Lil Kim Says B.I.G. Sends His Regards From The Afterlife And Does Not Approve Of Notorious Biopic

11 03 2009

lil_kim

She might have already been somewhere around Tom Cruise-jumping-on-Oprah’s-couch crazy before, but now Lil Kim has pretty much gone off the charts, nearing Michael Jackson-crazy (and we’re not talking about her plastic surgery). Oh, you hadn’t heard? Biggie talks to Kim in her dreams, and apparently he is not happy with his recent biopic, Notorious. Not happy at all.

Lil Kim told RapRadar.com that she is ticked about the way she was portrayed in Notorious, and said beyond-the-grave-Biggie agrees.

“I’m a very spiritual person and he’s come to me many times in my dreams,” she said. “But I don’t think he’s happy at all, at all! Because Ms. Wallace doesn’t know Biggie at all and she barely knows Christopher, if you know what I mean. At all! And I was around. Even before he blew up so crazy, so I know how he felt about his mom. And Biggie was so much more than what they put him out to be in that movie. And to be honest with you, I know for a fact he’s not happy. He’s not satisfied at all. At all. And regardless of the fact, everybody who is involved in this movie, he has love for. Everybody. But at the end of the day, he knows who’s who and what’s what. Believe that. And let me tell you something, the way he’s feeling is going to come out later. You’re going to see who he really loved and the ones that’s standing up for him the right way is the ones representing him the right way.”

This is just the latest in an on-going tiff between Kim and P. Diddy, Biggie’s mom Voletta Wallace and former wife Faith Evans. Kim was upset because she wasn’t involved in the production of the film, even though one of the screenwriters said he contacted Kim and worked with her on the development of her character. Of course, she’s also not thrilled with the casting.

“I wouldn’t have picked a known actress,” Kim said. “I would’ve went to Brooklyn [and] had a casting call, to be honest with you. Because there is nobody who could’ve pulled off that Lil’ Kim/ Brooklyn feeling besides a Brooklyn girl who grew up in Brooklyn and knows what that’s like. That’s what I would’ve done.”

Knows what it’s like to speak to dead rappers in her dreams? No Kim. Nobody knows what that’s like. Even in Brooklyn.

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Dolphin Music News Feed

17 12 2008

Dolphin Music - News Feed





Mark Ronson talks production, equipment and Tom Cruise

5 11 2008

m-ronson
Mark Ronson is currently one of England’s biggest music exports, having won an English Brit Award and being a three-time Grammy award winning music producer and artist .

His second album, Version focused on the British music scene, with covers of songs by the likes of Radiohead, Maxïmo Park, The Smiths, The Zutons and Kaiser Chiefs. The album includes three top ten hits and won Ronson a BRIT Award for Best Male Artist 2008. He is the first person to win a BRIT award who does not sing on the actual recording.

Ronson’s heritage comes from being a superstar Dj seemingly to some of the music/fashion industries biggest names, P Diddy and Tommy Hilfiger to name a few.

To be more exact, it’s been about six months since Ronson has spun in Manhattan — the borough that made him famous for his selector skills. But one fulfilling evening doesn’t override his feeling of burnout. “I don’t enjoy [DJing] five nights a week — playing new hip-hop and stuff — because it doesn’t really get me that excited anymore,” he laments.

Some 14 years in the booth can do that to you. Ronson still gets his fill by spinning recent hip-hop hits, electro, rock and remixes of his own records — primarily at the renowned YOYO parties in London and for his weekly Internet show “Authentic Shit” on East Village Radio. Those couple gigs aside, he’s no longer keen on being the celebrity DJ that he became in the late-’90s by entertaining the rich and famous. As fun as it was rocking parties for Tommy Hilfiger and Diddy, it wasn’t enough creatively.
By 2000, Ronson found a new outlet with a piece of equipment he was already familiar with as a hip-hop head: the MPC. His first notable production work was heard on vocalist Nikka Costa’s album, Everybody Got Their Something (Virgin, 2001), and two years later on his solo debut, Here Comes the Fuzz (Elektra, 2003). This anything-goes party album featured everyone from Sean Paul to Saigon and saw Ronson translate his kinetic turntable magic onto wax.

Since cutting back on spinning in clubs in early 2006, Ronson has never been busier on the production front. Christina Aguilera, Lily Allen and Amy Winehouse have all reached out to Ronson recently for his soulful backdrops. Ronson has also produced Liverpool’s own Candie Payne’s “One More Chance (Ronson mix)” in 2007.

During a little downtime from his work for others, the producer recorded his surprising new sophomore album, “Version” (Allido/RCA, 2007) — a record that was never supposed to happen.

The album was been well received by critics. In May 2007 it was awarded the title Album of the Month by the British dance music magazine Mixmag. On June 23, the DJ made the cover of the Guardian newspaper’s Guide magazine, alongside the singer Lily Allen.

In June 2007, Ronson signed DC hip hop artist Wale to Allido Records. In late 2007, he focused on production, working with Daniel Merriweather on his debut album, and recording again with Amy Winehouse and Robbie Williams.

Mark is the epitome of a modern day DJ who has advanced into the production realm. His work for other artists and producing covers’ is arguably what he is now most known for.

Ronson has only one request regarding working conditions when making music here: “It just has to be quiet in the studio,” he says humbly. That’s not much to ask, and as you’ll soon find out, Ronson is rather easy to work with.

But before he welcomes others into the studio, this soul purveyor sits at his Akai MPC3000 LE developing drum patterns. While the drums were the first instrument Ronson picked up as a kid, he admits to not being able to play them all that well. Thus he prefers recording the MPC pads to develop a track and then adds live percussion later. “The beats all come from the MPC, and then depending on what I think the song should start with — a keyboard, the guitar, a bass line — that determines what I should put on top,” he explains. “I just find a beat that I like on the MPC and then lay it into Pro Tools and then just add all the live instrumentation on top of that.”

Sticking to his old-school sensibilities, Ronson often draws from his collection of vintage keys: a Roland RS-101 Strings synth, a Wurlitzer electric piano, a Hohner Clavinet D6 and Yamaha grand piano, to name a few. “The only new thing that I use is a Nord Electro because I don’t have a hammer board, and it has a pretty good sound.”

Even with vocals, Ronson likes to take it back as heard on “Valerie” with Amy Winehouse. Here, using an old RCA DX77 ribbon mic through a Neve mic pre, the soul singer’s Motown-esque tone simply pops.

Soon after recording a handful of tracks with the aforementioned gear, Columbia UK picked up his new album (via Allido), and all of a sudden, there was a budget. With the dough came a world of possibilities. After working with funk/soul band The Dap-Kings on Winehouse’s Back to Black [Republic, 2007] album, Ronson called upon the horn players from the Brooklyn group to help blow out the covers on Version. He also hired large string sections — a move he never thought he could pull off.

“After working on Amy Winehouse’s record, that was sort of my first experience producing and arranging by myself in front of a band and going in front of a string section — something that maybe I would have been a little bit intimated to do before. So once I had the learning block of getting over that working on Amy’s record, that’s when I was able to have the confidence, and that’s when we brought that into my own record.”

Ronson worked with Tom Elmhirst, who mixed a quarter of the tracks on “Version” having already mixed Back to Black (Winehouse), Elmhirst was already familiar with Ronson’s robust funk/soul sound that relied so much on horns and big-band arrangements. “[Version] was very much a continuation of what we’d done on Amy’s record, which was that thing of having people play but make it sound contemporary as well,” Elmhirst explains. “On the mix side, I was really keen for it to kick. So a lot of times with The Dap-Kings, I’d be blowing up the sounds to make them heavier with samples to make it kick as well.”

As a veteran who’s worked with Moby, Bush, Goldfrapp and dozens of others, Elmhirst takes a purist’s approach to mixing. Working behind a Neve VR72, he likes the physical aspect of the console. “I enjoy the mixing side of it rather than just pushing a mouse up and down the whole time,” he says. “But it’s pretty conventional — Pro Tools|HD, and I managed to get it all out of 48 outputs.”

With his love of reggae, Elmhirst used acquired techniques to slip in a little Caribbean flavor on Version. “On a lot of the horns I’ll put a delay on them, but what you have to do with horns sometimes so they can come through clean and [with] that old, almost Motown sound — sometimes you need to distress them a bit so it’s extremely broad frequency-wise,” Elmhirst explains. “So I’ll put shelves on them, I’ll put Lo-Fi on them — anything to sort of crunch ’em up and put ’em into place. And the way the [horns] were tracked, they weren’t played individually — they were played as a group, so you’ve got a nice blend.”

MARK RONSON’S
ALLIDO HEADQUARTERS
Computer, DAW, recording hardware
Apple Mac G5
Digidesign Pro Tools|HD system
Studer 16-track tape machine

Sampler, turntables, DJ mixer
Akai MPC3000 LE sampler
Rane TTM 57SL mixer
(2) Technics SL1200 turntables

Console
Neve VR72

Synths, software, plug-ins, instruments, amps
Ampeg Jet guitar amp
Clavia Nord Electro organ/piano
Crumar Roady electric piano
Digidesign ChannelStrip, Lo-Fi plug-ins
DW drum kit
Fender Jazz Bass, Rhodes electric piano, Twin guitar amp
Gibson Les Paul guitar, acoustic guitar
Hohner Clavinet D6
Line 6 Amp Farm plug-in
Rhodes Mark I Stage Piano
Roland A-90 Controller, RS-101 Strings
Wurlitzer electric piano
Yamaha grand piano

Mic, mic preamps, EQs, compressor
(2) Avalon Vt-737sp preamp/ compressor/EQ
Brent Averill 1073 preamp
Manley Reference Gold mic, VoxBox compressor/de-esser/EQ
RCA DX77 mic
Universal Audio 1176 preamp

Monitors
Genelec 1030As





LCD Soundsystem Live Punk Electronica

23 10 2008

LCD Soundsystem Live Punk Electronica


LCD Soundsystem is the musical project of producer James Murphy, co-founder of dance-punk label DFA Records. The music of LCD Soundsystem is a mix of dance music and punk, along with elements of disco and other styles. LCD Soundsystem is particularly popular in Britain, with two albums reaching the top 40 of the UK Albums Chart..

On December 8, 2005 the group received nominations for two Grammy awards in the Electronica category for their self-titled album and in the Dance category for “Daft Punk Is Playing at My House”.

However LCD Soundsystem are a live band, a live band that play dance music, the type that we are now very used to being played by one man and a laptop. Leader and founder James Murphy has more to do with the punk and new wave acts of the 70’s and 80’s than any of the usual white label fodder.
Referencing acts like Public Image Ltd ,Brian Eno, The Fall, The Velvet Underground, Richard McGuire from Liquid Liquid and Holger Czukay from Can as some of his primary influences. “I thought dance music was all about C+C Music Factory,” he says, “and when I heard a piano stab or a 909, I immediately tuned out and stopped listening to it. Although, I do like old disco, Chicago house and that classic stuff from Detroit — you know, something seminal.”

Murphy grew up on punk rock a played in rock bands his entire life.

A quick scan over his microphone list is like who’s who of classic ribbon microphones, in fact the whole equipment list is a purist’s wildest aspiration.

Murphy also had a friend modify his Fun Machine (an old organ with a filter setting in it) to help him figure out a way to play a live version of the track “Disco Infiltrator” from the last album and for use on Sound of Silver track “Us V. Them.” “We have knobs that have been modified all over this light-up home organ from the ’70s,” he says. “You can tap into time where it can receive a pulse and stay in time, and you can also attack the filters. It sounds amazing, and we now use it on a lot of stuff.

Allot of this equipment is sadly now not in manufacture ( particularly the synthesizers ) so how do WE get the same sounds from today’s available equipment?

LCD Soundsystem Equipment Round -Up

Computer, DAW, recording hardware
Apple Mac G5 running Logic Pro 7
Apogee AD-8000 A/D converter

Console

Purple Audio console with custom-designed moving-fader automation

Samplers, drum machines

Roland MC-909 Sampling
Groovebox, SP-606 Sampling Workstation, TR-33 and TR-808 drum machines
Simmons SD8, SDSV drum machines
Various organ beat boxes

Synths, software, instruments, amps

Ampeg Portaflex B-15N bass amp
Baldwin Fun Machine organ
Bradley Jazz Guitar
Congas and percussion
Custom modular synth
EML Electrocomp 100 synth
EMS Synthi A synth
Epiphone P-Bass copy bass guitar
Farfisa Professional Duo organ
Fender 1961 Jazzmaster guitar
Hohner Clavinet D6 piano
Korg SQ-10 analog sequencer
Moog CDX organ, Rogue synth, Taurus II pedal synth
Propellerhead Reason soft synth
Roland Juno-60, SH-101 synths
Sequential Circuits Prophet-600 synth
Silvertone guitar, practice amp
Squier Telecaster guitar
Vox AC30 guitar amp
Wurlitzer 200A electric piano, Spinet piano
Yamaha CP-60 electric grand piano, CS-50 synth

Misc

AKG BX 10 Reverberation Unit
Akai MFC42 analog filter
Altec Salt Shaker mics, Tube Mixer rackmount mixer
Beyer M160, M201 ribbon mics
Coles 4033 ribbon mic
dbx 161, 162SL, 165A compressor/limiters
Electro-Voice RE2000 condenser mic
Lexicon Prime Time, Prime Time II and Super Prime Time delay processors
Manley Reference Cardioid mic
Neumann TLM 193 condenser mic
Pendulum Tube Limiter
RCA BK5 ribbon mic
Universal Audio Teletronix LA-2A leveling amplifier
Ursa Major Space Station effects unit
Various Tape Delays

Monitors

Radio Shack Minimus 7s
SA M44s
Yamaha NS10

Sources:

http://remixmag.com
http://en.wikipedia.org/wiki/LCD_Soundsystem

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Simian Mobile Disco’s Live Equipment Set Up

20 10 2008


Simian Mobile Disco are best known for their studio work with bands like Justice, Klaxons The Go! Team and The Rapture.

Simian Mobile Disco ‘s Live equipment list comprises of a large range vintage analog equipment (Sequential Circuits Drumtraks, KORG MS20 and so on) paired with a Mac Laptop Sequencer. This gives the act the best of both worlds utilizing those ‘Phat’ analog sounds with the reliability of digital technology.

James Ford and James Anthony Shaw are together aka Simian Mobile Disco, James Anthony had this to say about the live shows:

Instead of leaving their studio behind for their first solo tour, SMD packed the whole thing up, brought it around the world and dissected it for us in this film [Taken from revision3 ]

You do live shows as well. How does it work?
James Anthony Shaw: Well there’s loads of stuff for the live show. We have a mixer and loads of vintage analogue synths, a modular synth, lots of outboards. We can play the tunes, change the structure, the mix. There’s loads of room for improvising, like segways between tracks, mixing them on top of each other or sections on top of each other. There are lots of bits we make up things on the spot. Depending on how that goes, we’ll either develop that for a while or jump onto the next track. The whole idea is that it’s fun for us.

[Taken from state.ie]

Live Equipment

Doepfer A100 Modular Synth

Sequential Circuits Drumtraks

Synare 3

Korg MS20

Korg microKONTROL

Live Mixer

Ribbon Controller

———————————–

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Basic Analog Synthesis:

Using Doepfer A100 Modular Synth

Advanced Analog Synthesis:

Using Doepfer A100 Modular Synth

Drum machine:

Using Sequential Circuits Drumtraks

Synthesizers:

Using Korg MS20

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New Forum To Promote Your Music!

2 09 2008

Dolphin Music’s new magazine, Music Planet, also exists in online format.

View Website

And the best thing is – Dolphin created a new and extensive forum where you can post gig announcements, plug your band, share ideas and discuss gear…

It’s still not quite so full of content because it IS brand new, but don’t be shy and start using it!

Who knows – your band might grab the attention of Music Planet and we might end up featuring you on the mag! And besides, unlike most web forums, the Music Planet forum is linked to a magazine which has a potential reach of over 40 thousand readers!!!

Not promising anything, mind…but start promoting YOUR MUSIC today!!!

VISIT THE MUSIC PLANET FORUM





M-Audio Announces Free Torq Tutorial Videos

19 06 2007

 22 free video tutorials designed to help users master every aspect of the powerful and popular Torq DJ software.

The Torq Tutorial video series encompasses a diverse array of topics to support users of all levels. The first videos explain Torq Conectiv and Torq Xponent setup, the Torq Browser, Auto BPM mapping, QuickCue points, looping, built-in effects, MIDI mapping, VST FX, speed and key adjustment, and Snapshots. Later videos explore the Sampler, synchronization, recording the Master Output, External Control, AMPutate mode, using the Line Input, Pitch/Key Lock with External Control, the Mixer, cueing assignment, microphone recording, and QWERTY keyboard functions.

“M-Audio is as committed to educating customers as we are to developing cutting-edge products,” says Adam Castillo, marketing director at M-Audio. “These videos will help new users to understand the capabilities of Torq before purchasing, and will help existing users to go even deeper with new tips and tricks.”

M-Audio’s free Torq video tutorials can be viewed at www.m-audio.com/university or www.torq-dj.com.