By Philly Stress
Sat Oct 16, 2004 1:49 am
BIG UP TO EVERYONE OUT THERE ON THE BOARD!
As Producers we help CHANGE Hip Hop Back to the way it was
"86-95".... Orginal!!! That's why keep posting these Interviews to Inspire
myself and all of yall. Here a dope Lord Finesse Interview- He talks about
His productions for Dre,Big L, Biggie Smalls (both R.I.P.) and his beat making techinques and the gear he uses!!
Check it out!
If you're a REAL Hip Hop head then you know that Mr. Lord Finesse doesn't need no introduction. "From the Crates to the Files" is a audio collage of Lord Finesse's lyrical and production talents from the early nineties. Yep! It's in stores NOW!
We caught Mr. Lord Finesse at a studio party in Queens hanging out with a room full of industry heads. He hit the party with an exclusive joint from the late Big L featuring Sheek Looch, and Mr. Lord Finesse himself. We also heard the joint he got coming out with Rell from Rocafella.
How did you get into the music game?
I came in as an artist who wanted to be recognized as one of the best lyricist in the game. I kind of achieved it more on a street level than commercial level, ya know! In the midst of that I became a producer.
When did you get your first break in the music industry?
I got my first break in1989. I was part of the WILD PITCH roster with GANG STARR, CHLL ROB G, and MAIN SOURCE.
Did you do any of the production on your album back then?
I bought loops and ideas to the table but I was nowhere near ready to be a producer at that time. I could pick what I wanted to rhyme to. I started producing in 91 or 92.
Define what a producer is in Hip Hop?
When you're working with an artist you have to bring out the best in the artist. It's not hitting someone with just a beat and saying rhyme on this. You have to make the artist feel comfortable and experiment with different elements.
What machine did you use in the past and what are you rocking now?
Mike Smooth let me hold his CASIO RZ1 sampler. That was the first machine I've ever touched. Showbiz evntually taught me the SP1200 and Jesse West showed me how to use the Akai S950. I was using the SP1200 and the Akai S950 for like a decade. I got my Akai MPC 3000 in '96 and it sat in the box for like 3 years before I would touch it. My main production gear is the MPC 3000 and the Akai S6000. Everything else is techniques, methods, and formulas ya know!
When did you start using your MPC 3000?
I was in a session in California with Mel Man and Dre. Mel Man was loading 5 to 6 beats at time in the MPC 3000. I waa only able to load one program at a time with the SP1200. I felt like I was in the Flintstone era and they were the Jetsons. The MPC 3000 technology was just better than the SP1200. It made me step my game up. Its crazy now! My production is on another level now.
There were rumors about you joining Aftermath's production team. You've produced a song on "Chronic 2001" album titled "The Message" featuring Mary J Blige & Rell from Rocafella records.
What was it like working with Dre and Mel Man?
I learned a lot in such a short amount of time. Their work ethic is incredible. They constantly work. The experience bought my game up on the technology and production end.
So working with Aftermath was a positive experience?
Hell yeah!
Critics are alleging that DR. Dre doesn't do his own production. From your experience do you agree with that statement?
I don't agree with that. Dre is a visionary. He sees the picture before the picture is even shot. As a producer he does a lot of orchestrating. He's like Quincy Jones in a sense. To produce a record you have to produce every aspect of the record. Producing and looping a sample is two different things.
The Isley Brothers "Between The Sheets" is a "Hot Dig". A lot of producers used this sample but most critics believe that Biggie Smalls did it best. The song was well produced.
Yeah! They just looped it and Biggie brought an in depth feel to that track. The vibe was incredible. The same thing happened with Big L's "MVP" and Biggies "One More Chance remix". They both used the same sample. I brought the track to Big L and put my twist on it and it came out dope. Biggie took it and put a flow on it and killed it. Big had a knack for taking loops and rocking it naked because his lyrical talent bought out the best in the music.
You also worked with Biggie on his first album and produced a song titled "Suicidal Thoughts". What was that all about and how did that go down?
Big put that together. He heard the beat and had an idea for a song. I never had a chance to hear the song until the album dropped. I wasn't there when he dropped his vocals. They took the beat and made a hot song and that was that. Everybody was giving me rave reviews before I heard the song. I was present for the other song I did titled "Come on Mother F*ckers" with Sadat X. I was there for that whole process. The song never came out. It was released later as a remix by Clark Kent. I should of got credit for that song because I did the original version.
Lord Finesse still D.I.T.C.? What's up with D.I.T.C.?
Diggin is always going to be there ya know! I can't erase that no matter what I do. You got O.C. working on his project. You got Buckwild the producer extraordinaire. He got a group called Corrupt Money. You got A.G., Party Arty, D Flow and my partner in crime Showbiz. Fat Joe and the Terra Squad are doing it. Diamond D and his Omen crew. It's D.I.T.C. forever.
Would you agree that D.I.T.C. is one of Hip Hop's most talented crews in comparison to The Juice Crew, Wu Tang Clan and Hit Squad?
I agree with that and I have to credit the era that we were in. Hanging around a Marley Marl, Large Professor, Pete Rock or Premiere, you're talking about the icons in Hip Hop production. We were in an era when the competition was crazy. You had no choice but to be nice at what you were doing especially production wise. When you got Diamond, Showbiz, and Buckwild on the same team that's a lot of knowledge in one room.
What are some of your production methods and techniques?
When sampling you should listen to the whole record and chop all around the vocals, then put the elements back together as an instrumental. I learned that from Large Professor. I listen to records everyday and I find sh*t everyday.
How many records do you own?
Wow! I have about 10,000 records. Compared to Showbiz and Buckwild I'm still the baby out the click. I catalog my records. You can ask me for any record and I'll pull it out no matter what it is.
Were you also known as a DJ in your music career?
I started djing before I was rapping. Mike Smooth was the DJ and I was the rapper. I just wanted to do something in the form of music whether it was rapping or djing.
How do you stay motivated in the music game?
I love music. I love all kinds of music. Big L used to keep me on my toes. He gave the inspiration to stay creative and keep writing.
.
When was Hip Hop most creative in your opinion?
The whole nineties were creative. From 1986 to 1998 Hip Hop was creative. Now Hip Hop is based on 3 colors like Black, Gray, and White. The color Black represents the deep underground movement. It's rebelious rap. The gray area represents good music that appeals to both underground and commercial audience. You can say artists like Dr. Dre, Outkast, Eminem, & Jay Z. Then you got the White area that represents the commercial style music. The gimmicky type of music. You can say artist like Nelly, & Chingy are in the White area.
www.lordfinesse.net
As Producers we help CHANGE Hip Hop Back to the way it was
"86-95".... Orginal!!! That's why keep posting these Interviews to Inspire
myself and all of yall. Here a dope Lord Finesse Interview- He talks about
His productions for Dre,Big L, Biggie Smalls (both R.I.P.) and his beat making techinques and the gear he uses!!
Check it out!
If you're a REAL Hip Hop head then you know that Mr. Lord Finesse doesn't need no introduction. "From the Crates to the Files" is a audio collage of Lord Finesse's lyrical and production talents from the early nineties. Yep! It's in stores NOW!
We caught Mr. Lord Finesse at a studio party in Queens hanging out with a room full of industry heads. He hit the party with an exclusive joint from the late Big L featuring Sheek Looch, and Mr. Lord Finesse himself. We also heard the joint he got coming out with Rell from Rocafella.
How did you get into the music game?
I came in as an artist who wanted to be recognized as one of the best lyricist in the game. I kind of achieved it more on a street level than commercial level, ya know! In the midst of that I became a producer.
When did you get your first break in the music industry?
I got my first break in1989. I was part of the WILD PITCH roster with GANG STARR, CHLL ROB G, and MAIN SOURCE.
Did you do any of the production on your album back then?
I bought loops and ideas to the table but I was nowhere near ready to be a producer at that time. I could pick what I wanted to rhyme to. I started producing in 91 or 92.
Define what a producer is in Hip Hop?
When you're working with an artist you have to bring out the best in the artist. It's not hitting someone with just a beat and saying rhyme on this. You have to make the artist feel comfortable and experiment with different elements.
What machine did you use in the past and what are you rocking now?
Mike Smooth let me hold his CASIO RZ1 sampler. That was the first machine I've ever touched. Showbiz evntually taught me the SP1200 and Jesse West showed me how to use the Akai S950. I was using the SP1200 and the Akai S950 for like a decade. I got my Akai MPC 3000 in '96 and it sat in the box for like 3 years before I would touch it. My main production gear is the MPC 3000 and the Akai S6000. Everything else is techniques, methods, and formulas ya know!
When did you start using your MPC 3000?
I was in a session in California with Mel Man and Dre. Mel Man was loading 5 to 6 beats at time in the MPC 3000. I waa only able to load one program at a time with the SP1200. I felt like I was in the Flintstone era and they were the Jetsons. The MPC 3000 technology was just better than the SP1200. It made me step my game up. Its crazy now! My production is on another level now.
There were rumors about you joining Aftermath's production team. You've produced a song on "Chronic 2001" album titled "The Message" featuring Mary J Blige & Rell from Rocafella records.
What was it like working with Dre and Mel Man?
I learned a lot in such a short amount of time. Their work ethic is incredible. They constantly work. The experience bought my game up on the technology and production end.
So working with Aftermath was a positive experience?
Hell yeah!
Critics are alleging that DR. Dre doesn't do his own production. From your experience do you agree with that statement?
I don't agree with that. Dre is a visionary. He sees the picture before the picture is even shot. As a producer he does a lot of orchestrating. He's like Quincy Jones in a sense. To produce a record you have to produce every aspect of the record. Producing and looping a sample is two different things.
The Isley Brothers "Between The Sheets" is a "Hot Dig". A lot of producers used this sample but most critics believe that Biggie Smalls did it best. The song was well produced.
Yeah! They just looped it and Biggie brought an in depth feel to that track. The vibe was incredible. The same thing happened with Big L's "MVP" and Biggies "One More Chance remix". They both used the same sample. I brought the track to Big L and put my twist on it and it came out dope. Biggie took it and put a flow on it and killed it. Big had a knack for taking loops and rocking it naked because his lyrical talent bought out the best in the music.
You also worked with Biggie on his first album and produced a song titled "Suicidal Thoughts". What was that all about and how did that go down?
Big put that together. He heard the beat and had an idea for a song. I never had a chance to hear the song until the album dropped. I wasn't there when he dropped his vocals. They took the beat and made a hot song and that was that. Everybody was giving me rave reviews before I heard the song. I was present for the other song I did titled "Come on Mother F*ckers" with Sadat X. I was there for that whole process. The song never came out. It was released later as a remix by Clark Kent. I should of got credit for that song because I did the original version.
Lord Finesse still D.I.T.C.? What's up with D.I.T.C.?
Diggin is always going to be there ya know! I can't erase that no matter what I do. You got O.C. working on his project. You got Buckwild the producer extraordinaire. He got a group called Corrupt Money. You got A.G., Party Arty, D Flow and my partner in crime Showbiz. Fat Joe and the Terra Squad are doing it. Diamond D and his Omen crew. It's D.I.T.C. forever.
Would you agree that D.I.T.C. is one of Hip Hop's most talented crews in comparison to The Juice Crew, Wu Tang Clan and Hit Squad?
I agree with that and I have to credit the era that we were in. Hanging around a Marley Marl, Large Professor, Pete Rock or Premiere, you're talking about the icons in Hip Hop production. We were in an era when the competition was crazy. You had no choice but to be nice at what you were doing especially production wise. When you got Diamond, Showbiz, and Buckwild on the same team that's a lot of knowledge in one room.
What are some of your production methods and techniques?
When sampling you should listen to the whole record and chop all around the vocals, then put the elements back together as an instrumental. I learned that from Large Professor. I listen to records everyday and I find sh*t everyday.
How many records do you own?
Wow! I have about 10,000 records. Compared to Showbiz and Buckwild I'm still the baby out the click. I catalog my records. You can ask me for any record and I'll pull it out no matter what it is.
Were you also known as a DJ in your music career?
I started djing before I was rapping. Mike Smooth was the DJ and I was the rapper. I just wanted to do something in the form of music whether it was rapping or djing.
How do you stay motivated in the music game?
I love music. I love all kinds of music. Big L used to keep me on my toes. He gave the inspiration to stay creative and keep writing.
.
When was Hip Hop most creative in your opinion?
The whole nineties were creative. From 1986 to 1998 Hip Hop was creative. Now Hip Hop is based on 3 colors like Black, Gray, and White. The color Black represents the deep underground movement. It's rebelious rap. The gray area represents good music that appeals to both underground and commercial audience. You can say artists like Dr. Dre, Outkast, Eminem, & Jay Z. Then you got the White area that represents the commercial style music. The gimmicky type of music. You can say artist like Nelly, & Chingy are in the White area.
www.lordfinesse.net
I use:
2 Technics TurnTables
Akai MPC 3000LE
Akai s950
Akai VX-90
Akai MFC 42
Ensoniq EPS 16+
Moog Little Phatty (OTW!)
BREAK THE BANX MUSIC, LLC.
2 Technics TurnTables
Akai MPC 3000LE
Akai s950
Akai VX-90
Akai MFC 42
Ensoniq EPS 16+
Moog Little Phatty (OTW!)
BREAK THE BANX MUSIC, LLC.
