Large Professor Talks Jay-Z Having The Tech On Tour, First Meeting Nas, & Working With Joell Ortiz
November 18, 2010
“I showed you your first tech on tour with Large Professor” apparently Jay wasn’t lying bout that. After sharing that brief story Large Pro goes on to talk about his first encounters with Nas, working with him on Illmatic, and them having recently recorded several joints together. He also speaks about the newer artists of today that he digs and wants to work with, Joell Ortiz is no surprise but Soulja Boy definitely is.
Lloyd Banks Names His Top 5 Favorite Producers Of All Time
November 18, 2010
Drake’s Producer 40: “Kanye Cussed Me Out One Day For Jacking His Sound”
November 17, 2010
While my cover story with Dr. Dre got the most attention in the 2010 Juice issue of Vibe, buried somewhere in the back was a one-pager I did with Drake’s producers 40 and Boi-1da. Though it wasn’t the first time I’d interviewed Boi-1da (Read that interview here) it was my first time chatting with Noah “40″ Shebib, so I had a lot of questions. Some of our conversation was a little too gear-heavy for the readers of Vibe so you know I had to save those jewels for the Nodfactor faithful.
With the fam at Vibe well onto their next issue I now present the full transcript of my interview with 40 where he goes into detail about how he got into engineering, production, “biting” Kanye West and what exactly he uses to make his beats sound the way they do.
“I spend a lot of time manipulating my sounds. A lot of the time people think I’m using a Pad and I’m really using a totally distorted and EQ’d, reverbed, tricked out delayed piano”- 40
Nodfactor.com: Starting from the beginning….How did you get the name 40?
40: The first major label project I did in Canada was for this artist named Jelly Stone. He was like a super gangster rapper up here. And those guys didn’t really use government names too much. I gotta nickname hanging around that project pretty quick and that was my first major label project so all of my first credits were credited as 40 and I kept it that way ever since. It’s “40 Days and 40 Nights.” Those guys used to fall asleep in the studio knocking out and wake up at ten am and I’d still be working. And they’d be “your work never stops. You work for 40 Days and 40 Nights.” Plus my name is Noah, right. So then with the Noah’s Ark (raining for 40 Days) and they named me 40.
When did you start making music professionally?
I’ve been playing piano since I was 5 years old and I’ve been into mathematics and physics my whole life. Hooking up the VCRs when I was 8 years old was my job around the house. I was a professional actor when I was young. I did a lot of American feature films when I was young. By the time I was 13 I was able to afford equipment and was self-taught. By the time I was 18…I grew up in a good neighborhood that bordered on a really bad one. I went to a school in Toronto called Trevis which is a local audio engineering school. I was there for about half a course when I realized that I was ahead of a lot of the stuff I was doing. The guy that created the curriculum there is a guy named Gadget. He’s a legendary Toronto hip-hop Godfather. He’s this tall Jamaica dude with dreds who ran the scene up here forever and I got him to mix four songs on Thank Me Later:”Light Up,”" Shut It Dwon,” “Miss Me” and “Unforgettable.”
When I was 19 or 20 Gadg was looking for an intern. Of course I jumped at the opportunity and because I had the highest marks in the school and my teacher came to me and said “I think you’re the most qualified and you actually know ProTools” do you want to do it? I said of course. So he taught me everything I know from mixing and engineering and tracking and working with artists and etiquette and the business. Gadget worked for Chris Smith, who is Nellie Furtado’s manager. Chris Smith is probably the most powerful black man in the Canadian music industry and Gadget was his A&R and his set of ears, so I came up in that company professionally working with Nellie, FEFE Dobson and Jelly Stone.
What kind of acting did you do?
I was in Sophia Copalla’s first feature film The Virgin Suicide’s. I actually got a lead in that. I shot 30 of the 31 days. My character was Parkie Denton. If you watch the Virgin Suicide’s you’ll definitely see 40. There’s a bunch of other shit but nothing notable. Not much commercial work. The Sprite commercial was the only one I’ve ever done.
I stopped acting when I was about 18 because I was too busy smoking dope before auditions and not actually giving a fuck and being more concerned with music. Plus these other kids were actually studying their lines and getting acting coaches.
Me and Drake laugh about it all the time that we’re both professional actors and that is a point of interest. I understand what he went through but I don’t think it was relevant at all in our music.
What is the secret to the Sound of 40 ?
There is a secret but I can’t tell you. Nobody’s figured it out. I don’t know why because it’s so simple. You know who else does it? There’s only one other person I’ve seen do it with my own eyes. I had their sessions and I knew what their engineer was doing. And That’s Kanye’s engineer Drew. When I got the “Find Your Love” session I said “Oh shit you guys do it too?” I hope they don’t think I’m biting them.
There are more similarities between me and Ye on 808s and So Far Gone than to Thank Me Later. Ye cussed me out one day about jacking his sound. “40 I don’t think you should be in the studio right now because you might just hear my new shit and subconsciously steal my new shit and it wouldn’t even be your fault.” I can’t even be mad at him because the last CD I listened to was 808s & Heartbrteak before I started doing So Far Gone. I swear to God I haven’t listened to a CD since other than Erykah Badu’s new album which I love. That’s it. I try not to listen to too much music because I don’t want to be subconsciously influenced and he’s 100% right about that. But at the end of the day I think that’s what music is. We take influence from different people and we put it all together the best we can. Ye has been an influence to me but not too much. Not in my drum programming or anything. I just think he hit something for me on “Say You Will” that I fell in love with. I think I’ve been running with it a little bit, I’m not afraid to admit that. But to say that I haven’t brought my own swag to it? My favorite shit is Jodeci. Ye doesn’t make fuckin slow jams. I make R&B music. Even if I do take his sound a little bit I don’t think he’s done anything that sounds like “Successful.” That’s me liking Jermaine Dupri throwback R&B records and 90s records like Ginuwine.
So what exactly do you do then?
I spend a lot of time manipulating my sounds. A lot of the time people think I’m using a Pad and I’m really using a totally distorted and EQ’d, reverbed, tricked out delayed piano. But I do use a lot of Pads. I don’t pitch my drums. That’s a misinterpretation of what I’m actually doing. I’m not really heavy on reverb. I keep Drake’s vocals dry. I don’t use arpeggiators. I play all of my arpeggiations myself. I actually have the dexterity to run up and down the piano like a jazz solo. When it comes to hitting an arpeggiator I’d rather just play myself.
I’m so unorthodox it’s not even funny. I’m a diehard Protools user. I exclusively used Pro Tools for all of my productions. I create and build all of my midi sequences in ProTools. I use a lot of soft synths. To be honest with you pretty much the only synth I use is Xpand, which is a stock ProTools plugin. “Successful,” “Houstalantavegas” “Unforgettable” came out of Xpand 2 in Pro tools 8. The point is Xpand is a very simple stock ProTools synthesizer that they give you for free with Pro Tools. But because I spend so much time editing and tweaking my sounds I’m able to get them to a [certain place.]
What’s it like mixing Boi 1da?
It’s way more fun mixing someone else’s beat. It’s much harder to mix your own material. You have your own perception of what the beat is supposed to sound like so it’s harder to take it where it needs to go. Because 1der has a lack of engineering background he gives me a lot of room to play with so I just go off on his shit. I’ve mixed a lot of his records. Me and Drake actually met for the very first time working with an artist named Divine Brown who was also on Chris Smith’s roster. I got my first gold record with her. I produced three songs on her album and we did a remix with Boi 1da and we put Drake on it. That’s the first time I met Drake.
What’s the biggest mistake you’ve made in the studio and how did you fix it?
I’m an engineer, not a careless producer. So I’ve never made an irreversible mistake. Not recorded a vocal , never missed a take. The worst thing I ever did on this album is that I recorded vocals in a 48K session with my clock set to 44 so when I played it back it was playing way fast. So to fix that you have to do some maneuvering within ProTools as far as exporting the file at the wrong sample rate and then reimporting it back at a different sample rate to trick it and make it do the conversion. That took about 25 minutes or half and hour and I had to turn to Drake when he said “ why the fuck does this sound like that?” and I said “Chill, it’s at the wrong sample rate give me ten minutes.”
At first I was like “I need two rigs; one running at 44, one running at 48 and I’m gonna do a dump and it’s gonna match up.” But there was an easier way that I figured out. Drake is super spoiled. The bastard won’t work with anyone else. I will track him til the day I die.
How important is it for an artist to work with one engineer/producer?
First thing is that I’ve been with Drake since the very beginning of his career and I didn’t produce anything. Like on Come Back Season I didn’t produce one fucking thing except the intro. That wasn’t my role.
We started looking for this music and he was turning down hundreds of beats and I realized what sound he was going for. So I said fuck it I might as well do it. I didn’t have a reason to make beats until then. Finally I had a reason. That coupled with the fact that I control all of Drake’s music. I have all of his drives and his entire catalog from day one. No one has ever touched his sessions. So at the end of the day the responsibility of A&Ring and gathering his projects has always been mine whether I was producing it or not. So producing became an easy progression. We have a great level of trust because I’ve been doing it since day one. Most engineers suffer from artists telling them what to do though they’ve never touched a fucking EQ. We have a very different dynamic that way. Even if I don’t produce something I put a twist on it to make sure it fits. None of this was premeditated.
Have you tailored this sound for Drake?
At this point in time the only rappers I have any interest in working with outside of Drake are Wayne and Jay. And that’s from Drake’s mouth. I think Drake has been so instrumental in creating that sound that I have a commitment to him. If he doesn’t’ want me to give it away I won’t. Me and Wonda differ that way very much so. Wonder’s trying to place records and expand his reach in the world of hip-hop. But my ambitions are to stay focused with Drake and when it comes time to start developing another artist I’ll make that move at that point. But going after placements is definitely not my M.O. I don’t like that game. I haven’t signed a publishing deal yet. Every publishing company in the United States is having a nervous breakdown. What are you gonna do for me other than lend me money? And I have way too many friends in the hood that can lend me just as much and their interest rates are way better. Why am I gonna take money from you? If Universal Music publishing is already working “Successful” why do I need them to work on my side? They’re already working it. I have a very unorthodox attitude toward the whole business and even my situation.
Do you at least have a manager?
Hip-Hop since 1978 represents me. You always need management. This business is a mob. Better be part of it if you wanna win. IE Alicia Keys, please believe if G Roberson wasn’t my manager, they would have had Drake in to write and I wouldn’t have done the record. But because they represent me they said we want 40 to produce the record. I need ‘em. I need ‘em bad. Me and G and Al really see eye-to-eye musically and creatively and it’s really refreshing.
I feel blessed. I’m a kid from Toronto. I’ve been driving my mom’s station wagon for the last 8 years for real. I’m not in this for all the bullshit. I’m trying to make a career for myself and not flush it down the toilet. I’m not saying what 1da’s doing is wrong we’re just different that way. I’m cool where I’m at.
Dr. Dre XXL Cover x Talks To Big Boy Bout Detox, Kush Leak, & Kendrick Lamar
November 17, 2010
Dre, who will be appearing on the cover of XXL’s December/January issue, appeared on Big Boy’s Neighborhood to discus the recent “Kush” leak featuring Snoop & Akon, what the future holds for Detox, and wanting to work with the next from the west, Kendrick Lamar. Listen to the full interview below.
Big Boy’s Interview
Dr. Dre on Big Boy’s Neighborhood by Christopher B
DJ Premier Talks About Picking Breaks For BET’s “The Cipher”
November 16, 2010
- Cover of DJ Premier
Most you know that when I conduct my interviews of producers I wear two hats: one as this site’s founder where I get into more technical aspects of production and the other for TheUrbanDaily.com where I take a more main stream approach. Sometimes they cross over.
In this clip of my interview with DJ Premier he talks about DJing BET’s The Cipher and shares how the Skull Snaps break-beat was chosen. Later in the video he also talks about going up against Dr. Dre in Vibe’s producer tournament.
I’ll have a more detailed interview in our Lab section shortly where he discusses mixing techniques and the rumors of the demise of Panasonic’s Technique 1200 turntables, along with some exclusive studio footage from our people’s at SlangRapDemocracy.
R.I.P DJ Screw
November 16, 2010
From TheBoxHouston.com
10 years ago today marks the passing of Robert Earl “DJ Screw” Davis Jr. Founder of the Screwed Up Click which gave birth to many of H-Town’s greatest rappers such as Lil’ Keke, Fat Pat, Big Pokey, ESG, Big Hawk, & The Botany Boys.
He was known for his trademark slowed-down mixes also known as “Screw tapes”. One of the most legendary being “June 27th”. Other notable Screw tapes are “All Screwed Up, Vol. 1″ (1995), “3 ‘N the Mornin Part 1″ (1995), “3 ‘N the Mornin Part 2 Blue” (1996), “3 ‘N the Mornin Part 2 Red” (1998) and “All Work, No Play” (1999).
When Screw, just 29 at the time, died medical examiners said it was from an overdose of codeine – (otherwise known as “lean,” “syrup” or “barre”), a mixture of prescription-strength cough syrup and soda that can create a feeling of sedated euphoria when taken in large quantities.
His legacy continues to reach beyond the 3rd Coast as many artist have paid homage including Drake’s “November 18th” which is an update of the “June 27th” freestyle. & T-Pain’s (2008) release “Chopped & Screwed”.
NODFACTOR And VIBE Present: Kanye West’s 50 Greatest Beats!
November 15, 2010
I’ve never been the biggest fan of Kanye’s singing and I think he is a pretty good MC, but when it comes to beats he is clearly one of the best.
While we here at Nodfactor shook our heads at his declaration of being in the top 3 among producers, his catalog is nevertheless impressive. And any man that performs on an MPC at the VMAs gets dap in our book. So with his Beautiful Dark Twisted Fantasy coming out officially this month (and unofficially already) we put our heads together with our friends at Vibe.com to compile Yeezy’s 50 Greatest beats.
Compiled by: Jerry Barrow(@JLBARROW), Tracy Garraud, Clover Hope and John Kennedy
50. Kanye West Feat. Talib Kweli & Common “Get Em High” (2004)
Album: The College Dropout
“I’m tryna catch the beat…” Though one of Yeezy’s more modest gems, “Get Em High” felt like it was gurgling in a bong with its xylophone bounce and jolly giant bass. Simple and buoyant—who wouldn’t take a hit?
49.Common “My Way Home” (2005)
Album: Be
Sample: Gil Scott Heron “Home is Where The Hatred Is”
For one of the shortest songs on the album, Gil Scott-Heron’s “Home Is Where the Hatred Is” got pitched down to enhance the melancholy vibe and was allowed to ride out naked with little additional drum programming un-enhanced by any overdubs.
48. Trina Feat. Ludacris “B R Right” (2002)
Album: Diamond Princess
Kanye throws another curveball on this third single from Trina’s Diamond Princess, fondling violin chords to create a sample-free sound bed perfect for Trina and Luda’s dirty talking.
47. T.I. “Doin’ My Job” (2003)
Album: Trap Musik
Sample: Bloodstone “I’m Just Doin My Job”
Just when you thought speeding up a sample was getting corny, Yeezy squeezed out one more winner with some help from Bloodstone’s “I’m Just Doing My Job”. As with most sample beats it’s about what drums you pair with it and Kanye’s freak of “Impeach The President” made it his own.
46. Kanye West “All of the Lights” (2010)
Album: My Beautiful Dark Twisted Fantasy
As stadium status goes, this star-studded cut off Kanye’s Wild Things-esque fairytale album is more than worthy of being boomed before thousands. Like the album’s overall soundscape, it’s slightly haunting and expansive but completely glorious, a plethora of majestic blasts and jungle drums. Expertly arranged vocals from Rihanna, John Legend, Alicia Keys and, for Pete’s sakes, Elton John seem like they’re one with the track. Good ass job.
45. Kanye West “Through The Wire”
Kanye West “Through The Wire” (2004)
Album: The College Dropout
Sample: Chaka Khan “Through The Fire”
The way ‘Ye blacks out on the instrumental for this humbled near-death reflection, you have to wonder if he was still high on painkillers. Of course, he was rapping with his jaw virtually clamped—the casualty of a severe 2002 car wreck—but the slightest Chaka Khan tweak made this shrieking sample one of his most clever.
44. Ludacris Feat. Shawnna “Stand Up”
Ludacris “Stand Up” (2003)
Album: Chicken And Beer
Despite how dope this beat was, it marked the last time the two heavyweights collaborated. The rare sample-free treat was Luda’s first co-production credit and that may have ruffled Kanye’s feathers. In some cases, he doesn’t play so nicely with others after all.
43. Monica Feat. Missy Elliott “Knock Knock”
Monica “Knock Knock” (2003)
Album: After The Storm
Sample: The Masqueraders “It’s A Terrible Thing To Waste Your Love”
Monica goes all “sista girl” over gentle chimes here, singing and rapping an “It’s not me, it’s you” note to her newest ex. While ‘Ye scaled back the original backdrop (check the hiccuping sample chop from his own “Improvise”) for this single from After The Storm, his MPC taps build up with hollow percussion and snares toward the track’s end. Anyone home?
42.Kanye West Feat. Pusha T “Runaway” (2010)
Album: My Beautiful Dark Twisted Fantasy
The piano feels like it’s right out of a Stanley Kubrick film and helps you overlook the fact that he jacked Pete Rocks’ drums from an interlude on Mecca And The Soul Brother to make a toast to the douchebags. Call it a preemptive apology?
41. Kanye West Feat. Paul Wall & GLC “Drive Slow”
Kanye West Feat. The Game & Paul Wall “Drive Slow” (2005)
Album: Late Registration
Sample: Hank Crawford’s “Wildflower”
One of the most slept-on of Yeezy’s beats, this single from Late Registration contains a sample of Hank Crawford’s “Wildflower.” Pac fans remember this sample from “Shorty Wanna Be a Thug,” but where those drums overpowered the lilting piano Ye lets the track breath.
40. Common “The Corner” (2005)
Album: Be
Sample: Temptations “What It Is”
The Temprees play more of a supporting role in this instrumental providing sped-up chipmunk wails of “my liiife,” as the drums from the Temptations’ “What It is” provide most of the meat. Again, Yeezy waited patiently for the 1:15 mark where things slowed down a bit to pillage the funk before it all went spastic.
39. Drake, “Show Me A Good Time”, Thank Me Later, 2010
Coproduction: No I.D., Jeff Bhasker
Album: Thank Me Later
One of the highlights on Drake’s hyped debut is this bass-heavy party-starter that boasts the same high-pitched production adlib (aye!) Ye used on another track, Rick Ross’s “Live Fast, Die Young.” Also notice the subtle piano loop in the background. Under the right sound system conditions, you’ll lose your mind when the beat drops at the 7-second mark.
38. Jay-Z “Izzo” (2001)
Album: The Blueprint
Sample: The Jacksons “I Want You Back”
It’s almost cheating to sample the Jackson 5, especially since Jay had already pimped out “I Want You Back” with Pharrell for “I Just Wanna Love You (Give It To Me).” But Kanye’s superior drum-programming made this more than just another lazy loop.
37. Kanye West Feat. T-Pain “Good Life” (2007)
Coproduction: DJ Toomp
Album: Graduation
Sample: Michael Jackson “P.Y.T.”
It’s hard to go wrong with a sample of “PYT” (unless it’s Memphis Bleek’s tragic “I Wanna Love You”), but the second time around Kanye got some help from DJ Toomp to slow it down just enough to help the uncoordinated get their two-step on. And replaying it on the synth worked out way better than looping it outright.
36. Beanie Sigel “The Truth” (2000)
Album: The Truth
Sample: Graham Nash “Chicago”
Kanye wasn’t always rolling percussion and chipmunk-voiced samples. On his Roc introduction, ‘Ye lifts a seesawing ’60s Graham Nash record and plops it between grave piano keys. The result: An harder-than-tarmac album intro that not only set the tone for Beanie Sigel’s rough-edged debut, but began a long-lasting marriage between Kanye & Roc-A-Fella. True story.
35.Kanye West Feat. Young Jeezy “Amazing” (2008)
Album: 808s and Heartbreak
Anything worthy of being the soundtrack to Kobe Bryant’s march to a 3-Peat can’t be bad.
34.Twista Feat. Jamie Foxx & Kanye West “Slow Jamz” (2004)
Album: The College Dropout/Kamikaze
Sample: Luther Vandross “A House Is Not A Home”
What better way to pay homage to the oldies than making Luther Vandross sound like he’s been sucking on helium? Silly as it may seem, Kanye progressed the old school fiddling of “Through The Wire” by more methodically dicing a classic vocal sample over nimble percussion. And it definitely sets the party off right.
33.Kanye West Feat. Jamie Foxx “Gold Digger” (2005)
Album: Late Registration
Sample: Ray Charles “I Got A Woman” & Thunder & Lightening “Bumpin Bust Stop”
When he’s not busy bigging himself up, Kanye can be a lot of fun and this beat is testament to that. Tweaking Ray Charles “I Got A Woman” to craft his ode to greedy women was a rebellious move at best and sprinkling the familiar “get downs” from “Bumpin’ Bust Stop” made the ladies almost forget that he left their asses for a white girl.
32. Twista Feat. Kanye West “Overnight Celebrity”
Album: Kamikaze (2004)
Sample: Lenny Williams “Cause I Love You”
Mr. West gives Lenny Williams’ staccato cries new life on this epic Kamikaze single that piggybacks off “Slow Jamz.” Upgrading a chick from Gap to Gucci, Tung Twista’s nimble flow dances around the beat without getting tangled in Miri Ben Ari’s nifty strings.
31.Jay-Z “Heart of the City” (2001)
Album: The Blueprint
Sample: Bobby Blue Bland’s “Heart Of The City”
As sample manipulations go, this will not boost Yeezy’s application for MENSA membership but half the battle is often finding THAT record to help the message along. See what you can do with Bobby Blue Bland’s “Heart Of The City” in DJ Hero.
30.Mos Def Feat. Faith Evans “Brown Sugar”
Album: Brown Sugar Soundtrack
Mos Def “Brown Sugar (Fine)” (2002)
Album: Brown Sugar soundtrack
Sample: Norman Connors “Invitation”
This is classic ‘Ye production soaked in nostalgia. A twinkling old soul record made to bounce off doorknockers and slide down rope chains. From the gratuitous finger-snaps to Norman Connors’ stirring moans woven in at just the right moments, Yeezy grabbed a chunk of the hood’s sweet spot and baked it into the warmest melody.
29. Game Feat. Kanye West “Wouldn’t Get Far” (2007)
Album: Doctor’s Advocate
Sample: Creative Source “I’d Find You Anywhere” & Mountain “Long Red (Live)”
At first thought, tangling a hiccupping soul sample with a yowling rock sample seems like one hell of a sonic disaster. But under Kanye’s ear, the aforementioned couldn’t be further than accurate. The balmy juxtaposition is one even Melyssa Ford couldn’t hate on.
28. Nas Feat. Kanye West “Still Dreamin’” (2006)
Album: Hip-Hop Is Dead
Sample: Diana Ross “The Interim”
It doesn’t take much savvy to note that a song titled “Still Dreaming” needs to be coated in darkness. But it takes more than the obvious to massage one of the most exceptional tracks off a GOAT’s most controversial album. Here, ‘Ye takes Diana Ross’ snail-speed sample but rouses the melody with a gauze of DJ scratches and utterances. The end result, cuddled between serenity and melancholy, is far from a sleeper.
27. Kanye West Feat. GLC & Consequence “Spaceship” (2005)
Album: The College Dropout
Sample: Marvin Gaye “Distant Lover”
There’s just something about this track. Not only do Kanye’s lyrics tap into the 9-to-5ers daily tussle, this average Joe tribute immediately strikes a chord, from the opening bass and “oohs” to the stuttered drums and a plodding tempo that somehow feels like the beat itself is working the nightshift.
26. Kanye “Everything I Am” (2007)
Album: Graduation
Samples: Prince Phillip Mitchell “If We Can’t Be Lovers” & Public Enemy “Bring The Noise”
West achieves sonic bliss by pairing a sped-up slow dance-worthy piano rhythm with scratches of Chuck D’s “here we go again” vocals from a P.E. classic. Just like that, a laidback groove that Common foolishly passed up on becomes one of Ye’s most refined creations.
Click over to Vibe to see which one made #1!!
Red Bull Big Tune 2010: Detroit Semi-Finals
November 13, 2010
Here’s the latest footage from Big Tune. This part of the competition took place in Detroit at the infamous St. Andrew’s Hall. Congratulations to NoSpeakerz who took the crown and Big Pops the runner up, both will be heading to Chicago for the finals.
Part 1
Final Round
[Updated] The Tweets Is Watching: Kane Beatz Seeks Intern + Application
November 13, 2010
The hardest thing about this industry is getting your foot in the door, once you’ve done that the next hardest part is staying here. Well here’s an opportunity for all you aspiring producers, engineers, writers, etc. Kane Beatz (if your not familiar see “Bedrock”, “Bottoms Up”, “Steady Mobbin”) is looing for an intern for his Atlanta based studio. If you’d like to find out more details and submit yourself for the opportunity to work with one of the hottest producers on the planet you can hit Kane directly via twitter (@KaneBeatz) or hit his right hand man, “The Building” A&R Tim Mixon (@TimMixon).
UPDATE:
Download the application here
DJ Premier Talks Nas Album & Jay-Z Collaboration & Blueprint 3 Snub
November 12, 2010
I don’t know about you guys but I’m tired of hearing about Nas and Premier doing an album. Until something materializes with that and Detox I’d rather hear nothing. To be quite honest I don’t think I’d want to even hear a Nas/Premier project anyway, I’m not a traditionalist in that sense and I think it would prob sound quite dated. I’d rather hear Nas put out a project that actually had some good production. Oh well, guess we all have our dreams, right?
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