In house Roc Nation producer Jahlil in the studio working on FL Studio. There’s not much to see here but a lot of pointing and clicking with the mouse. Still, hear the Chester, Pennsylvania native sequencing, changing pitch, looking for new sounds and adding elements to the dramatic sounding track.
Marco Polo breaks down the science behind “Take Money;” from his 2010 project The eXXecution with Ruste Juxx featuring Rock of Heltah Skeltah and Freddie Foxxx. He chops up some piano on the MPC and some drums from his record collection to add to it. He also adds a horn, low bass, synth bass and pulls out the MPD.
Marco Polo takes us through his process for making a beat, which is basically being inspired by sounds and then putting them all together until they make sense. In this video he plays around with the MPC and MPD; incorporating elements of various different records. He also talks signature sounds and Pete Rock.
Low Budget’s Kev Brown in LA’s Fat Beats making an impromptu beat using a record he’s never heard before and the MPC 2000. He chops a portion of the Sheb Wooley record, adds a bass line and hi hat, and reveals his four-bar creation. Trek Life was in the building to spit over the end result.
This Beats Per Minute video presented by Flud Watches shows Araab Muzik shedding light on how he started working with the MPC and how he perfected his skills. He speaks on drumming since the age of three and following a natural progression that led him to producing by the age of twelve.
Akai Pro shows off the MPC Renaissance in London, England; letting UK producers like The 4orce, Rishi Rich, Steve Octave, Craigie Dodd and Curtis Lynch JNR test it out. Feedback includes praise for its size and light weight, its distinctive sound quality, convincing younger producers to use hardware and how it transforms different genres of music.
Hip hop/electronic producer Benjamin Durazzo works his magic on two MPCs in real time. In this video he recreates the “Clockwork” track from his Beats Volume One album. The Oakland, California native performs the entire track without sequences or loops. The sixteen-track Beats Volume One is available free of charge on Durazzo’s Bandcamp page.
Producer JR Rotem talks to Cambio Connect about being a producer and having knowledge of musical instruments. He also recounts an experience with Shock G in the studio and creates his own version of Digital Underground’s classic hit “I Get Around.” He also talks about simplifying a beat and adding room for rapping or singing along with adding elements to note the start of the chorus.
Producer and songwriter Bryan-Michael Cox in the studio composing “Official” from scratch. He hums out a melody and then creates it with his equipment. Cox starts with keys, adds drums, and then he begins writing the lyrics, sprinkling claps, swell and chimes, strings, hats and additional melodies into the mix.
Episode three of the Wizz Dumb Process shows the Timothy “Timbaland” Moseley protege in the studio. While there he speaks on his mentor’s massive drum collection, his own process of sampling sounds into the MPC, and working without an engineer. He calls YouTube the “mecca of inspiration,” and talks about using the Access Virus, the Yamaha Motif, and the Roland Fantom Poly Evolver. Although he likes the efficiancy of Apple’s Logic software, ”nothing hits like the MPC.”
The Green Eyed Bandit, better known as Eric Sermon of EPMD kicks it in DJ Desue’s Berlin studio and bangs out a beat on the Yamaha Motif ES8. He tries to find a sound that listeners could mistake for a sample or a loop, and add on an element of grit.
The folks over at Backyard Beatdowns share Volume 5 and demonstrate sights and sounds with the AKAI APC40 Ableton Live Performance Controller. Canadian producer and engineer Memorecks bangs out effects and adds new sounds to a smoothed out track on the AKAI and Ableton hybrid control surface; all on a sunny afternoon.
Ryan Leslie continues to amaze with a new production video of a track we’ll call ” 5 Minute Freshen Up.” He records vocals, plays out the melody on piano, synths, bass guitar and adds drums. Adding a twist to this one he connects with a Miami fan via Twitter and brings her and friends along for the musical ride.
An official endorser of the MPC, Providence, Rhode Island’s finest AraabMUSIK drops in to the AKAI Pro offices and does what he does best on the AKAI MPC Renaissance. He uses his signature rapid rhythmic touches on the integrated software and hardware system to weave sounds together, including elements of Maceo Parker’s saxophone solo from James Brown’s “Soul Power 74.’”
Watch as producer MITCHEL makes a keyboard heavy beat from scratch! Wait for the end to see the finished beat!
Check out YAMILL’s process as he gives you a step by step insight into the music for “Light Up The Sky”. Watch him get in his zone, don’t let him get in his Zone, Don’t let him get in his ZONE… Lets go!
Hip Hop Producer Alkota gearing up for his “Making Beats With Alkota” Documentary. This video is one of his trailer/teasers where he shows how to make a beat using Reason 5 software and chopping up samples with Recycle 2.1. Knowledge is being dropped with this one! Check it out.
Watch as TRIPLE A takes you into his world and gives you an inside perspective on how he makes his beats. In this beat alone he shows, sampling vinyl, adding drums, a bass line, rhythm guitar and two lead guitars, bongos, I mean just about anything you can think of. Check it out, very cool stuff.
In this video producer Owen Hill JR. gives his audience an inside look as he makes the beat “Sunglasses”. Owen Hill JR. uses a state of the art studio, MPC for drums, recording his own clap for the snare, then plays out the hi-hats on an amazing drum set, adds electric guitar and more. Check it out!
DRES’MORE takes you on a tour of his beat “Bullet Proof”, showing his skills on his keyboard and the man loves synths. Listen up, I hear a Drake singing chorus on this one
Producer Remy Cold lets you in on a day in the life, giving you a detailed version of his process. He uses the MPC 5000 so pay attention and study up! Well done Video as well
Producer Disko Dave chopping up Eric Gale’s 1977 cover of Hall and Oates’ “Sara Smile” on the MPC 2000 XL. The beat was also a tribute to the Masta Ace Incorporated track “Terror” from the Sittin’ On Chrome album.
Up and coming Bei Maejor videotapes himself creating a track using a new pair of LA Tech sneakers. He stomps out the kick, claps the snare and even raps to the beat.
The second half of footage on 1500 TV of The Game in the studio, working on The Red Album. Talented L.A. based musicians 1500 or Nothing bring life to the project, creating tracks with live instruments. The results sound crisp, fresh and exciting.
Petersburg, Virginia producer Lee Major takes us behind the scenes of the making of Rick Ross’s “Free Mason” off the Teflon Don LP. Major talks about his creative process in the studio, and working with Jay Z and Rick Ross.
The second part of Kanye West and Rhymefest in West’s Jersey City apartment working on material for both artists. They poll the guests on the apartment on what song they take to the best after a listemimg session. We also hear an early version of West’s “Jesus Walks”.
Chicago natives Kanye West and Rhymefest back in 1992 working on West’s High School Graduate mixtape as well as some early Rhymefest material. Kanye also talks about some sampling techniques, and having the chance to work with the late Aaliyah.
Queens producer live at Fat Beats on the MPC 60 while patrons shop, talk and nod heads. His two disc box set, Live From The MPC 60 was released in early August, 2010.
Providence, Rhode Island native Araab Muzik in the studio with Busta Rhymes and Duke Da God. Araab Muzik, shows everyone in the studio something they’ve never seen before on the MPC 2500.
Detroit record producer and artist, Dwele, produces a track before your very eyes in this impromptu video. He utilizes an MPC 2500, the industry-standard beat maker/sequencer. He opens the track with a simple snare drum following a mild tempo, and begins to construct a full-fledged song as he layers in a soft synth, bass guitar, electric guitar, vocal harmony, and a rapped vocal lead. Dwele definitely makes it look easy! Artists and producers alike often write songs like these just [...]
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