Makin' Beats Back Then-Remember?
Big_Stacks
"I don't worry about hittin' power, cause I don't give 'em nuttin' to hit." 4,670 Posts
Hey,I was looking at Large Professor's bio on Wikipedia, noticing he was 17 when he joined Main Source. This made me think back to when I started making beats in high school. I made beats for a couple of my classmates for the talent show during our junior year (1986). I was working with a Korg DDM-110 back then. 
Rap cats didn't know I made beats until then, so they all of a sudden came out of the woodwork asking me to make beats for them. I first joined this group The Roc Raiders (consisting of Keithy Keith, Tyrone-Love, DJ Don, and me) during my senior year (1986-1987), and we performed in our high school talent show. We had matching, monogrammed sweatshirts with our rap name on front (mine was "Beatmaster P") and group name on the back. Of course, you had to have on the striped Lees, matching jacket, and shell-toe Adidas (the "b-boy" uniform of the day). We later renamed ourselves "Birds of a Feather" (with corresponding rap name changes too) around 1989. 
Picture from the "Birds of a Feather" era (circa 1990-1991; Members [from left to right]: Tylique the Narcoleptic, Ebeneezer (me), Karyme the Lovechild, and B-Positive)Later on '87, we got jerked for our first demo funded by this shiesty muthafucka, Tim Greene, a DJ who worked at Foxy 99.1 FM in Fayetteville (NC) at the time. I never got to hear the music we recorded then, and it would be 2 years until we hit a professional studio again versus rough home recordings (and we paid for it ourselves that time; live and learn). Man, that was so long ago and it was nice to take a trip down memory lane.So, for my producer cats, what were your earliest experiences in making beats?Peace,Big Stacks from Kakalak
Rap cats didn't know I made beats until then, so they all of a sudden came out of the woodwork asking me to make beats for them. I first joined this group The Roc Raiders (consisting of Keithy Keith, Tyrone-Love, DJ Don, and me) during my senior year (1986-1987), and we performed in our high school talent show. We had matching, monogrammed sweatshirts with our rap name on front (mine was "Beatmaster P") and group name on the back. Of course, you had to have on the striped Lees, matching jacket, and shell-toe Adidas (the "b-boy" uniform of the day). We later renamed ourselves "Birds of a Feather" (with corresponding rap name changes too) around 1989. Picture from the "Birds of a Feather" era (circa 1990-1991; Members [from left to right]: Tylique the Narcoleptic, Ebeneezer (me), Karyme the Lovechild, and B-Positive)Later on '87, we got jerked for our first demo funded by this shiesty muthafucka, Tim Greene, a DJ who worked at Foxy 99.1 FM in Fayetteville (NC) at the time. I never got to hear the music we recorded then, and it would be 2 years until we hit a professional studio again versus rough home recordings (and we paid for it ourselves that time; live and learn). Man, that was so long ago and it was nice to take a trip down memory lane.So, for my producer cats, what were your earliest experiences in making beats?Peace,Big Stacks from Kakalak
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In high school I got a roland ms-1. Dookie. The catalog said it used flash cards that could be purchased at any computer store. I thought that would be cool. This was back in 1995 or 1996, so flash cards were new and not cheap, but I didn't know that. There were something like 5 places in the US that sold the kind of card this thing needed. I called one up and asked how much they were. The dude said "five ninety nine for the _____ and seven ninety nine for the ______" To my 17 year old ears that sounded like 5.99 and 7.99. I ordered a couple of each and paid for it on my parents credit card. They came in the mail with a $2000 bill. I called and said "I think there is a mistake." He was a total dick and said there would be a 12% fee to cancel it all and send them back. That is over $200. He agreed to lower it to 6%, which is still over $100. I said "I'm only 17, that is like a whole paycheck for me." He immediately stopped being such a dick and said "just send them back, no charge." I found out that you can't sell stuff to minors over the phone. Close call.
When I had the MS-1 I thought I needed a drum machine. I got a DR-5 or whatever it was. The shittiest combo ever. Then I found out about the EPS and everything changed. I tossed those other two and got an EPS at Starving Musician. I would spend so much time on music back then.
(aaaaaaarrh its been 20 years!!!
My first experience and seeing a sampler was through my older brothers friend and I think he had an MPC60. Mind, this was in 89 or 90 so that piece of equipment to me(let alone trying to save for something like) that was damn near impossible. I was lucky enough to score an EPS for dirt cheap($400.00 and this was in 92).I just wanted to make beats and I had all these ideas, but no technical knowledge or even where to start.
So I had that, My 1200's, a mixer, A Tascam 244 4 Track(which I got at a thrift store), Records & a Mic. I thought I had everything, untill we started to record and it all just sounded super raw and like crap. So I started to learn about Equalisers, Compression, etc. But yeah, like stacks says, once they find out, they are always over at you crib and(or) asking for tracks.
I really did not dabble too far into that untill much later. Always kept it really basic as possible and was luck enought to have friends that had nice set ups and would just take my sampler or my 4 track(or whatever else I was using type multi-track recorder).
All I did was just either practice scratching,juggling, making beats,skateboarding,film or get high as all hell. Man, those days were crazy.
I miss my EPS & ASR-10 at times, but I'm pretty happy that I switched over to using an MPC2000.It's most def, a space saver
very pleased that the beat drops out for the heavy hitter punchlines.
very pleased at the scratched choruses.
very very pleased.
haa... yeah THANKS!!
I don't make beats,yo but have used this to make demo tapes since about 95.
u could sample and chop things and then sequence with one of those trackers. not grammy award winning results but it was lots of fun at the time. think there was about 20 seconds sample time
Dude, don't play it down, I expected some industrial reverse sound of donkey with whooshin of factory pipes from your story, not one of the freshest rap tracks I've heard in a while!
I started out in 1988 splicing cassette tapes to make loops. Then I would use my shitty Gemini turntables to rock drums on top!
Luckily I started high scool in 1989 where we had a MPC60 and an EPS16+ or EPS I can't remember. It was all over afer that!
Those are some cool and interesting stories. Now, I'll post a 2nd installment. Around 1988, we somehow hooked with a show promoter (some dude named Rob). We started doing 'chitlin circuit' shows around North and South Carolina and Georgia (in metropolises, yeah right, like Fayetteville, NC, and Greenwood and Beaufort, SC, and Sparta, GA). We once did a show with Mannequin and EU (Experience Unlimited for those who don't know). I almost knuckled up with a percussionist from EU who got jealous over some groupie chick. She chose me instead of him 'cause the rap was that strong (ya heard!!!). Anyway, with this same promotion company, we did shows with this group of Fort Bragg soldiers, who were rapping at the time. Actually, these dudes were members of what became Intro, the R&B group. This cat from Brooklyn named 'Wise Allah' managed them, and he liked what we were doing. We were called 'Born Supreme Productions' at the time on some 5 percenter stuff (then I was known as 'P-Skeem' because of the way I 'schemed' on the ladies). Wise took us up to Brooklyn to meet Big Daddy Kane (we were in on sessions while he was recording 'It's a Big Daddy Thang'). We became really cool with Mister Cee and he took us over to Music Factory where I bought Ultimate Beats and Breaks, Super Disco Breaks, and Drum Drops. We also hung out with 'Rappin' is Fundamental (RIF)' whose members were AB, JR, and Easy Moe Bee! They lived in the Lafayette Gardens Co-op with Mister Cee on different floors of the building. Wise tried to get us to perform at The Apollo on amateur night, but we couldn't stay up in NYC until (I think) Wednesday night. It turns out, Mister Cee and Easy Moe Bee were most interested in our MC (Karyme Love, who can be heared on the song 'Body to Body' on my Soundclick site 'Body to Body' by Born Supreme Productions and on the later Birds of a Feather EP tracks sharing the mic with Tylique the Narcoleptic), but dude remained loyal and didn't go with them.
Nothing became of this visit (i.e., we didn't 'get on'), but it was pivotal because I made the transition to using samplers to make beats (with two Cascio SK-5s). Since the Cascio had little sampling time, I spun the records fast so I could sample more of the beat. Also, during this period (around 1989-1990), we won a state-wide rap contest in Raleigh, NC sponsored by Mr. Freeze Records (another slimey muthafucka). We were offered a bogus-ass rap contract (according to my lawyer), so we didn't sign it. Because of this, we defaulted on the prize (the rap contract) so it went to Hip-Hop Connection (who put out a 12" called, "The Soloist"). During this time, I connected with Payroll Records in Greensboro, NC, where I met Roland (the owner) and Will-Ski (later known as Ski of the Roc-A-Blok Productions fame). Dude was on some soul, James Brown steeze at the time, but switched it up after I played some of the 'way-out' beats I was making for Birds of a Feather (note the folky style of the 1st track on the Original Flavor LP). I can never prove it, but I do think Ski was influenced by what I played him. Roland wanted me to make beats for The Bizzie Boys and Supreme Nyborn, who were signed to Payroll. I refused, instead wanting to unveil the style of beats I was making with my own group, Birds of a Feather (probably a dumb move now that I look back on it).
A few years later, I bought an Ensoniq ASR-10 to take my beat-making to the next level. In 1992, we almost got signed by Jillian Rogers at Idolmakers Management (Hurby Luv Bug's company). They just didn't have the budget to sign us at the time, but it was close. Jillian also liked the productions I did for Original Environment and Colorful Essence, and she suggested that I move to New York in 1992 as a producer. I declined because I was about to get my undergraduate degree from Fayetteville State University (c/o 1993). If I bailed on the degree my parents paid tuition for, they would've killed me! I could never find the right artists to put me over the top, so it never happened. I also connected with Baby Chris Ali, but he fronted on our Birds of a Feather EP, 'A Bird's Eye View' (excerpts from this EP is up on my Soundclick site on the 2nd page of music 'A Girl Named Jetta' by Birds of a Feather 'All is Well' by Birds of a Feather 'A Bird's Eye View' by Birds of a Feather ). It is fun reminiscing about these old times. Sorry for the long post.
Peace,
Big Stacks from Kakalak
very nice, Upski! I love this one. Funfact, fellow Strutter /MPM recording artist Defcon from Cologne was in a Crew back then who released an album with a song that is using the same sample, also in the same year. damn!! Me and my partner Axt did a remix for the rerelease 2 years ago! Defcon has stories for days about how they produced stuff back then...he should chime in...
How many records have you put out?
Which is the one you are proudest of?
Which one is the *best*?
Do you check out ebay and the like to see what's the financial verdict on them?
Hey Skel,
Here are my answers to your questions:
1. The irony is, I've never officially put out a record.
2. I'm most proudest of the "Bird's Eye View" EP.
-The reason I'm most proud of this project is because I did all of the pre-production with two Cascio SK-5s. Because of the limited sampling time, I could only lay down the beat, main loop, and one other sample when putting instrumentals on cassette for the MCs to write to. So, all additional tracks were sequenced in my head[/b] so I could only hear the finalized production at the studio. Amazingly, all the extra parts I added in my mind (some examples are the "So This is Love?" sample from George Benson on 'A Girl Named Jetta', The 'Mainline' sample by Black Ivory in the hook of 'All is Well', and "Summer" by War and "Impatient Girl" by The Happenings samples on the song 'A Bird's Eye View') sounded great when added to the final productions. Plus, Karyme and Tylique did their thing lyrically, and flowed amazingly over the tracks, so much so, that the rhymes and beats sounded like a single instrument. This EP was so well arranged with skits and other pieces added that it had great continuity (it had a total of 10 tracks). Jillian Rogers said, and I quote, "this is the best demo I've ever heard" (in her sexy British-accented voice). She really wanted to sign us but she just couldn't get the decision approved.
3. I think my best track for an artist is either "Pursuing Oblivion" or "No Apologies" by GUN, "Hey Yo, Again" by Colorful Essence or "You Can't Find It" by Stacks & Dialect.
4. I've never released any music, although Peanut Butter Wolf wanted to put out my old demo beats on Stonesthrow. I didn't know how to handle any royalties since I've lost contact with all of the MCs. My wife suggested I put any proceeds in trust (assuming there would be any), and disperse them to the MCs when (or if) I get a hold of them. Maybe I should pursue this.
Peace,
Big Stacks from Kakalak
Thanks for sharing.
Hey Skel,
I appreciate your kind words and interest. The by-line of the story seems to be "so close, yet so far away." I got close to 'making it' a few times but it never quite happened. I always thought if I could get the right person to hear my material, I could get some higher-profile production work. At this point, the window is probably closed, which is all good, because hip-hop is a young man's (and woman's) sport.
Peace,
Big Stacks from Kakalak
get some vinyl out there, especially if labels are asking you to consider release, and even if you feel the product is not up to scratch.
Dudes are always being reassessed, rediscovered, revisted. You could be the Nick Drake of 2030!
Minus the suicide, of course.
And Upskidoo, that track you posted was dope!!! It puts me in the mind of some DJ Mark the 45 King from that period. Classic material!!!
Peace,
Big Stacks from Kakalak
You guys have anymore stories about your early beatmaking experiences? A lot of Strutters that make beats up here have yet to add on. I know these dudes have some stories to tell:
-Philly Phill
-Dee Rock
-Jake-One
-Thes Uno
-Day
-B-Sides
-Izm
-Martin
-Delay
Let me hear from y'all and any other beat cats up in here!!!
Peace,
Big Stacks from Kakalak
had an 808 and an ensoniq in 1990 - 1992 .
had a roland w30 in 1992 - 1997 .
produced the raise tape in 1996 that now sells for $100 ..
would have put a lot more product out in 1995 and 1996/1997 ..
but the excellent rhymers i was workin with back then didn't write rhymes that quickly but what they wrote and spat out were dope 100% ...
There are people paying $100 and more for an Australian rap tape?
Really?
Poast a link.
nearly any of the tapes coming from people like idem and prowla these days will easily fetch over $100 on ebay, crazy hand drawn art work and all!
Real nice stuff Stacks. I was/am a big fan of that Original Flavor/The Future Sound production so I can definitely hear a influence 'borrowed' from your Birds Of A Feather material. Get it pressed for the limited vinyl market, I'd certianly cop it.
Great track from Upskiboo as well.
Hey Campag_Record,
If you think those you heard were reminiscent of Original Flavor tracks, check out these:
Intro-Birds of a Feather
A Typical Fowl Day-Birds of a Feather
-To add to the intrigue, the loop I used for the main bassline, "New City" by Richie Havens, is from the same album Ski sampled for the Original Flavor joint "This Is How It Is" (the original is "Something Else, Again" the title track from the LP).
Ways and Actions-Birds of a Feather
I have uploaded the full EP on my website and put the songs in the original ordering. Also, I uploaded full versions of "A Girl Named Jetta," "All is Well," and "A Bird's Eye View" to match the other songs I added from the EP. All 10 songs are provided in their entirety.
Peace,
Big Stacks from Kakalak