Kanye West's Sound Engineer Andrew Dawson Interview With L.A. Times

L.A. Times: Describe how you started working with Kanye West. And what do think it’s taken for you to be successful working with him prior to his latest album?

Andrew Dawson: When Kanye was halfway through "The College Dropout," he’d fired about six to eight engineers in about a month because they weren’t up to snuff, and it was eventually my turn to be next on the chopping block. I haven’t been fired since, seven or eight years later.

L.A. Times: How did you get involved with the "Fantasy" album, and what were some things you talked with Kanye about in terms of engineering and mixing it?

AD: "My Beautiful Dark Twisted Fantasy" pretty much started New Year’s Eve 2009. He flew everyone out to Hawaii the day before New Year's Eve ... and I remember on New Year’s Eve I was in the studio getting everything ready to go for the next day. And on Jan. 1, we were getting into the recording sessions and worked pretty much 24-7 for six months straight out of Hawaii. I literally would leave to go shower, change clothes and come back to the studio. There weren’t many beach days. But Kanye went through his process and worked on it solid for a good six to seven months.

But as far as engineering, there are certain sounds and certain production aspects that he really likes. If there’s a sound or an idea he wants, he’ll take it to, like, an extreme, to where you start to wonder, "Why is this so far out there?" Then he’ll pull it back to a perfect amount. He’s the master of knowing how to push things almost too far. ... I did some co-production on “Power.” I was the one who found that “21st Century Schizoid Man” sample and chopped it up.

L.A. Times: Where did that idea come from?

AD: Some random day I saw a T-shirt that reminded me of an album cover by King Crimson, and I went back and listened to that record. And Kanye and I were checking it out, and he ended up taking the sample and putting it in “Power.”

L.A. Times: What background or skill set do you bring to these kind of notable hip-hop artists that allows you to stand out in the production world?

AD: I’m a piano player, a guitar player and a songwriter, and I’m aware of all those aspects. So I can be different from other engineers where it’s purely a technical thing where they’re just trying to get the best sound. And I can sit back and say, "Yeah this sound is cool, but it doesn’t work with the arrangement. Maybe we should try it this way." I can anticipate a lot of times where an artist is wanting to go with a song and have arrangements and other things laid out before they even have to ask. It helps making their creativity flow as easy as possible.

L.A. Times: What aspects of the album really challenged your skills?

AD: Kanye wanted to do a complete departure from the standard format of hip-hop albums. The cool thing for me was that I got to throw out all of those pop conventions where we had to have a four-minute song and have a hook come in the first minute. It was very free-form working on the album. So the key thing was trying to capture it without getting in the way and trying to let [West] express his ideas as easy as possible.

L.A. Times: What’s it like seeing some of the projects you’ve done this year -- like Kanye’s “My Beautiful Dark Twisted Fantasy” and Drake’s “Thank Me Later” -- do as well as they have been given that you were behind the scenes helping to create them?

AD: It’s kind of cool for me to see people get excited about because it’s something I lived every day. So while the process is going on, I can feel the energy of how exciting and interesting it is, but it doesn’t really hit me until the album comes out. While I’m making the album I’m super critical and analytical and when it comes out, I’m like, "Now I can enjoy it" and be a bit detached from it.

L.A. Times: Where do you see yourself going next in terms of upcoming projects?

AD: I’ll be producing an album for P.O.S. He’s a friend of mine going all the way back to high school, and he just reached out to me earlier this year and said he wanted me to produce his entire album. So he and I are set to start working early in 2011 in L.A. to his follow-up album to “Never Better.” A lot of the mixes and the engineering I do are heavily production involved. I’ll do a lot of sound replacing or changing arrangements. I’ve worked on quite a few tracks as a producer, but sadly all of the artists on the label I worked with, nearly every one of them, were dropped or shelved. So I’m really excited to work with him on his album.

L.A. Times: Where does the "Fantasy" album fit in terms of career milestones for you as a sound engineer?

AD: This album puts the bar so high, working on such a creative album, it’s very interesting to see in my career what could top it. I’m not gonna say it couldn’t happen ... but it gives me a goal to work toward. (source)

Relapse 2: Alchemist Spills The Beans On Eminem Working With DJ Khalil

DJ Khalil seems like the preeminent music producer that Eminem would go to. The LA based Khalil is on a hot streak + he's a in-house Aftermath producer, it only makes sense.

via XXL

Off the heels of his Grammy performance of “Forever” with Eminem, Lil Wayne, Drake and Travis Barker, XXLMag.com had the chance to chop it up with The Alchemist about Em’s highly anticipated new disc, Relapse 2.

While the disc does not have a release date as of press time, ALC says Em is hard at work in the studio with DJ Khalil. The West Coast beatsmith has had a big year, producing standout joints for Drake (“Fear”), Clipse (“Kinda Like a Big Deal”) and Slaughterhouse (“Cuckoo”).

“Khalil—who I think is like the best producer right now to me—he had been sending records to Em for a while that wasn’t like, they weren’t like clicking in,” Alchemist told XXL. “Em knew he was dope but they haven’t found the right one. And I think they found a couple joints now… the joints they have are crazy. I can’t say 100 percent [that he made the album], but I have heard at least two joints Khalil did and they’re fuckin’ stupid.”

Al, who serves as the Detroit lyricist’s tour DJ, revealed that he has yet to score a beat on Em’s project. “I’m starting to be around Em and the camp more,” he said, “especially finishing these albums. Factor in Em’s sober now, it’s like that’s my man, we chop it up a lot more now…it’s like little by little I’m figuring out what I have to do to create a sound that would be Alchemist/Eminem. I didn’t get it yet.”

One person that Em has been working a lot with is Just Blaze. Al gave XXL insight into their chemistry: “He clicked with Em,” he said. “It was really amazing, too. They really vibed and made some music, beyond like Just just sending him beats, it was nothing like that…I think it’s a perfect meshing of the two…If you could imagine what they could bring to the table at this point, it’s pretty close and maybe a little more.”

In fact, in ALC’s opinion, the whole album is a level above the first Relapse. “He’s doing things lyrically on this album that he hasn’t done before,” he shared. “The punchline game is really back.”

Jullian Boothe: Interview With Slip N Slide Records VP Of A & R

via PMP Worldwide

PMP: Talk about the distribution breakdown because you have certain artists that are signed to different major labels

Jullian Boothe: We have Trina, Mike Bless, Jagged Edge and my dude Duece Poppi all going through EMI now as part of a new deal we did with them. We picked EMI because they have worldwide distribution and we have a great deal with them so structure-wise it was more beneficial for us to go that route. We love our deal with Def Jam and we love our deal with Atlantic but financially now were moving toward the future of building Slip N Slide as a brand that can stand on its own two feet were we can do everything in-house. So I'm good with going that direction especially when it comes to the new artists we're signing now.

PMP: What do you feel are some of the biggest changes occurring in the urban music landscape going into the new decade?

Jullian Boothe: Right now you really have to build superstars there is no longer any space for mediocre artists that can only make one great song and that's it. Back in the days one-hit wonders, if handled correctly could really live off of that one record for years like Tone Loc and Sir Mix-A-Lot. They sold millions of copies so everybody 30 years old and up can still remember being 16, 17 years old hearing one record on the radio you love and then running right to the record store the day it came out to buy the album. Even if the album wasn't hot you had no choice but to purchase it to hear that one song you love. Those days are over now so if you come out now with a half-ass album you're not going to sell any albums.

The only people selling now are artists that are making classic albums and you can really count on your hand how many artists went platinum in 2009. You got Lady Gaga, Taylor Swift, Black Eyed Peas and a couple of others. Everybody else sold fewer than 500,000 copies which is crazy. The way Slip N Slide is structured we have to spend less in order to make a profit now. It's all about watching what you spend and really looking for an artist that can do everything. I'm looking for an artist that can act, sing, write and produce. If you can only sing that might not be enough because you can have a no #1 song and sell no units. So there has to be other avenues the artist can exploit in order to maximize the revenue potential.

PMP: What's your view on artists that can sell a couple of million digital singles but not go Gold or Platinum when it comes to album sales? Are the digital singles enough to consider the project a major success?

Jullian Boothe: It's enough if you're using the artist for that one song. The whole thing about the music industry is you want to build an act up to the point when they're on their 3rd, 4th and 5th album you (the label) don't have to spend as much because they're established now. When you have an established artist such as a Jay-Z for example his fans will go see him in concert regardless of whether he has a song out or not because you know his body of work. Everybody already knows who Jay-Z is. Now you may hear a new song which sold a million records but you're not going to see that artist in concert because you like the song but you barely know the artist name much less care about them enough to see them live. You will jam to it if you hear it on the radio but if they're in town why would I want to go see them, there's not enough appeal until you're exposed to a body of work from them over a period of time. The artist has to build a reputation of putting on a great show so people will feel they're missing out and put their money up to be a part of the experience

PMP: So the main objective is to blow the artist up without breaking the bank...

Jullian Boothe: Exactly!

PMP: Has this lead to you looking to work with newer talented writers and producers who can provide the same hit material but at the fraction of cost?

Jullian Boothe: I like working with new producers and writers because of the hunger they bring. I love to see new artists and producers blossom from not having a dollar in their pocket to becoming a millionaire off of one song. The new guys usually come harder than most of the established ones but there are a few vets that are willing to work with me no matter how big they are. I tell them 'look I can't afford to pay you $100,000 for a track anymore, its just not financially feasible' and they're still willing to be in 100% so that's a good situation.

If you check the new Trina and Jagged Edge projects you will see new faces pop up on the production side that I've been using. With Jagged Edge's new single (Tip of My Tongue) there is a new producer that nobody knows (Mad Skrews) but I love to give new guys a shot because most people wouldn't even take their phone call.

Read the full interview here:
PMP Worldwide - Jullian Boothe VP A&R/Slip-N-Slide Records

Krayzie Bone & Flesh N Bone On A Music Production Panel At 2010 NAMM Show

Krayzie Bone & Flesh N Bone from Bone Thugs N Harmony at the 2010 NAMM Show In Anaheim, CA on the Steinberg/Yamaha panel along with in-house producers DJ DreGhost and Dave "Rainman" Banta talking about how the new album Uni5 was recorded with Cubase recording software.

and below the guys are strolling around the cavernous halls of the Anaheim Convention Center meeting fans and checking out the latest music products at the 2010 NAMM Show over this past weekend.



(video courtesy of LPproducer & dharkknightimaging)

Related:
Bone Thugs N Harmony NYC Listening Session Album Preview

Solid State Logic Matrix Studio Integration Console Installs Grow Across Recording Industry

Matrix Console Featured at Winter NAMM 2010

ANAHEIM, CA – Introduced at last year’s NAMM, the Solid State Logic Matrix Studio integration console continues to enjoy brisk sales across all levels of the industry. Professional studios, including Timbaland’s touring bus, South Beach Studios and Larrabee Studios, join major educational placements, such as Full Sail University, and smaller private studios relying on Matrix. Engineers and artists alike have come to appreciate the flexibility, signature SuperAnalogue™ sound quality and comprehensive DAW (Digital Audio Workstation) control offered by Matrix. Matrix will be featured at the 2010 NAMM Show, Booth 6907, Hall A at the Anaheim Convention Center from January 14 to 17.

“We are very happy that so many major studios, stars and educational facilities have embraced Matrix,” says Piers Plaskitt, CEO of SSL, Inc.

When superstar performer, composer and producer Timothy “Timbaland” Mosley considered rebuilding his exclusive tour bus, the focus was on building a state-of-the-art facility within the space confines of the vehicle. Timbaland and his technical staff decided on an installation that included the new Solid State Logic Matrix console supported by seven fully loaded XLogic X-Rack systems with digital I/O to Pro Tools® through SSL Delta Link and Alpha Link AD/DA converters. This installation represents the first application of Matrix in a mobile environment.

Says Demo Castellon, head engineer for the Mosley Music Group record label, “The Matrix was the perfect choice for what we were trying to do with the bus. You have one of the most prominent hit makers of our time and you have the king of the console makers. When you have two powerhouse entities getting together, you can’t help but expect that something great will come out of it.”

Full Sail University, Winter Park, FL, has installed seven Solid State Logic Matrix consoles and Duende PCIe cards as the centerpiece gear for the newly enhanced “Recording and Mixing Consoles” lab program. The Matrix-based lab offers Full Sail the ergonomics and functionality of a larger analogue desk, while offering the on-console control of the lab’s Apple Logic Pro-based DAWs.

“When we decided to upgrade the program, all our research kept coming back to the Matrix as the console of choice,” says Dana Roun, director of audio programs for Full Sail University. “We are an educational facility and we need to teach our students about what they are likely to find in the real world. Our students will definitely see the Matrix out there in the industry.”

South Beach Studios, Miami, FL, installed Matrix along with four X-Rack’s to provide mic pre’s and processing in Studio B. The room is intended as a working base for reknowned mix engineer Andrew Coleman, who has a long standing relationship with Pharrell and Chad Hugo of The Neptunes and N.E.R.D and has partnered with mainstream artists such as Timbaland, Gwen Stefani, Missy Elliot, Mariah Carey, Madonna and Justin Timberlake.

“When we looked at the needs of Studio B, Matrix became the obvious choice for our mission,” says Joe Galdo, co-founder of South Beach Studios. “We have had a long, positive relationship with SSL through our experience with the 4000 G Series Tom Lord Alge uses in Studio A,” relates Galdo. “SSL produces great sounding consoles that stand the test of time both for their sonic qualities and for reliability. The X-Rack supplies us with input options found on the SSL Duality and we could not be happier with Matrix.”

Larrabee Studios, in Universal City, CA, a facility that has defined the high-end commercial recording studio for decades is re-defining the meaning of full service by opening a production room centered on a Solid State Logic Matrix console. Responding to client interest, the Matrix production room allows artists and producers to have a smaller room available for composing, working on a part or experimenting with a sound.

“We are a commercial studio of the highest order servicing clients who want to work in a professional environment,” states Kevin Mills, the owner of Larrabee Studios. “The home or project studio working model is very popular across all levels of the industry offering artists the opportunity to work in an intimate environment for their creative flow. We wanted to provide a room that addresses this way of working within a commercial studio and Matrix was the console of choice for the project.”

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. (source)

For more information about our award-winning products, please visit:
solid-state-logic.com

Kerry “Krucial” Brothers: Alicia Keys Collaborator & Producer Interview

via Sonic Scoop

Kerry “Krucial” Brothers is Alicia Keys’ right-hand man — her longtime production and business partner in KrucialKeys Enterprises and The Oven Studios, and one of the Executive Producers on The Element on Freedom. As with As I Am, Brothers and Chief Engineer Ann Mincieli (pictured above) form the start-to-finish production nucleus that powers their artist.

Keys’ production partner since the early days, Brothers is trusted as the artist’s “extra set of ears,” and routinely makes the decisions that keep the production process moving forward. He is indeed crucial to this operation, which once in full swing — with mixers Manny Marroquin and Tony Maserati, and mastering engineer Dave Kutch in-house at The Oven — requires this musical right-hand man to be on-site and on-point.

Sonic Scoop: Is this all-under-one-roof process about pushing the envelope of production? Why do it this way, in this day and age, with the expense of bringing people in-house?

Kerry “Krucial” Brothers: It’s kind of costly, but it’s really about keeping the quality up. With the technology you can send files, but with everyone here, you can say, “It sounds distorted. I need to change this.” Then you can run upstairs and say (to the mixer), “Can you change it?” You’ve got creative opinions. If Tony wants to add something, we can overlay it. Then when we get to the mastering, we say, “Can you EQ this?”
It makes my job a little easier. It gets everyone into it the project more, and the quality is better. Now with the big labels, everyone is about the bottom line. You could say, “I want to do this or that,” but they don’t care. Here, everyone cares, and that’s the main thing.
I’m one of the Executive Producers on The Element of Freedom. I’m Alicia’s main musical partner, producing, writing, arranging, and we’re doing it one more time. It’s still exciting, because each album we try new things. No album sounds like the one before.

Sonic Scoop: Alicia is obviously very hands-on in the production process. How do the two of you communicate?

Kerry “Krucial” Brothers: I’m her extra set of ears. Sometimes she’s busy doing promotion, for example, so she pretty much trusts my ears. We’ve worked together for 13 years now, and it’s like, “If you say it’s good, I believe you.” I’ll listen with Dave, listen to sequences, mixes, I’ll give my opinion.
We’re almost one mind now, we’re so much alike. We learn a lot from engineers, especially from Ann, bringing in new things to try out.

Sonic Scoop: How would you characterize the way you and Alicia work together?

Kerry “Krucial” Brothers: It’s always sharing ideas as lovers of music. Ann really keeps up and maintains the studio, and you really couldn’t have a better person doing that. We’ll use new equipment, and that inspires so many songs. During the off-hours, we’re really taking the time to learn different things — we’ll try out a new bundle, a new plug-in, adding in new elements that come out. We’re still like little kids, and that keeps the energy. We’re lucky to have a label that supports it.

Read the full interview here:
Sonic Scoop - Key to Keys: Kerry “Krucial” Brothers, Executive Producer

& read more about the Kerry “Krucial” Brothers & Alicia Keys in-house production team in their own interviews on Sonic Scoop here:
Manny Marroquin, Mixer
Tony Maserati, Mixer
Dave Kutch, Mastering

Musician Chin Injeti Gets Big Name Production Credits w/DJ Khalil

via Vancouver's Straight.com

Local producer Chin Injeti and his L.A.–based partner, DJ Khalil, were responsible for some of the sounds on Til the Casket Drops by Clipse. In fact, the duo produced the first single from the new record, “Kinda Like a Big Deal”—which also features Kanye West. The team also scored a production credit for “Could’ve Been You” on 50 Cent’s Before I Self Destruct.

“It’s been an exciting year,” Injeti told the Straight, fresh from a trip to L.A. to put the finishing touches on his and Khalil’s album as the New Royales. “Khalil is signed to Aftermath Entertainment, so he’s quite an up-and-comer, and whenever we do something, it gets played. We’re synonymous with a certain sound.”

Red Bull Big Tune 2009 National Finals In Atlanta Tonight!

via the press release

The Mecca of hip-hop plays host and critic to 16 aspiring producers who are primed to innovate the music scene with the next "big tune." On November 3rd, Opera opens its doors to the national finals of Red Bull Big Tune where the crowd determines who has the sickest beats. Eight qualifying battles were held across the US bringing the winner and runner-up from each stop to represent in the ATL. Before each producer rocks the stage they will have one-on-one experiences with top name talent Just Blaze, Mr Porter, DJ Toomp, The Bizness and Don Cannon who will help them gain industry insight during two days of mentorship. The night will be jam packed with talent! Performers of the night are Jadakiss, Alchemist, Mr Porter, Just Blaze, and The Bizness.

Producers looking for their big break and to walk away with the Red Bull Big Tune title: Phoenix Denver Chicago Winner - Lifted Winner - Boon Doc Winner - J Rell Runner up - Young Seph Runner Up - Xperiment Runner up - J Mac Seattle Minneapolis Detroit Winner - Marcus D Winner - Nicademus Winner - Apollo Brown Runner up - KD Cutz Runner up - G Mo Runner up - Frank Dukes New Orleans Las Vegas Winner - Hannibal the Beat Animal Winner - DJ Finyl Runner up - Sky Scrapa Runner up - D1 (Deuno)

The winner of the Red Bull Big Tune national championship in Atlanta receives the opportunity to record in the Red Bull Studio in Los Angeles with an A list emcee of their choice. In past years some names have included Common, The Game, Ludacris, Lupe Fiasco and Talib Kweli. Last year's Red Bull Big Tune winner, C-Sick, had a hands on personal recording experience with hip-hop great Nas. "Everything sounds great!" exclaimed C-Sick after a long day in the studio. "The way Nas spits over beats is crazy. It's exactly what I expected." The end result was a track named "Film" This year's winner will have a choice of three to five top notch emcees to choose from.

Read the full press release here:
Press Release - The Mecca of Hip-Hop Hosts Red Bull Big Tune 2009 National Finals

Rodney Jerkins Shows Us His Music Production Arsenal

WinkSound.com: in the Studio With DarkChild on Howcast

Rodney Jerkins the self proclaimed "Darkchild" and his music production team puts the midas touch on today's and tomorrow's hitmakers. From Destiny's Child to Michael Jackson to the latest hits with Mary J. Blige and others, Rodney continues to be the "Go To Guy" for every major music artist recording today. Seen here, Rodney Jerkins gives us a sneak peek behind the walls of his LA based Darkchild Studios and shows us the audio gear that makes it happen.

(video courtesy of Wink Sound & How Cast)

Rodney Jerkins Explains "Darkchild" Sound for P.Diddy TV Show

P.Diddy's Starmaker airs on Sunday Nights on MTV.
P.Diddy's Starmaker

(video courtesy of Wink Sound)