#2000XL

[politiksbeats]

Loom | AI Video #12

[nctrnm]

#NowPlaying: "KLIM - Everglades" by Ninetofive ®

[buyyourdreamorsellyoursoul]

[sunofthesol]

if beats can be albums

[cgtg]

another doseone-led band i found in the last couple weeks. anticon moment

god this guy is prolific. sry 4 the ramble incoming

reason i havent been rly doing music recs lately is bc ive jusd been fucking hardcore delving into doseone's music repertoire again r0fl. stumbled onto this album "for hero: for fool" & its a huge fav atm. ive been trying 2 find info about the instrumentation on these but all ive found for sure ( so far ) is that they used a roland TR-808 and jel's got his AKAI MPC 2000XL. both visible in live performances

the way jel plays in this, its so fuckin active & immersed & percussive i cant stop watching. the first song (middleclass stomp) is all on beat machine, then the second song (middleclass kill) also uses a drum set (thats jordan dalrymple behind the kit there, switches from guitar to drum on the second song.)

jel on the drum machine, he is insane, cannot rec him enough. he wos a producer on "center city", which is one of my fave sole songs & is in my junior spitfire playlist

the beat on "middleclass stomp" is amazing 2 me but this live version doesnt emphasize the *guitar* nearly as well tbh, which is maybe the most delicious part of the song, the way this song moves... peep it

they were rlly dead set on not being defined as hip-hop but its got all the trappings of hip-hop, or kinda is definitively a descendant of it. its a fucking amazing album dude. dose's ability 2 do such evocative & abstracted lyrics that are hard to follow but fucking. mesmerizing to dig into & tell such vivid stories. its unparalleled 2 me.

another fav from the album

rlly rlly nefarious sound i fucking ugh. evry time i listen to this song i start just bouncing like this guy does. esp when that "DROP THE GUTS" part hits

"he was spitting so casual"... teez mcgee points out how effortlessly he seems 2 just pump out bars & its so true . live on stage or in studio he is completely effortless, shockingly casual, all that in one take... & i cant even follow along w/o fumbling most words on my tongue, even when i know the lyrics well

this has been a rando certified autism moment if u read all of it... thanx u

[evantee826]

Music Technology post 3: how Akai's MPC and Sampling changed music

Akai is a Japanese company that has been putting out some of the best music technology tools for around 4 decades and will continue to. There’s many great MIDI controllers and drum machines and samplers but none will ever top the Akai MPC. The Akai MPC is not only a top of the line sampler, but is the heart and soul of hip-hop production. The MPC60 was released in December of 1988 and was designed to be user friendly, intuitive and functional. Well, it was just that. That is why many producers switched over to it. It came with 16 sample pads that allowed 13 seconds of sound in each one. It really became a big deal around the mid 90’s, when producer J Dilla came onto the scene. He used the MPC 2000XL and MPC 3000. He was such an important figure, in not only hip-hop but music as a whole, that his MPC 3000 is actually on display at the Smithsonian National Museum of African American History and Culture. This really took sampling to a whole new level and it is kind of a big deal. Music is forever evolving and with the MPC, the art of sampling continued to evolve. Sampling is when an artist takes a piece of another song and uses it in theirs. You can pretty much take these samples, assign them to any of the 16 drum pads and play the sample by just hitting the pad. Coby Ashpis is a musician out of LA and said in a Vox article, “You can play one sample like a full instrument; you can change it. It opened up all recorded music to be played with in a really freeing way — a way that still used beats and samples but is more similar to playing a traditional acoustic instrument like keyboards or drums,”. It really is amazing to see the longevity of the MPC as well. It is still a household name in production today.

(Vox article linked)

[trash-slvt]

this is such a vibe. l love how much care was put into drawing all of this iconic gear too. i wanted to list all of the gear here but i ran out of steam maybe someone else could do it. here are my quick notes monitors - krk rokit piano - fender rhodes (mk2?)

on top of rhodes: rack - looks like dual audio interfaces. i swear ive seen thse before but i cant remember. maybe old presonus firewire interfaces? not sure whats above from the left Modular synth with macbook on top - i think i could make our some of the modules with a bit of work not sure whats under it synth with red cheek - i cant place this and its killing me some blue pedals - idk by foot - roland sp404 mk2 some kind of field recorder - looks like a zoom but it doesnt have the crossed mics so not sure akai mpc 2000xl - the classic the blue one - cant place this off top of head either but i should be able to korg volca (beats or fm maybe?) turntable mixer amp and mic (with Shure SM57 on the amp)

[hhoepromotions]

📲 New Music: Status The Marlboro Man - "City's Cold Hearted"

[presetter-blog1]

Origin of Charles Preset runs like this…Back in 1996 I began to collect electronic music gear, and largely was seeking out vintage synths that had analog filters, oscillators and so on and so forth. Basically this boiled down to a pawn shop searching in out of the way places in Michigan’s Upper Peninsula, Northwoods of Wisconsin & Duluth area of Minnesota. My guides on this vision quest were a group of similar minded techno funk freak heads from suburban Detroit, with never ending lists, and seemingly a never ending supply of new acquisitions they were noodling with and then re-selling. I got my hands on a Linndrum, Arp Axxe, tr-606, roland hs-60, jupiter four. Eventually added a MPC 2000xl to the sound miasma. Subsequently began DJing at venues in and around Detroit, wanting to try out the tracks I was cooking up at home, recording off my mackie board directly onto cd-r.

By that time I had made friends with a couple guys that had similar gear, and were sick of dj’ing, hearing the same records over and over when out, and wanted to play shows, had belief, but everyone, with regards to techno and electro music, wanted to book DJs.

We began to jam on Sundays as sort of a potluck, bring a dish, a synth, a extra long midi cable, and called it Sunday Night Improv sessions.

This was at the now demolished lofts on Grand River which was also the Detroit Techno artist beehive where UR was operating and so many other artists. We used to get mail for Mike Banks…

One thing led to another and we forced our way into bringing our gear out instead of records to DJ gigs that one of us got hooked up with, at Forans or The Majestic Cafe, Traffic Jam, warehouse parties. People would always come up to me and ask if our music was pre-recorded or what presets we were using and I was like, ahhh we are doing this live, on the fly, no presets. So after while I began to list myself as Charles Preset, along with Abused Current, and p20, program 17, we formed this sn(i) collective. This went on for some time, money was made and we decided to use this money to start a record label that we decreed to be Kenaob Records. Thusly Charles Preset became my electro-techno-funk handle, and Charles R Pearson was for house, ambient, soundtrack, etc. That’s how Charles Preset came back to ride the sound waves again, with some new electro, techno shapes rolling about the 138bpm and faster level. Aww what you say?

[cratesofjr]

It's 2023, and you STILL can't trust a big butt and a smile..

[politiksbeats]

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My most precious piece of gear.The Akai MPC 2000XL from 1999.

[dariousdenim]

Kanye’s custom MPC 2000XL. In a louis vuitton print!!

[politiksbeats]

Akai MPC 2000XL illustration by @markus-designs

Beat by @politiksbeats

Basics.

[buyyourdreamorsellyoursoul]

[emceemath]

Custom mpc 2000xl case my homie made for me