Scottieholics! Salutations! Here is the entry I was talking about many entries. Prior to typing this, I had to re-read the article and managed to throw in the juicy stuff. It was published in Scratch magazine dated back from the May/June 2005 issue. This article made me look deeper into my music collection and also I found another reason why I hardly stand the current mainstream music. The latter is another entry for another day.
The article is about rap pioneer DJ Quik and is entitled the “Main Ingredient” by Johnny Mann.
The “ORIGINAL HOME of the Muppets” is probably the last place you’d expect to find one of the pioneers of gangsta rap working on his latest release (due out in May), but it’s not as weird as it sounds. Located on the five-acre lot is a state-of-the-art recording facility that has played host to Quincy Jones, the Rolling Stones, and most notably the “We Are the World” performance. When we arrived at Henson Studios, Quik was marveling at his new board and practically in awe of the sounds that he has been producing for his new album using his patent-pending “ID Process.” If you thought he was slipping, think again. In between crafting tracks for Chingy and Jigga and serving as the Game’s tour DJ, Quik has been on a mission inventing this new system of sampling and thickening up his sound. Sounding more inspired than he has in years, Quik let us in on a few secrets of his recording process that led to the creation of what he calls a project that will send all producers back to the drawing board. It’s big talk, but if you heard what we did you wouldn’t bet against him.
SCRATCH: What are the advantages of recording in a spot like Henson Studios?
QUIK: I hate to say this to all my producer friends who really desire to record and make hit records in the bedroom, but the power that comes into your house is dirty. It’s dirty consumer power that gets polluted by things like the refrigerator and the microwave. Even if you don’t have a hum in the room, or you lifted the IEC cable to whatever piece of equipment that you are using, the power is still dirty. In real recording studios, they condition their power so it’s clean. You don’t get spikes or fluctuations that cause anomalies in your equipment, which end up affecting your sound. So an advantage of recording in a big studio is that the power is clean. Second and most importantly, there are no parallel walls. The shape of the room has everything to do with what you hear. When you are in a room shaped like a box, the sound is bouncing from all the walls, and when the sound bounces from your speakers to a wall that’s flat and back to your speakers, you lose all depth of perception. So in a sense you are making boxy-sounding records, while in a studio you make big, open, realistically stereo records.
SCRATCH: I overheard you mention that the TL Audio VTC board is one of the main reasons your new album came out the way it did. How did that help enhance your sound?
QUIK: It added the third dimension. Because people use computers a lot, the sound is different. There’s no sound in a computer. It only records information and spits out what it thinks it recorded. It does that by converting signals to digital information and then reconverting it back into an audible signal. That board [pointing to the VTC] is an analog board, so it doesn’t reconvert anything. It passes a signal through the tubes, preamps, and solid-state circuitry. They’re all daisy chained in the right way to where when the signal comes back out, it’s three times better than it was when it went in. It’s like a hot rod. And it just does magical things to the low end that we miss when record to computers. Computers are notorious for stripping away the bottom or for not giving you the same bottom that you put in. Sometimes they don’t convert those low odd harmonic frequencies. Digital is getting better and it’s an easier medium to deal with, but at the same time, it’s not that thump we want to hear when we get in a club. Whereas the VTC board that I got has the low roll and girth of music that we’re used to from the early ‘90s and beyond. It’s thick forever. Parliament, Slave, and even some Donny Hathaway records were using a lot of those old tubes. When digital came in, it made it all cheaper and faster, but it also affected the sound and made the sound cheaper. With that said, the TL Audio VTC just gave us back the sound we were used to when we produced records early on, and you can’t beat it.
SCRATCH: Where did you come across it?
QUIK: I saw it at Westlake Studios right around the time I was into digital mixing. I was trying to get my heart to accept that this is the way music is going so I gotta get on board or be left behind. I jumped on board and my sound ended up getting thinner as a result. Then one day I happened to be at Westlake Studios in Santa Monica and saw it. I was like, “Look at that mega piece of equipment.” It looked like a living, breathing thing as opposed to a cold, flat surface with a mouse. It was like looking into the past. So I had my friend bring in one of my CDs from the car and just listened to a session that I was working on. It didn’t necessarily add anything, but as soon as I played my song through the board it just warmed the sound up. Right then I knew that’s what I needed, so I had to buy it. It’s an expensive bitch, but it’s well worth it.
SCRATCH: In the past you’ve mentioned that you use a lot of second-and-third-harmonic distortion. Can you elaborate?
QUIK: Computers have no harmonic distortion, but a tape machine is dripping with third-harmonic distortion. Third-harmonic distortion is the overtones of resonance that creates a chord as opposed to just that one note ringing out and decaying over time. When you record to tape, something happens where it makes notes one octave above and one octave below the note that you bring up. It swells the sound up and covers more sonic space. They’re invisible harmonics so you don’t hear them, you feel them. That’s why it was hard for people to get used to CDs, the sound was real thin and bland, because they don’t record second-and third-harmonic distortion. The sound was in your face, but on tape and vinyl it’s in your face and all over the room. By recording it on something different, you add magic to it, whereas if you tried to get that sound on digital, you have to do a lot of things and you still won’t really end up with it.