http://skulltheft.tumblr.com/

Omarr

Tue, 24 Nov 2009 16:58:51 -0500

ymmf007

RZA on Gear

Tue, 24 Nov 2009 16:36:00 -0500

(March 1995-Taken from Rap Pages’ “So You Wanna Be a Record Producer” monthly column)

On equipment: “Back in ‘89…all I had was a four-track, some turntables, and a drum machine. I had neighborhood tapes booming…Melquan hooked me up with a few producers, one named Dice, one named Tony Moore (Arts N Crafts) from Queens and Back Spin. Tony had the Studio 440. It’s like a SP1200, but it has more sample time, like 32 seconds. Dice hand an Ensoniq EPS. So those were the first machines that I became familiar with. I had a four-track and a 909. Then I ran into my man RNS, who produced Shyheim’s album. He was going through financial problems, and I was making a little street money. So he had to go away for a while, so I lent him some money and he let me hold his EPS. Boom! Deck, Meth, U-Got used to come over the lab all the time. Ghostface used to live with me at the time, and you know that Ol’ Dirty and GZA are my cousins, so we all were making tapes…RNS left it there about 90 days. Everyday I was making beats, all kinds of stuff, then he’s taking it back because it was his stuff. Then I got an SP1200 on some scandal stuff that me and Melquan pulled. “Bring the Pain” was made back then. Then I started getting money. Then I bought the EPS 16 Plus, sticking to the same brand because I was always around the Ensoniq products. I eventually got the ASR. I made the Wu-Tang and Method Man albums with that and a SP1200…We did Dirty’s album on the SSL…it was so dirty that you can mix it on the SSL. Some don’t mess with the SSL, because if the stuff ain’t dirty it will clean it up even more. We mixed Meth’s album on the Neve because we tracked with ADAT. Ol’ Dirty…we did a lot of his in the studio (analog)…A lot of people told me that with the Wu-Tang album I could have come with better sonics. See, we mixed at the Fire House and they have a Peavey board. We only spent $36,000 to record and mix the Wu-Tang album, that’s including food bills and everything. It’s just knowing how to make the best out of what you have. Sometimes it ain’t the board, it’s the outboard gear, and sometimes it ain’t that, it’s the sound that you are accustomed to. Marley told me some of his fattest stuff came from his four-track before he got a big board.”

(June 1998-Taken from EQ Magazine)

Gear: Amek Galileo, Avalon VT-737, Purple audio MC76…”Which I really like for vocals. When we do vocals with Wu-Tang, I usually record through a Focusrite Blue EQ to a Drawmer 1960 or vice versa. Depending on the individual voice, I might put the EQ second, but the Focusrite Blue and the Drawmer 1960 are my main units for doing vocals. For mics, I’ll use a C12 or the 414 or a Rode Tube Classic. If I’m at another studio, I might use the U87…I record onto 2-ince analog tape and I also have three ADATs, so it’s 24 and 24, digital and analog. The machines are locked together with a TimeLine synchronizer, so if I have to go 48, I can , but I usually don’t. I have the Tascam ATR-80 and I use Ampex 499…I mix down to DAT, but I plan to get a 1/2-inch machine…I love how cassettes sound. If it was up to me, I’d mix to cassette and then master, but that’s not a standard in the industry. I’m not sure I want to be the first person to take a chance and do something like that. If it’s not successful, I don’t want it to be sitting at the bottom after selling so many records. To me, it sounds better on a cassette—like a rap tape from the old days….I use ProTools on an Apple Macintosh Power PC with Digidesign 888 interfaces. I only use it for editing. I’m old fashioned—I need to push the buttons and twist the knobs…I’m monitoring through Westlake, Genelec, Yamaha, and I just got a pair of Quested monitors. I use them all, but I’ve been hooked on the Genelecs for the last two or three years. If it sounds right on them, then it’ll be OK. Everybody uses the NS10Ms of course, but I really trust the Genelecs…For the Raekwon and the Gza albums, it’s all my own engineering. For the Wu-Tang I brought in some engineers, like Scott Harding and Carlos Best…(on synths) Everything from a Roland JV1080 to a Emu Carnival. Whatever they make, I go buy it. Kurzweil, Kawai—I try everything. Being that I am successful and making money in the music business by using equipment, I dedicate a percentage of whatevery I earn to taht. It’s not just for myself, but for the other producers that are coming up under me…Sometimes I sample live drums. Like on the Wu-Tang album, we brought in different sets of drums for two weeks, and we sampled the drums until we had what we wanted. On the song “Reunited” you can hear this. It sounds like a live drummer because we did have a live drummer play and we recorded it to tape to get the thickness. Then I sampled it from tape, used the sequencer to loop it, and played music to it…(on samplers) The Ensoniq ASR-10 and the MPC3000. The MPC3000 is a standard right now—if you don’t have one of those you ain’t working right (he laughs)…(on recording vocals) I have some of my equipment preset to the vocalists. So Ol’ Dirty or Raekwon can come in and I already have an idea of what to do . I have three 1960s and three Focusrite Blues. Out of those, I might have four channels set for different voices. When they come in, we just patch them and go…(on sounds) When I first started producing, I used to do that (sample weird sounds and use them for percussion). I’d sample anything, then layer it and loop it to make sounds. I had hundreds of discs of sounds that you would consider to be original, but I had a flood and a lot of my discs got damaged. Now I have about 10 or 15 of those discs left that have special sounds….For bass sounds, I’ll use anything from a live guitar to an acoustic Guild to a Fender Strat. I’ll sample any of those and put them through filters, or I’ll use filtered basses from samples…I’ll fiddler out everything but the bass. And there are some synths that have great bass sounds these days. The Korg Trinity bass and strings are probably better than any synth ever. Those sounds played with the right rhythm will sound like there was somebody in the studio playing. The thing I don’t like about the Trinity is the user interface…(on guitar) If you listen to the Ghostface album Ironman, I have a song on there called “Assassination Day” where I play a slide guitar. Even though I only know a few chords, I used a metal slide and played the parts live. I also brought in live flute, vibraphone, and percussion…On “Reunited” I brought in a top solo violinist to play. If you listen to the parts she played, they started in my head and I hummed them to her. Within an hour she caught it and went crazy with it. To me, that’s a groundbreaking song for Hip Hop. As time goes on, more and more people will get into it. The sounds of my albums will make more and more sense as music that has not been on the planet before—this is new and sometimes it’s hard for people to adapt. Even though we sold four million copies, I still think a lot of people don’t know what it is.” “EQ: Not until you sell ten million…RZA: Right.”

STILL FROM ‘INTERFACE’

Mon, 23 Nov 2009 22:09:54 -0500

STILL FROM ‘INTERFACE’

New Moon midnight showing - m4w - 27 (Fargo, ND)

Mon, 23 Nov 2009 21:43:00 -0500

Date: 2009-11-20, 9:35AM CST

i sat behind you at he midnight showing of New Moon last night. Me: medium height, dark hair, long nails, mysterious. You: straight long blond hair, full ruby lips, you were wearing black cargo pants and a twilight hoodie. as your hair draped down behind your seat i just has to hold it and smell it deeply(pantene. great choice). i dont remember much ov the movie but i will always remember the smell and texture of your hair. the way you sound when you whisper and laugh. after the movie i followed you and your friend to perkin’s. i waited outside in my car so i could watch you eat and smile. i followed you home and made sure you got there safely.i noticed you left you car unlocked so i went to have a look into your life. i can tell by looking in your car that we have a lot in common. if you want your dash ornaments back you will have to meet me and we can have a great time getting to know each other. “grin”

Location: Fargo, ND
it’s NOT ok to contact this poster with services or other commercial interests

http://fargo.craigslist.org/mis/1474465927.html

SPOOKY BUUCKS

Mon, 23 Nov 2009 21:34:00 -0500

DRISCOLL T or F is that bag a bag of spooky bucks? PUNKS DONT NEED
MONEY BAGS!

Screwed n Barred Classic

Mon, 23 Nov 2009 21:18:14 -0500

Just North of Sunset Blvd.

Mon, 23 Nov 2009 21:07:10 -0500

For Screwheadz Only

Mon, 23 Nov 2009 02:53:57 -0500

This page is for the screw headz dat been down since day1. Everyday im losing friends and new enemies are created.SO i say leroy vs world. So many fake pple surround.

http://leroylunavsworld.blogspot.com/

JOHNNY SUEDE

Mon, 23 Nov 2009 00:55:45 -0500

Drank Related

Mon, 23 Nov 2009 00:39:00 -0500

Mon, 23 Nov 2009 00:35:00 -0500

Mon, 23 Nov 2009 00:32:00 -0500

"to all the new listeners there aint nothin wrong w/ yr radio this is how we do it in H-TOWN"

Sun, 22 Nov 2009 23:28:00 -0500

If you’re not listening to Michael Watts on 97.9 The Box Houston then you need to be

Victoria Render

Sun, 22 Nov 2009 21:08:33 -0500

Juicy vs. AZ

Sun, 22 Nov 2009 21:07:00 -0500

"Serious track about success being destroyed by drugs. Great tune from 1985"

Sun, 22 Nov 2009 21:05:00 -0500

Power Track

Sun, 22 Nov 2009 21:04:00 -0500

The Scrotum Poles

Sun, 22 Nov 2009 15:36:08 -0500

SCI ad. Date 1982??

Sun, 22 Nov 2009 15:34:00 -0500

Xena - On the Upside (Dub Version)

Sun, 22 Nov 2009 14:57:00 -0500

Xena having collab’d with my hero Luther Vandross explains
why this is a cut above the rest. But it’s also the mega man
infinite elevators UP allegory matched with posi lyrics that
makes it a UUJ universal utopia jam. thanks alex.

full mix here:
http://www.thewhitenoiserevisited.co.uk/2009/11/let-me-upgrade-you-electromix-volume-ii.html