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Best Album of 2012! ……that was released by me


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Did I tell you about that time I released an album for ‘pay what you want’ download?  No?  Well, I’m about to tell you now!

Firstly, download it here: http://iamfg.bandcamp.com

It’s 13 tracks (at least…….) long and has some great guest appearances from Empty, G-box, Wisdom2th, Hallows and DJ Silence (and maybe even ASAP……..).

I finished this one in November last year and only just then realised that I never told you folks about it (mostly because I’m doing all my blogging at http://www.thecommunity.com.au/FG now).  Anyway, download it and enjoy!

Let me know what you think.

PEESHE
FG

P.S You can also buy a hardcopy on CD if you want.

 
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Posted by on January 4, 2013 in Album, Hip Hop, Making Space Album, Production

 

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Using the MPC2000XL for live shows.


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Long time no blog.  I’m usually blogging at http://thecommunity.com.au/FG these days.  However, I thought I’d drop a technical blog here because the other blog is just for my musical endeavours.

I’ve been doing a bunch of shows lately.  Emcee sets and beat sets, mostly.  Regardless of the type of set I’ve been keeping my MPC2000XL central to the show – playing beats off it for raps and doing live beat stuff on it when I run out of breath.  Over the course of these shows I’ve encountered plenty of “technical difficulties” and found some solutions so I thought I’d drop a line for anyone who’s looking at doing a similar thing.

Here’s a list of 5 things you should do to ensure that your sets run off the MPC flawlessly:

1.  When preparing a song, sequence or program to play live make sure you don’t gain any of the samples.  If something is too quiet, mix everything else lower rather than raise the level of that sound.  It can be very tempting to go into the TRIM –> PARAMS window for a sample and crank the level to 200.  You will be very tempted to do this for kicks and snares in particular – but avoid the temptation.  Similarly, don’t turn the VEL% on your sequence tracks up above 100, either.  Here’s why…

The Digital to Analogue Convertors (DAC), I think, run before the volume gain stage on the outputs.  This means that any internally gained sounds have the potential to be sent from the MPC to the front of house mixer at greater than 0dB.  This is part of the reason that MPC’s have an “analogue” sound to the audio they output.  However, the result can be a catastrophic clampdown by the front of house compressor (if they have one, which 99% of the time the venue does) or, even worse, over driven and distorted sounds and, even even even worse, you could blow out the venues front of house speakers and end the show entirely.

Front of house compressors are much like mastering compressors in how they’re set up.  They have a relatively slow attack time and a very long release.  Anything that goes into them too hot will cut through for a moment (which sounds like a big POP) and then the level will drop enormously before slowly creeping back to normal (at which point the hot kick or snare usually hits again and the process is repeated).  This not only sounds terrible but makes it damn near impossible to stay on point with any pattern that you’re playing live.

If you never gain sounds in the MPC, then you should never send a signal hot enough to make the compressor shit itself and you should never have any problems.

2.  If you’re not playing a program on the fly (a la Exile or ARAAB) then make sure you name your tracks and sequences.  You can even go so far as to arrange them in the SONG window and convert the whole song to one new, giant sequence.  That way, if you have an outro without any vocals, you can jump into the MUTE window and do a nice little ‘on the fly’ drum/sample drop sequence.

3. Convert as many samples as you can to mono.  This is usually absolutely fine for drums (kicks, snares, hats etc) and percussion.  You have to decide for yourself whether it’s worthwhile for samples.  It usually won’t hurt for bass (as many systems mono the bass anyway to avoid phasing issues in the venue).  The reason for doing this is purely to reduce the time it takes to load a new program and sequence.  If you have a Compact Flash drive or SCSI drive then the load time will be between 10 and 30 seconds for a song.  Needless to say, if you run off floppy disk still – then you’re in for a world of hurt waiting for the MPC to load so you’re better off just learning how to adlib really well between songs.

4. Fall in love with the 16 levels function and the SLIDER.  They are both limited.  You can’t turn 16 Levels on or off while a sequence is playing, for example, but with some deft skills you can stop a sequence in the final count of the loop, hit 16 levels, and then press PLAY START in time to catch the first beat of the next bar.  Make note of my qualification about DEFT SKILLS… you’ll need them.  This does allow you to, for instance, go from some on the fly arrangement into a synth solo on the MPC though so it’s worth experimenting.  The SLIDER can only be assigned to 1 pad at a time but you can get some gnarly effects from it.  Assign it to a synth/siney tone and you can go pitch shift crazy.  To make this seem flawless, set the sine tone as a short loop and make the END time for the amplitude envelope quite long.  The SLIDER can’t vary the pitch while a sample is playing but with a long release you can tap the sine pad repeatedly while moving the pitched and create a fairly seemless sounding sine pitch shift.

5. Learn to love the filter envelope (PROGRAM WINDOW, highlight cutoff or resonance and press OPEN WINDOW to access it).  This can turn a really simple looped sound into a damn good imitation of an old analogue synth.  For even more Moog-ish funk, link the pad to another pad with the same sound but pitched up or down 120 (1 octave).  You can then alter the filter envelope on the second pad in an entirely different way to the first pad and create very interesting sounds such as a bass not that falls hard, sharp and low at the start and then sweeps in with a squelchy higher frequency towards the end.  Very cool.  You could also link two patches of the same sound and pitch one down 1 or 2 and the other up 1 or 2 for a fat detuned bassline.  Just beware of phasing.  Either way, this can really cut down the need to bring a synth to your gigs.

And, that’s my top five recommendations for using the MPC2000XL live.  It’s nearly 13 years old and I’m yet to find a replacement machine that can compete (and trust me, I’ve tried Maschine, Ableton, the MPC1000 and many other units).

PEESHE

FG

 
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Posted by on August 9, 2012 in Uncategorized

 

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Maschine Heart.


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I finally picked up Native Instruments Maschine last week and have spent all day today working on a remix so that I can learn how it works.  I’m not going to review it just yet because I’m still getting my head around it all.

All I can say right now is “MY BALLS!!! THIS SHIT IS DOPPPPEEEE!”.

Seriously.

You always take a gamble when you buy new gear.  This is particularly so when you buy complex gear like samplers and midi controller interfaces and software etc.  So far, Maschine has been awesome.  I’ll do a gear review of it in the future when I’ve mastered it a bit.

However, my experience with Maschine so far is bitter sweet.  I’m actually legitimately saddened.  The reason for my sadness is this:  I can see Maschine coming to replace my MPC2000XL for the majority of my production.  That is seriously heart wrenching for me.

I bought my MPC2000XL in about 2000/2001 when I got my first proper job.  Since then I must have produced well in excess of 1000 beats on it.  It has never faltered or caused me any issues.  It has travelled thousands upon thousands of kilometres with me.

Perhaps people who aren’t producers wouldn’t understand but the truth is – you build up a relationship with your music making equipment.  Sometimes these bits of circuitry and buttons are your only respite from all the bullshit that is happening in your life.  If I had a bad day, I always knew that I could go into the lab, fire up the MPC and forget about all my problems for a little while at least.  And you come to know ever little function, feature and quirk of the gear that you use regularly.  It really does become like a friend.

It’s not mere nostalgia talking here.  There is a genuine sadness.

However, the MPC2000XL does have its limitations and they are limitations that are now limiting my ability to keep up with the demands of my production cycle.  Primarily, the fact that I mix in Logic (and the MPC doesn’t interface with computers like Maschine does) means that I spend far too much time bouncing individual tracks out so that I can mix my beats.

I’m about to move my MPC2000XL to the small “ideas table” in the corner of my lab.  This is the place where I leave stuff to use irregularly whenever I’m looking at changing my workflow and generating some new ideas.  I’m going to put Maschine here in front of my iMac as my primary production tool and sequencer.

Just know that I do it with a very heavy heart.

 
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Posted by on March 19, 2012 in Audio production, gear, Production

 

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Turning Samples into Instruments


Hey folks,

I just put together a quick video for some of the folks at http://www.ozhiphop.com and I thought I’d link it up here, too.  It’s just a simple technique that you can use on your sampler to turn tiny parts of samples into instruments.

PEESHE

 
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Posted by on December 1, 2011 in Uncategorized

 

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REMIX!


Hmm

Not my workspace but oddly quite similar.

Hey folks,

Here’s a little remix I worked up for Organic Affiliates.  They posted an acapella on their Soundcloud account yesterday.  Coincidentally, I was looking for reasons to avoid working on the niggling details of my album so I wasted my time slapping together a beat for this track.

The second verse (which was actually the first verse) was kinda loose so I tried to mess with the arrangement to make it fit rather than drag everything on time (that’s a touchy decision for a lot of emcees since you’re twisting up their flow).  If the remix was anything more than a mess around I would have got the second emcee to spit their verse again.

PEESHE

 
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Posted by on August 21, 2011 in Uncategorized

 

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Gear review… EB16 FX board for the MPC2000XL.


Definicja Vintage

An MPC2000 (not the XL, you can tell by the heat vents in the top right corner and the immovable screen and the volume and record knobs are on the top left side and the jog dial is white, not black) with well worn pads. Doesn't it make you feel warm inside?

Hi folks,

It’s been a while since I reviewed any of my gear, so I thought I’d have a crack at it in this post.

Recently I got my hands on an EB16 FX board for my MPC2000XL.  I’d been eyeing one for a while (pretty much ever since I got my MPC about 10 years ago) but a) never had the disposable income and/or b) felt that my skills needed to be tighter before I bought some extras.  Anyway, in a moment of hubris and excess cash I decided to jump in the deep end and grab one from some French guy on eBay.

And I have to say – it has been a very worthwhile investment.

For those that don’t know, the EB16 was an expansion card that was offered by Akai for the S2000, S3000, MPC2000 and MPC2000XL samplers.  It may also have been for the MPC3000 but I don’t really know.  They’re relatively rare these days (but not as rare as the MFC42 filter expansion).

The unit offers 4 discrete FX busses, 2 of which are solely for reverb sends.  The first two effects busses are multi-effects units which provide a combination of distortion, parametric filter, modulation, delay and reverb.  Each of these effects can be individually switched on and off and include a fairly extensive range of modifiable parameters and settings.  A final MIX stage on the multi-effects busses also allows for a range of routing options (so you can go from modulation into reverb or reverb into modulation etc).  The effects are accessible through the MPC mixer window and individual pads can be sent to any of the four busses to varying degrees – that is, you can control the amount of sound being sent from a pad to each buss.  All in all, whilst not comparable to the extensive effects routing and options available in a DAW like Logic, it is nevertheless a very flexible tool for manipulating sounds as you produce.

Of particular ‘coolness’ is the frequency modulation that is available on the parametric EQ module.  This acts much like a phaser and you are able to adjust the depth of the modulation as well as the Q width and rate for both the lower mid and upper mid frequency bands.  The results is a very nice sounding spacey-ness and phasey warmth in the midrange.

Each of the effects is wholely usable, in general, but there are some limitations.  Due to the grouping of particular effects, it can often be an either/or decision as to which effect to apply.  For example, you can’t use both the rotary speaker emulation and the flanger on the same effects buss (not that you would probably want to).

So, does it make you a better producer?  Well, no.  You’re still doing exactly what you were doing beforehand.  However, it does provide some great additions and effective tools for improving the beats you make.  It won’t fix bad technique or poor quality chopping but it will open up new and interesting avenues for the sounds you have.  And that can’t be a bad thing, right?

PEESHE

Oh, and here’s a video of the ugly monstrosity that is the MPC2000XL SE2 which, if you can stand the horrific music for long enough, shows you the EB16 when it is installed.

BTW:  How do you make Lady Gaga angry?  Poke her face.

 

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Great albums…


What’s going on, folks?

Here’s a killer album that you should definitely lay your hands on.  It has been dug and sampled to death but it stands alone as a brilliant recording.

Released in 1974, the album spawned three singles (“Reasons”, “Seeing You This Way”, “Lovin’ You”).  With heavy influence by Stevie Wonder (two songs written plus instrumentation under the name El Toro Negro), the album is hardly “edgy” or “progressive”.  Yet, it is exceptionally well recorded and brilliantly written.  Most impressive though is Minnie’s vocal range and expressive delivery.

Unfortunately, Minnie Riperton died of cancer in 1979 at just 32 years of age.
PEESHE

 

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