By Philly Stress
Tue Mar 08, 2005 9:27 am
I been Looking for a New BuckWild interview for a Long time and Now Finally!! All the the The Cats looking for the best way to hook there MP
there Mixer to get the Best signal for sampling, Buckwild Breaks Down his techinque lovely!!
BUCKWILD is world famous for finding them rare samples and making them street anthems that stand the test of time. With classics like Black Rob's "WHOA!" and Biggie's "I Got A Story To Tell" is more than proof.
Eminems "8 Mile" movie featured one of Buckwilds earlier classics titled "Times Up" by OC during the battle rounds.
The Buck doesn't stop. We met up with Buckwild at his studio in the mist of clearing a sample he used for The GAME. He is a true Dig Master.
What are some of the issues you’re dealing with regarding sample clearing?
This is the first time this has ever happened to me. I got a record that I used for GAME
(Like Father, Like Son). I won’t say the name of the record. The label is saying that they have never put the record out. They don’t believe the record was released. I have to send them a picture of the album cover so they can get the sample cleared.
Have you ever just sampled music without clearing the samples?
Nah! I don’t **** around like that. I look for loops because I like grooves and music. Some people say I have an old soul. I like to find samples that are not common. The record I did for GAME is real soulful. When it comes out and people read the credits I want to see how many people will claim to have that record. Being able to find that buried treasure is what drives me.
How do you deal with the publishing issues with sampling?
There’s so much money in the game that it breeds greed. Back in the days you could come in with a sample and they would take the sample off the top and you get 25% of the 50%. Now artists are looking at if I sell 2 million I’ll only get $60,000 because I’m giving the producer $60,000. They’re trying to get the whole $120,000 and make the producer eat the sample.
What makes a dope producer?
When you can take an artist that nobody knows and make them a star even if the record doesn’t go platinum. Being versatile is important. Doing a whole album where its catalog. Having different types of Hot records where its street, club shit or conceptual.
The AfterMath umbrella put out albums that have Hot singles and if you look in Billboard you’ll see album cuts get airplay as well as the singles. You must be doing something right if you can make radio pull songs off your album and play it on the radio.
Describe your production style and method?
I take samples and manipulate them musically. I’ll sprinkle a live bass or maybe some organs. It depends on what the sample calls for. My goal is to enhance that sample and take it somewhere else. Sometimes I’ll chop up a sample and have someone replay it the way I chopped it. Now I have my own multi track of the loop and I can manipulate it the way I want.
How often do you shop for records?
I’ve been digging for like 8 years. I have a lot of records. If I set my shelves up it would look like you were in a library. I haven’t gone through all the records that I’ve accumulated. I overlook so many records. When I hear other people records or a hot beat I’ll find out later that I had the same record. You have to get your loops and get them out there so you can get that due credit.
What’s your definition of a beat maker and producer?
The producer is the one with the vision for the whole song. They orchestrate just like a director of a movie. A beat maker can program a beat but can’t make it manifest to anything else. Everyone starts out making beats then you evolve into production.
As a producer/beat maker are you growing as a musician in your Hip Hop production?
I’m not a musician. I’m a producer. If I was a musician I wouldn’t need to hire cats to come in and work. You are who you are. Be yourself!
What tips can you give producers using samples?
Sometimes you’ll have to take a loss in order to gain. Your credit means more than anything because that’s what keeps you working year to year. You can be Joe Schmo and get publishing but that doesn’t keep you working. Make sure you get your due credit and you get a fair deal with the artist. Don’t fall into the trendy shit that everyone's doing.
Do you agree that a hot beat won’t sell if the artist can’t make a song out of it? (Kwame Theory)
Let me give you perfect example. The song “Whoa!” bounced around from artist to artist. Like I said earlier there are rappers and artists. Rappers can’t see the vision of a song. They want to take something that’s trendy. That’s the problem with music now.
A true artist can see the vision in music and make the change. Eminem, Jay Z, 50 Cent and other true artists make the change. The artists has to look and see how they can put more into the music. Outkast albums are different from the last. They act like they didn’t sell 2-3 million records.
Do you hear any difference in sound quality between the MPC 4000 versus what you've previously used for production?
Your sound is what you record. Some people might EQ before they sample or record flat. Some people talk about how they want their mix to sound like Dre. Your mix can’t sound like Dre because you don’t know what he started off with. Everyone uses different tools and instruments to achieve their sound.
What other tools do you use to achieve your sound?
I have my turntable going into my Vestax 5 Band Mixer which is running through my Mackie board into my MPC 4000. I pretty much get the sound that I want right on my beat tape. Kay Slay played a song I did on Black Rob against 2 other mastered records from established artists and my 2 track mix sounded bigger and better.
As a producer you have to develop a recording technique. You got to get your beats to sound big and hot so that you can sell it.
How did you transition from beat maker to producer?
When I was doing OC album 10 years ago I was just making beats. A few years from there I started working with Track Masters, Puffy, and Stevie J. I started evolving into production and learning how to make my beats more musical.
What’s your opinion on producer tags? Is it necessary in order to get your props?
Just Blaze brought back the name tagging on tracks. No one was really doing it for a while. Premiere did it back in the days. If cats don’t say your name on the record you got to make your own tag and put it on there. You got to fight fire with fire. So many people won’t know you did a record unless you tag it.
Name some of your favorite producers?
NO ID is one of my favorite producers. All the Common albums where dope. Pete Rock, Show Biz and Havoc (Mobb Deep) is another producer whose done a bulk of the Mobb Deep albums and still don’t get his props.
What are you currently using for your music production?
Like I said earlier its evolution! I started using the SP1200, MPC 3000, MPC 2000 and now I use the MPC 4000.
What are some of the ups and downs of being a working producer?
Sometimes it can get seasonal. Sometimes it’s steady work. Sometimes it's about whose project you’re on. If you’re not on a 50 Cent, Jada Kiss record or anyone who’s selling platinum they will look at your beats a different way.You got to play the game strategically.
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.
Last edited by Philly Stress on Tue Mar 08, 2005 9:48 am, edited 4 times in total.
u get the gasface. booooooooooooo
