While the Bomb Squad deserves the most credit for pioneering and popularizing a booming sonic aggression in beatmaking, the nature of their aggressive sound was mostly the result of pushing recording studio sonics to their limits. In the area of arrangement, RZA was also a pioneer. And when it came to chops, instead of making beats with choppity chops just for chops sake, RZA often chopped his samples much more conservatively than many of his peers who were guilty of forcing their chops at times this was something that never plagued a beat from RZA.
It was also his drums. Whatever anyone says about the drums of this or that beatmaker post, most drum styles and sounds e. RZA must also be specifically recognized for his drums because he is the originator of the off-beat drums swing style. That is to say, they held the groove together, which was never a stuck-sounding or mechanical concoction.
Some go so far as to say that he was the first to use the off-beat drum style. I fell in love with it. He gave me a quick crash course, and then I got me one. Was there a friendly competition? Math : Definitely. You tried to get there the earliest as possible. I was the last one to start producing, and 4th and True were already nice. A : How did you try to sound different from these guys, find your own signature? M : Music is a form of expression.
You express yourself. A : As you said, you were the last of all these guys to make beats. According to you, what was your breakthrough track?
That one right there made the brothers start to say « you got something here » [ laughs ]. Everything is played.
A : To my perspective, the way you treated the sample on « Mighty Healthy » might be a milestone in your career on how you looped and chopped samples. You would try to chop it up and do things as best as possible, and manipulate it. It was definitely a contest, a competition.
M : That album right there, Victim of a Joke! It tells a story, and the music is powerful. But it takes your through chambers. And you see how many people used it already? Do you think some guys are carrying the torch?
M : Yeah! Big Sean, Migos. Abcdr : The Saga Continues is, aside of yours, the first album that is wholy produce by you. Does it mean a lot for you? M : Yeah, it does. I was just working, I was in the zone. And I just let everything happened naturally. After the cake is bake, you can look back and say « whoa » , appreciate the work. Abcdr : So there was never a moment you felt there were high stakes for you in this album?
The MV brings both of those worlds together in a unique way. Ideas come and go [ snaps fingers ]. I also like the Step Record on the MV, which you can put in by beat or by phrase.
But being that the MV can automatically cut samples up, I can just put the phrase in, step record it, go to the next step and put another phrase in, and everything will stay on beat no matter what the tempo is. You can also plug in a mic. You can plug in a guitar.
Just last night I recorded bass. I use it for about percent of all my beats. The sounds that come with the MV are very, very useful. Being able to combine a bunch of edited audio tracks with MIDI tracks like is super helpful yo. The basically defined the West Coast sound.
I bought a when I was back up East knowing that the West Coast guys were using it. It was one of the best modules that ever came out.
I used that for Kill Bill. We went to Mexico when they were filming Kill Bill, and I had the in my room making beats for the film. One night everybody wanted to have a party outside on the beach, so a guy brought some equipment and I brought my MC I entertained everybody, man. You can plug up your DJ light system to it. You can synchronize your turntables and CDJs, and you can really put on a unique show.
I did a tour in Europe where I took it with me for about 30 days, and I dazzled quite a few crowds with it.
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