Friday, October 24, 2008

More Tracks in the Back....

I will be loading more joints over the weekend... Stay Up...


But for now peep this shit...
and this....
and this.....
and this.....
These last 2 are on almost every computer... Look under C:/program files/windows nt/pinball there are mad sounds from the pinball game some of them are pretty dope sound effects...


Contoller One (des)


Thursday, October 23, 2008


France-based hip hop maestros Fantastic Planet have just released their 'Fantastic JJ Project', a mixtape dedicated to Jneiro Jarel, specifically to his Dr Who Dat? alter ego. All the beats from this mix are taken from JJ's almost entirely instrumental Beat Journey album, only now with added raps and cuts from USA's Mattic and La Fin Equipe crew.

Download it here....


Monday, October 20, 2008

Charles Cohen playing the incredibly rare Buchla Music Easel.


(only 14 were ever made) crazy sounds.....


Miles Davis - Herbie Hancock - Wayne Shorter - Ron Carter - Tony Williams Stockholm 1963

Karl Hector & the Malcouns "Sahara Swing"


Tight Threads....

Heads Up for some sure to be dope shit.....

Host: J.Period, Tru Hip Hop, & Big Jus
Guest: Q-TIP
This month, Truelements Radio pays tribute to the legendary lineup of 2008’s Rock the Bells tour featuring music from Pharcyde, De La Soul, Mos Def, Ghostface, Raekwon, Method Man, Redman, Nas, A Tribe Called Quest, and more! Truelements also present a new segment this month, "Diggin in the Crates" featuring rare and classic hip hop tracks straight from J.Period's own collection. And if that isn't enough, in honor of his upcoming Motown album, the abstract poetic himself, Q-Tip, makes a surprise special guest appearance on Truelements Radio for an exclusive interview with J.Period.
Host: Ninja Tune
Guest: Ghostbeard
With a heater of a show to match the late warmth of the summer that finally happened, Ninja Tune head Ghostbeard melts through hours of top notch dancehall that traipses the old and the new, the known and the never known. For this episode it helps to have friends like The Bug and Kode 9 on your side, who together combine to break the shackles and bars of London Zoo, making for a megamix to challenge the depth and dirge of The Bug's latest full-length, with an exercise in depth and brevity. All the glory of the summer, as you'll only come to remember it in the crunch of fall.



Acappellas ....Remix time 4Dash....Vol#2 INVERT method

Basically, if you have any 2 of the 3 (a acappella, instrumental, or the mix) you can get the 3rd, I messed with this a little bit today and it does work, so if you got the track and the instrumental you can get the acappella or if you have the vocal version and the acappella you can get the instrumental... I ain't gonna lie it's a little bit of work but it could be worth it if you're trying to isolate the one piece of a track for a sample, "once computer nerds get producin' skills, it's over"....

We need to step it up...


Acappellas ....Remix time 4Dash....Vol#1

I'll post some more in a few days.....


Friday, October 17, 2008

SouthTropolis @ Reverbnation

Made a SouthTropolis page on this site:

Let me know what you think.....

Its got all this other shit too:

the playa over to the right...


And it's Free!!!! So far anyway....


Thursday, October 16, 2008

Dig challenge

I am looking for the Stylus album titled "Where in the World" on the web or otherwise, say it on Ebay for $30 out of Japan, but that's it.....

Hit me up...



Drums Vol#2

Wednesday, October 15, 2008

Tuesday, October 14, 2008

New Lprime joint

Drums Vol#1

BAD BASCOMB - Black Grass (1972 Paramount Records)

Go to the end of the track for the break...

All credit due to Dailydiggers for this post....

Classic Rhodes Effects

The piano's clean tone is what you hear on many essential Fender Rhodes recordings, but definitely not all of them. Like an electric guitar, the Rhodes sounds even better with the right amp and effects. The Suitcase Vibrato was the original Rhodes effect, built into all versions of the Suitcase piano (as well as Stage models with the Super Satellite & Janus I systems). The idea behind the Vibrato was to simulate a rotating speaker, although the actual sound was quite different. The first version of the Vibrato was in mono, a tremolo effect that varied the amplitude of the piano's output in a square-wave pattern. When the Suitcase amps went stereo in 1969, this pattern was translated into a panning effect. Front-panel controls were provided for Speed and Intensity.

With the release of the first Stage models in 1969, the player's choice of amplifier also began to shape the piano's sound. The Fender Twin Reverb was and continues to be the recommended amp for use with the Rhodes (see the Models section for more details). In terms of effects, tube overdrive became a normal part of the piano's tone, with tremolo and spring reverb being available as well.

One of the most popular outboard effects for the Rhodes was the Wah-Wah Pedal. This foot pedal had an extreme impact on the Rhodes sound, virtually eliminating its bell-tone and emphasizing the midrange frequencies. The characteristic sound of this pedal came from its rocking foot control, which swept the center frequency of a bandpass filter to create the impression of a person saying "wow". The wah effect is commonly featured on early jazz fusion recordings by Herbie Hancock, Chick Corea and Joe Zawinul, usually producing a static EQ from being left in the "always on" state. You also hear this effect combined with the Fuzz Pedal in recordings from the early 70's, adding warm distortion to the sound for an even more funkified "fuzz wah" experience.

Later in the 1970's and into the 80's, the phase shifter was regarded as a natural choice for adding body to the Rhodes tone. This sound was often heard on slower songs and ballads, the most well-known examples being Billy Joel's Just the Way You Are and Paul Simon's Still Crazy After All These Years. The Electro-Harmonix Small Stone and the MXR Phase 90 were the two popular phaser choices during this era. The Phase 90 was an orange "stomp box" with an on/off switch and a single knob for controlling the effect's speed, while the Small Stone included an additional "color" switch for manipulating the overall frequency response.

The BOSS CE-1 Chorus Ensemble produced similar results, but with a wider palette of options. The biggest advantage of the CE-1 was its stereo output, a major improvement over the mono-only phasers available at the time. On top of the chorus effect, the box could switch over to a pitch-shifting vibrato. This is the same effect circuit found in the Roland JC-120 Jazz Chorus, another 2 x 12" guitar amp popular among Rhodes players.

An honorable mention goes to the Ring Modulator, the cacophonous effect used to mutilate Jan Hammer's Rhodes playing with the Mahavishnu Orchestra. Originally found in modular analog synthesizers, the ring modulator summed the piano's signal with the output of a fixed-frequency oscillator, producing some very strange sounds.

Rob Coops of the Netherlands provides us with a variety of recordings demonstrating many of these effects in different configurations:

The audio examples here show how a customized Fender Rhodes can sound when it is directly recorded, recorded with an amp, or directly recorded with analog effects. Note that if you are using cheap consumer speakers, you may experience distortion in the high soloing notes of the following samples. This distortion is not part of the original sample. I used B&W speakers to monitor.

The piano used in the recordings was customized by me in July 2005 for a 72-year-old jazz musician who bought it 25 years ago in Amsterdam and did not use the instrument much (i.e. it was in pretty good shape). It is a 73-key piano with the older type of action: half-wooden/half-plastic hammers with neoprene hammer tips, a bit more work to get up to standard than later types (from 1975 on).

In my opinion almost any Rhodes can sound professional, as long as you use a good preamp/EQ, exchange the parts that are bad and, ideally, let an experienced Rhodes tech optimize the action and sound for you, to really get the most out of the instrument.

The MP3's were made an hour before the piano was picked up by the client, in a very casual way. I liked the piano and wanted to have some private recordings as a reference, but I thought, why not share it with you guys also, to get you enthusiastic and informed....

Example 1. We took the signal directly from the harp (for best clarity) and fed it into a preamp/EQ. The signal was recorded via a Delta 1010 soundcard (24 bits, 96 khz) into Wavelab. I edited the sample with Waves plugins: I used the R-Comp, the Paragraphic EQ, the Trueverb, and the stereo panner by Wavelab. These plugins were used just to correct. I used a little bit of everything, most obvious the reverb.

I personally like a vintage "Herbie" sound, but if you listen on good speakers it will sound bright enough. This sound is available to any studio with a soundcard, a preamp, and a customized Rhodes. (Try this with a Motif?...I will buy them for $200.- a piece.)
Example 2a. Same signal path as Example 1. This sample shows how fat a well-customized midrange can sound.
Example 2b. I resampled Example 2a through a BOSS CE-1, with intensity set to 0. This broadens the sound without the chorus (detuning) itself being too obvious. Chorus creates phase-shifting: as a result the stereo image is a bit off-center. Listen to this sample on a pair of good speakers to experience the difference with 2a. Pedals like these create extra noise, but I prefer them over computer-generated phasers and choruses. It usually sounds better.
Example 2c. This sample was resampled through a Small Stone phaser (coloration knob downwards). Phasing creates large volume sweeps, so this sample has been compressed more than the previous ones. The subtle stereo-sweeping is the Waves Metaflanger: the Small Stone itself is a mono pedal.
Example 2d. A good but pricier alternative to the Small Stone and MXR: the Univibe. I like the irregular movement and tone of this effect. But I am also a Hendrix fan...Jimi used this pedal on "Machine Gun" with an Octavia, a Fuzzface and a few stacks of Marshall's. The Univibe is mono also. I think I set the depth somewhere before the middle position for this sample. You can control the intensity of this effect, unlike the Small Stone and MXR.
Example 3. The high notes of this piano were placed relatively close to the pickups, but they still sound OK. It is generally not a good idea to place tines too close to the pickups, to the point where you get pickup-generated overdrive. I like to use an amp to get that kind of tone.
Example 4. The same piano is now connected to an original Suitcase Preamp. It is a Suitcase box from 1975 with the concentric knobs on the front panel. We recorded it with only one Electro-Voice RE-20 dynamic microphone and a Tube-Tech MP1A microphone preamplifier. Good, professional gear. We forgot to switch off the preamp's tremolo effect, so you are hearing a sort of compressed Vibrato that is swept from left to right with the Wavelab stereo panner. Read my lips: this sample has been heavily EQ-ed, with a lot of high-frequency boost.
The natural sound of this box is very dark, but there are several speaker upgrades available to get more clarity (Speakeasy & Vintage Vibe). The nice thing about this box is the little edge of overdrive it adds to the sound of the recording, but it is a bit harder to EQ it right. By the way, the Tube-Tech mic preamp is completely clean and does not add any overdrive.
Example 5a. The piano is still connected to the Suitcase preamp, but is now amplified by a Fender Twin Reverb (silverface with master volume). I filtered away the highest frequencies with the EQ plugin (they always irritate me). In retrospect we should have given it more overdrive, but if you listen carefully to the beginning of this sample you hear the kind of overdrive you get from the Twin on your high frequencies. But once again, in reality these high frequencies can be experienced as a bit too mean and piercing. The problem with guitar amplifiers is that the EQ-ing on those amps is not designed for a Rhodes but for a guitar. They often have peaks at 3 or 4 khz that can be too piercing for a Rhodes. But amps can make a sound come more alive, and it is challenging to rework an amp-recorded Rhodes in your studio.

There are many different amps on the market, valve, transistor, or both. Transistor amps can overdrive also, so it does not necessarily need to have tubes. Check them out and judge and decide for yourself. For a classic reference, listen to Herbie Hancock's Headhunters for a nicely overdriven Rhodes. Realize that any Rhodes that you hear on a CD has been processed to optimize dynamics and tone.
Example 5b. I EQ-ed this sample to give the mid more warmth and exaggerate the "glitching" effect of the dampers. Compare this with Example 2a: this is the kind of funky-grungy sound you get on your midrange from a Twin Reverb.
Example 6. Who says a Rhodes can't be psychedelic? Hmmmm??? Sounds like hidden Sunlightglasses to me....
Example 7. We greet Ray up in the sky, who immortalized the Rhodes in that soulful and funny movie. I still want a Rhodes with the pink fluffy cloth on it. Quando, quando???
Example 8a. This is a 1979 Rhodes that I customized for a jazz player in September 2005. These later Rhodes Mark I models have the same basic characteristics as a Mark II with wooden keys. Some people prefer the early 70's Mark I, but these later models sound great also, when you treat them right. A customized Rhodes can effectively produce a "wall of sound" and project the energy you put into it. Clean signal path, same as Example 2a. The idea for this sample popped up at the vegetable department.
Example 8b. Same piano as the previous example. A well-customized Rhodes provides a wide range of sounds to the player. Most of the samples presented here were played pretty hard. This one is played with a subtle touch, yet all notes respond....



Satta Outside : Wax Tailor su Mc Mattic

Interlude material.....

'Things have to get worse before they get better'
Quentin Moore, a former gang member from Los Angeles, enters the Guardian's Truth booth to explain why he sees the US recession as a timely rebuke to excess

Quentin Moore is a father of three and a former gang member. He is now a counsellor at Homeboys Industries, founded 20 years ago and now the largest gang intervention programme in America.

Homeboys Industries provides counselling, job training and referrals. The programme also runs its own businesses, including a successful bakery and cafe - offering alternatives to a life that often ends in prison or premature death. One of the group's mottoes is 'Nothing stops a bullet like a job.'

Peep the explanation of eating spaghetti instead of caviar.. Perfect for a interlude.

Monday, October 13, 2008

Marty Mc-bama?

I never noticed how close Dr. Emmett "Doc" Brown was standing to Marty McFly in the original image a little too close I think, letting young Martin feel all 1.21 gigawatts of his flux capacitor....gross.... this photo-shop maintains the same grossness....

B2DaE Mix Mash Vol.1/2

Just some weird shit I did on the plane to Hong Kong...


Make a Beat Vol#5


Make a Beat Vol#4 (Sesame Special)


Galactic and Crown City Rockers coming to Visualite in Oct.

October 23, 2008

Visulite Theatre
Charlotte, NC

The Brass Tacks Tour

Featuring Special Guests Shamarr Allen (trumpet) and Corey Henry (trombone)
Plus Crown City Rockers
Tickets $20 ADV/$25 DOS
Doors 8 pm
Tickets available at GALACTIC TICKETING and

Make a Beat from this Vol#3

Got these and a cubic shitload more here....


Thursday, October 9, 2008

Take a Hit and Pass - Lprime (Prod. Mr Dash)

Lab of Dash

Catch a glimpse into the world of Mr. Dash with these exclusive lab pics........



Dash dropin' dope graff straight outa Miami