Hailing from the D.C./DMV area, Nick works the 303 like few others. In addition to teaching a variety of music classes at the nonprofit Words, Beats, and Life and DJing in and around the D.C. area, Nick has achieved beat placements with Boog Brown, Chaundon, Grap Luva, and Kenn Starr with his refined micro-chopping and gritty sound. Having recently upgraded to using both the 303 and 404, Nick broke down the his favorite features for both machines, his digging philosophy, and his affinity for Cool Edit. I am honored to present my second entry in <i>303s and 404s</i> with Nick Tha 1da.</b><br />
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<span style="font-size: x-small;">(Via <a href="https://www.facebook.com/pages/nick-tha-1da/201740241727">Nick's Facebook Page</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
In addition to producing, I’ve read that you also teach music
classes. What sort of music classes do
you teach? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
I teach music production, engineering, recording, composition, and freestyling. I’ll go wherever, like New York and Boston, but
I mainly teach in DC. I do that through
a nonprofit called <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&sqi=2&ved=0CCwQFjAA&url=http%3A%2F%2Fwww.wblinc.org%2F&ei=eAv8Uab3E_jI4AOrrYCIAw&usg=AFQjCNEgNHe4kYJFvq39szvCqO4lcxnuDA&sig2=ACUZX5EedxD1n2PpqgnzLA&bvm=bv.50165853,d.dmg">Words, Beats, and Life</a>.
<o:p></o:p></span><br />
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<span style="font-size: x-small;">(Via <a href="https://www.facebook.com/pages/nick-tha-1da/201740241727">Nick's Facebook Page</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: I
know from talking to you previously that you lost some of your setup in a fire. Can you tell me a little bit about that?</b> <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
At the time my setup was just vinyl and an SP-1200. I didn’t even have the 303 yet. My upstairs neighbor’s furnace caught fire
and burned a hole in their floor and my ceiling. Then, when the fireman came to put out the
fire, I also got all of the water damage that came through the ceiling. That was kind of sucky. (Laughs) But you know what they say. Whenever those kinds of things happen, it makes
you stronger. <o:p></o:p></span><br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: You
had an SP-1200 at that time. Was that
the only equipment you were using to make music? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
I was just rocking Cool Edit and the SP-1200. I’m still an avid fan of Cool Edit. Shout outs to my Cool Edit fam, ‘cause I know
<a href="http://www.youtube.com/watch?v=_6jDgC-wY0A">Apollo Brow gets down with it still</a>. I
don’t know if 14KT still uses it, but <a href="http://www.youtube.com/watch?v=h-7_-WnaJJY">he can make a full beat off of Cool Edit</a>. After the fire, I had to get rid
of the SP-1200. I found out that <a href="http://damuthefudgemunk.bandcamp.com/">Damu the Fudgemunk</a> got that same SP. It’s a small
beat world. </span><br />
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<span style="font-family: "Times New Roman","serif"; line-height: 115%;"><span style="font-size: x-small;"> (Via <a href="https://www.youtube.com/watch?feature=player_embedded&v=l0g97-53sWU#at=39">Jazzle You Francis</a>)</span><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
Do you ever exclusively make beats in Cool Edit? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
Before I got any hardware, that’s how I learned. You just copy and paste. You’re working with everything from micro-chopping
to straight loops. Peter Quistgard was
the person whose name you had to enter in order to unlock Cool Edit after you
downloaded it. Whoever he is he gets big
up because he sparked a whole revolution of Cool Edit producers. </span><br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: Would
you ever put out the beats you made on the 1200? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
They were a little amateur.
(Laughs) But that style seems to
be in now, especially on the 1200 tip. I
have put a couple out as remixes. If you
go on Underground Hip Hop, I did a project for this guy <a href="http://ughh.com/k-cromozone-lay-down/VER004CD/">K-Cromozone</a>. A lot of that project had 1200 beats. <o:p></o:p></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOmJdmxP441sAc5zDCK11JXDGm2IXoLpo1jDUDUEPruDbM9Wnt619pmT4UpZ7ghXIInyNdK1EhFD7Q00b09NC3GXRmXA5qmYr37UuAYhdfzXKdy08wRoEEhtAVZsr9WurBetOarNGZs7Q/s1600/k-cromozone.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOmJdmxP441sAc5zDCK11JXDGm2IXoLpo1jDUDUEPruDbM9Wnt619pmT4UpZ7ghXIInyNdK1EhFD7Q00b09NC3GXRmXA5qmYr37UuAYhdfzXKdy08wRoEEhtAVZsr9WurBetOarNGZs7Q/s1600/k-cromozone.jpg" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">(Via <a href="http://ughh.com/k-cromozone-lay-down/VER004CD/">UGHH</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
It seems like when the fire happened, you changed your setup to Cool
Edit and a 303 because the 303 was inexpensive</b>.
<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da: </b>
That was the action plan after the fire.
I wanted to find a way to start making a whole bunch of beats again and
not cry too much over my situation. I
was thinking about my options and my pops came to me with the whole SP-303
thing. I wasn’t even looking at it. I have a secret love affair with the ASR-10
and I said, “Yo, I’m going to do whatever I can to find an ASR-10.” Then my pops found me a used 303 at Guitar
Center and ever since then it was on. <o:p></o:p></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhP_SjE9Zy0I4r5-BlcBYIMwawOvxxwCQ2BuoQ3Y3mxGr_K9hiLpNiubzTI77lE5OKwOWrBskkVmkJ7ci6eLWnpF-YZRUlIqKqT_O8XmDUWU4VeoEQ25Oim0sC5qLyb5fAEBdWPoxxBB0/s1600/1da+303+Video.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhP_SjE9Zy0I4r5-BlcBYIMwawOvxxwCQ2BuoQ3Y3mxGr_K9hiLpNiubzTI77lE5OKwOWrBskkVmkJ7ci6eLWnpF-YZRUlIqKqT_O8XmDUWU4VeoEQ25Oim0sC5qLyb5fAEBdWPoxxBB0/s320/1da+303+Video.jpg" width="320" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: x-small; line-height: 115%;">(Via <a href="http://www.youtube.com/watch?v=OmyLwFlqltk">"Black Amora" Video</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: You
have several videos on YouTube showcasing your skills on the 303. It seems like there aren’t as many videos as
you would expect of people killing it on vintage equipment. Do you think producers want to keep an
element of secrecy to producing? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da: </b>
That’s a great point you just brought up. I’m tired of all of this hip-hop supremacy,
secrecy bs. If you can find out what I sampled
props to you. You figured out the Holy
Grail. If we show people certain tips
and tricks, they can help develop it so we can all use it for the better. You feel me?</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtgpjKu0jgKW03b6nzIircd1_JB6op6bscq2j4l7fYzkqd6rsP5aD_UNfUaRAlee-DLqWL9ic-EkaJWribjzqc_x7tz1wJByC1mYSEN546-p_KVjTMHlfmSMYgulec_xz6UsFQ4_Jm-iU/s1600/Brody+Rose.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtgpjKu0jgKW03b6nzIircd1_JB6op6bscq2j4l7fYzkqd6rsP5aD_UNfUaRAlee-DLqWL9ic-EkaJWribjzqc_x7tz1wJByC1mYSEN546-p_KVjTMHlfmSMYgulec_xz6UsFQ4_Jm-iU/s320/Brody+Rose.jpg" width="213" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: Yeah. Talking about the process and sharing
information helps people make better music.
I realize that a lot of producers probably don’t agree with me, but that’s
my take. </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da: </b>
Absolutely. The funny thing is
that when I made those videos, I wasn’t like, “Alright, I’ma make a tutorial
for the world to see.” I was actually
making them for these projects I had when I was in college. At the time I was just 100% crate diggin’ and
making beats. That’s how they
started. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Everybody gives me flack for the <a href="http://www.youtube.com/watch?v=hQ01xRc6J7s">SP-1200 video I made</a> because they’re like, “Yo, he’s sampling to the SP-1200 straight out of
his computer. That’s wack. I thought Nick was about vinyl and
samples.” The funny thing is I had to
rip the vinyl to the computer to sample it.
It’s not like I didn’t have the vinyl.
I see cats sampling off of YouTube now, which is crazy to me.</span><br />
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<span style="font-family: "Times New Roman","serif";"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCAg3KpDEG3yvJJVNKbo_LMbYoXeOSvMQKRv7o4DGuOhCRE87Pb216X0lmgQgG_R_G09k9DmtZ7-SJbL4qIiABMQgpVsOIrHrchQ4wrgcIAEB5hzthOZ5vhSiH3j3MrA_MylkP2PR8C4Y/s1600/More+Crates.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCAg3KpDEG3yvJJVNKbo_LMbYoXeOSvMQKRv7o4DGuOhCRE87Pb216X0lmgQgG_R_G09k9DmtZ7-SJbL4qIiABMQgpVsOIrHrchQ4wrgcIAEB5hzthOZ5vhSiH3j3MrA_MylkP2PR8C4Y/s320/More+Crates.jpg" width="320" /></a></span></div>
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<span style="font-family: "Times New Roman","serif";"><span style="font-family: 'Times New Roman'; font-size: x-small;">(Via </span><a href="https://www.facebook.com/pages/nick-tha-1da/201740241727" style="font-family: 'Times New Roman'; font-size: small;">Nick's Facebook Page</a><span style="font-family: 'Times New Roman'; font-size: x-small;">)</span></span></div>
<span style="font-family: "Times New Roman","serif";"><span style="font-size: 12pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
Yeah, people sample anything now.
And I’m finding out that a lot of people used stuff other than vinyl
back in the day. Do you use anything
besides vinyl for samples?</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
I say everything is fair game except for YouTube. For me, the quality isn’t there. It’s already been lowered from CD quality. I’m like, “Damn, how you gonna go from record
quality, to CD quality, to YouTube quality.”
Unless you just don’t care and you’re really manipulating the
sample. And I’m not hating on anybody
that does that. <o:p></o:p></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Gyzo5TR-h2CfYRueamYKw2kzC-6R-ysYCPxiu_fAlQ96Oq_SmPp0Kra498eCRMv8aw1Uso58f7W6cy3l4VDc2iUdHt3_qO0Wb0U8EihyphenhyphenNHshPdViCrXNmpVNH_GZH2OVa3IXI3QpdpU/s1600/Crates.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Gyzo5TR-h2CfYRueamYKw2kzC-6R-ysYCPxiu_fAlQ96Oq_SmPp0Kra498eCRMv8aw1Uso58f7W6cy3l4VDc2iUdHt3_qO0Wb0U8EihyphenhyphenNHshPdViCrXNmpVNH_GZH2OVa3IXI3QpdpU/s320/Crates.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">(Via <a href="http://brianclarkinteractive.com/mmg/nicktha1da.html">Mello Music Group</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: I’ve
seen videos where you do some serious micro-chopping. I’ve also heard beats you’ve produced where
it sounds more like a straight loop.
When you’re doing stuff on the 303 and 404, which method do you prefer?</b> <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
I like to chop. I mentioned this
in the <a href="http://www.youtube.com/watch?v=Kch2QswiPuE">Behind the Beats interview</a>, but I learned how to chop so small on the
1200. I’d take any piece I could and add
filters or make it trail off so that I could extend the sample. By the time I got to the 303, I was like, “Yeah,
no problem, I can flip this any way I want.” </span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;">This is me giving away a secret, but the key to the
303 is that the metronome throws you off.
If you can do a beat completely live and keep your timing, you can actually
use more sample time and flip it and all of that. A lot of times quantization makes it sound a
little bit more rigid and your samples don’t come out the way you want. I’m not saying I get everything on the first
take; I gotta do it a couple of times. I
also like using the 303 and the 404 for their live capacity. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: I’m
curious how much of your live shows can be internally sequenced in the 303 or
404. Do you need a computer or anything
else to help you out? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
Not at all. The beautiful difference
with the 404 is that it holds so much more.
Between the 303 and the 404 you don’t need anything else. I just did a show a few days ago with no
computer, no turntables, no PC, just the two systems themselves. Basically all I had loaded up was a couple of
drum kits. I always keep drum kits
loaded on there just in case I want to do live beats or make a quick pattern. Then I run off the pattern and do all of my
chops. It gets no more simple than
that. I feel like it’s just a muscle and
<a href="http://www.youtube.com/watch?v=OmyLwFlqltk">the more you practice, the more efficient you get</a>. </span><br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> </span><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFNrpVrYcvhZ93UStxkih0BB3TmrsW0HFT29bC3WLsyEb_vKcdqH1btVwi1eJFFOdg8mwQPxtldFh2PkDgfij3TIDSTZeI0S7Omo1_ieoKwPXWtcCZOBdmBj_hfGUZ2em1LIO6NOiRhY8/s320/pressing+pads.jpg" /><span style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 115%;"> </span></div>
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<span style="font-family: 'Times New Roman', serif; line-height: 115%;"><span style="font-size: x-small;">(Via <a href="http://www.youtube.com/watch?v=2WCGyyuWJnI">Shibuya-kah Video</a>)</span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
How many hours a day would you say you have to practice to get to that
level? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
I make beats every day. Got to. I split my time between doing all things hip
hop. If I’m working on a theatrical show
for somebody with a hip-hop soundtrack I’m working on that for 3-4 hours. Then I’m working on beats for another four
hours. Another night I’m DJing here in
DC for like six hours. Then after that,
more beats. I probably spend at least
eight hours a day. <o:p></o:p></span><br />
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<img height="213" src="http://media3.washingtonpost.com/wp-srv/photo/gallery/091209/GAL-09Dec09-3318/media/PHO-09Dec09-192845.jpg" width="320" /></div>
<div style="text-align: center;">
<span style="font-size: x-small;">(Via <a href="http://www.washingtonpost.com/wp-dyn/content/gallery/2009/12/10/GA2009121002951.html">The Washington Post</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: Wow. That is serious dedication. When you’re making a beat are you more of an
early morning or late night person. </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
You never know when inspiration will hit, but I’m definitely a night
owl. Sometimes I’ll get in at three in
the morning from DJing and I just can’t sleep yet because I’ve been playing
Ruff Ryders Anthem all night.
(Laughs) Or Simon Says by Pharaoh
Monch. So I still have my energy up. I’ll use that time to make something until I
wind down. A lot of times I’ll break it
up and have days or mornings where I just work on drums and nothing else. That way I don’t feel like I’m too stuck in a
box trying to complete a beat. I also
have something called Sample Sundays where I pretty much spend all Sunday
digging through records and listening to samples. I’ll play the whole record, front to back,
all day. <o:p></o:p></span><br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: I
need to start doing more of that. </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da: </b>
You got to. I got records that
I’ve bought and still ain’t heard yet. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
You seem so comfortable with the 303 and 404. Are you ever tempted to branch out to another
machine? </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
Those two are my favorites. The funny
is that I just got put on to the 404. I
was using the 303 exclusively for a minute, but the buttons started sticking on
me. If you look at my videos, I’m
hitting the crap out of them pads. Out
of the eight pads, four or five weren’t sticking. I started making beats and I call them the
four button beats. They sound real
simple, but they were being made with what I had available. So I went to a recording studio session for
one of my albums and UnOwn was there.
He’s a <a href="http://www.youtube.com/watch?v=fwVOVj63qF0#at=60">hot producer from the area</a>.
He’s done a lot of work with <a href="http://www.oddiseemusic.com/">Oddissee</a>, he’s part of a group called the
<a href="http://www.youtube.com/watch?v=LuwYy2v1DM8">Jazz Addixx</a>, and he did production for a whole bunch of people in the area. UnOwn was like, “Man, I just got the
SP-404sx, but I got this regular 404. I’m
not doing anything with it if you want to hold onto it for a minute.” Once I got my hands on it I was like, “Oh
man, this is just a super upgrade to the 303.”
Essentially, that’s what the 404 is.<o:p></o:p></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitRL7803pjJjfazCLYb28kI2R3tkr8FA0cUtBZF3Wljy4eznxnO_Q_wb0kdwdwo0SR61t_meMwUbFcgVZ6Wsd7kMl_hUKbNU14CqvcgMgQE-XP6Abm7LnFMmfZnGVEUGqQOL8Pmyp0KXU/s1600/404+Records.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitRL7803pjJjfazCLYb28kI2R3tkr8FA0cUtBZF3Wljy4eznxnO_Q_wb0kdwdwo0SR61t_meMwUbFcgVZ6Wsd7kMl_hUKbNU14CqvcgMgQE-XP6Abm7LnFMmfZnGVEUGqQOL8Pmyp0KXU/s320/404+Records.jpg" width="320" /></a></div>
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<span style="font-family: 'Times New Roman', serif; font-size: x-small; line-height: 14px;">(Via </span><a href="http://www.youtube.com/watch?v=V3kSnMdq6W8" style="font-family: 'Times New Roman', serif; font-size: small; line-height: 14px;">SP-404 Video</a><span style="font-family: 'Times New Roman', serif; font-size: x-small; line-height: 14px;">)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1: It’s
like the 303 on steroids. </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da: </b>
Basically. The memory cards are
easier to find and cheaper. They’re
larger gigabyte cards. It has a built in
mic which is awesome. You can beat box
into the machine. Its battery powered so
I’ve been on airplanes, busses, and trains just making beats. <o:p></o:p></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6PRvgW5gubgghlPqTw97IVw00wE46OBZK9iOdB6TM5x14z0f80iX8bY42gJIt-ImLvyNTRRNy60edgBHPWpx3cZWonQIrtweAVDVAgDTATPi0Q7JoEF3QjluqCdb1VCTd0yEyfLQCxX4/s1600/On+the+Steps.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6PRvgW5gubgghlPqTw97IVw00wE46OBZK9iOdB6TM5x14z0f80iX8bY42gJIt-ImLvyNTRRNy60edgBHPWpx3cZWonQIrtweAVDVAgDTATPi0Q7JoEF3QjluqCdb1VCTd0yEyfLQCxX4/s320/On+the+Steps.jpg" width="320" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: x-small; line-height: 115%;">(Via <a href="http://www.youtube.com/watch?v=V3kSnMdq6W8">SP-404 Video</a>)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>DJ Sorce-1:
When you’re on an airplane, train, or bus, do you get distracted by
people looking at you?</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b>Nick Tha 1da:</b>
Not at all. I try to just stay in
the zone. Just so they don’t think I’m
crazy I’ll be like, “Yo, you want to listen to it and see what I’m doing over
here?” if they seem really interested. A
lot of times the youth are more accepting than the older folks. And to answer your earlier question, the 303
and 404 are what I love, but I made a personal mantra to myself to be able to
sit in front of a machine make a beat on anything. I’ve been teaching myself to make beats on
Maschine, Logic, and all of the above. But
I’m never gonna stop using the 303, 404, and Cool Edit. <o:p></o:p></span></div>
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<img alt="" class="aligncenter size-thumbnail wp-image-81" height="150" src="http://www.paigeinfull.com/wp-content/uploads/2010/08/nick-mpc-150x150.jpg" title="nick mpc" width="150" /></div>
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<span style="font-size: x-small;">(Via <a href="http://www.paigeinfull.com/geniuses">Paige In Full</a>)</span><br />
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Click <a href="http://heavyinthestreets.blogspot.com/2013/08/303s-and-404s-nick-tha-1da-pt-2.html">here</a> to read Pt. 2.</div>
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DJ SORCE-1http://www.blogger.com/profile/16298231529445826853noreply@blogger.com3