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*This interview was originally done in 2007 and published in in Japanese in "Sound & Recording" magazine in Japan. interview : Robert “Waajeed” O’Bryant [DJ, producer, composer, and arranger] text by Keiko Tsukada -- What first inspired you to get into music productions? My parents used to collect records, like John Coltrane, Miles Davis, Sarah Vaughan, Funkadelic, Parliament, Bootsy... I grew up with these music & that's how I started. When hip hop started in early 80s, it was so natural to start DJing. As I started DJing, I made a group called Slum Village with my friends. As I continue doing DJ, I always knew I've wanted to do production. An old good friend of mine, Jay Dee had this MPC2000 in basement he hasn't used for a long time. ?uestlove stuck his CD in there (LOL). So I asked Jay Dee, "What are you going to do with it?" and he goes "If you can take CD out, you can take it home with you". And I ended up taking it out so easy, I took it home, made beats for like 3 days and played it to Jay over the phone. He was surprised & said "Wow!" and that word encouraged me to go on. 6 songs I made then were used in "Trinity" by Slum Village. Jay was doing a solo at that time. -- What type of equipment did you first using? Where did you go from there? I started making beats with MPC2000 I got from Jay Dee & my records and started using MPC3000 later on. I used all the money I got from "Trinity" and invested for Rhodes MK I Stage 73 and more. When I moved from Detroit to NY in 2004, I sold most of those equipments. To make really good sounds, I decided to focus on using only good minimal equipment I really needed. -- How do you go about selecting (digging) the material you use? What are your favorite sources? I got my own theory in digging. I've graduated digging soulful & jazzy records already and I am into digging rock music lately. Rock was more experimental. I am so excited especially about Queens and Yes! I am also into cinematic sounds like Vangelis from Greece. I sample from records, CDs, tapes, anything. -- What's the most important thing that you pay attention in recording for you? To recreate myself every time I get into my studio. I think my strength is my approach to music & wide range of interest in music. I listen to anything from Britney Spears to Jedi Mind Tricks. I listen to their music theory. If it's Roy Ayers, which codes does he chose? Why he didn't use strings here? 90% of the times, tracks talk to me. I've gained this skill by being music fans & DJ for a long time. -- How do you do mix down & mastering? I do most of the mix down by myself. I am so strict about my ideal target sound that I came to the conclusion that it's better for me to do it on my own rather than asking engineers in expensive studios. There's a something in common with DJing as well, like seamless flow from 1 song to the other. Like, if it's DJing, starting from M.O.P. to Anthony Hamilton edited by Theo Parish, connecting so smoothly. Mastering is different depends on projects but I ask Dave Cooley if it's hip hop. Also Todd Fairal. He is from Detroit. He did all the mix down & mastering for Slum Village, he is known as an expert for so called "Detroit Sounds". By the way, my definition of "Detroit Sounds" is different from general ideas, cos I am from Detroit. Usually hard drums & sharp snares are known for it but my vision of "Detroit Sounds" has more techno characteristics. -- About your solo album "The War LP" Branched out from PPP. I came back from a year & half tour to hometown, unemployment rate was so high especially in Detroit, all the views & people's behavior there were just like looking at a war. At the very same time, Proof of D12 pass away, Jay Dee passed away, my best friend DJ Dust passed away in the same year... I felt like I needed to make music that reflected my feeling from that time. Difficulties I've experience when I came back from the tour and the loss of Jay Dee are way deeper than music. "The War LP" was very personal album that expressed my heart deep inside. That's why I had to do a solo. -- Please give your advise to anyone who wants to be a track maker in the future. Stop listening to what you like. I know so many Jay Dee fanatics but their sounds are like watered down Jay Dee. Apart from what you love & search for your original sounds. You can use your on experience but someday you will have to establish your original history that people would love. I am a HUGE fan of Pete Rock but Pete doesn't try to sound like Premo and vice versa. Finding your own niche is the only way to create extraordinary sounds and people would remember that music for rest of their lives. -- 5 Self Selected Works (Production) by Waajeed [1] 'I Want U' from "Marvin vs WJK" by Waajeed & The Jazz Katz [2] 'Funk In The Hole' from "Virgin Ubiquity Remixed EP 2" by Roy Ayers [3] 'Act Like You Know' feat. Jay Dee from "Triple P" by Platinum Pied Pipers [4] 'O'Bloody Days O' Starry Night On The Bowery' feat. Tiombe Lockhart from "The War LP" [5] 'Starz' from "Fabric 26" by Waajeed (Global Communication) :::love, thx & joy:::
by kokosoul
| 2013-05-01 10:44
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