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- #Newcleus jam on it instrumental how to
- #Newcleus jam on it instrumental pro
- #Newcleus jam on it instrumental professional
One of the things I am most proud of, is that after I bought the Pro One, I realized that I could use it for bass lines, thus freeing up the 303 to use as a very sophisticated and highly programmable arpeggiator.
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By the time we recorded “No More Runnin’” I had purchased a Roland Juno 60, which I used instead of the RS-09. The only difference was exchanging the studio’s Oberheim DMX for the 808 on “Destination Earth (1999)” and “No More Runnin’” just to change the flavor a bit. People have often assumed that I used racks and racks of synths, but for the most part, that was it. This would be my basic set-up for the entire Jam On Revenge album. Finally, I purchased a Sequential Circuits Pro One monophonic synth and retired the Electro-Harmonix Mini Synth. The immense programmability of those two instruments allowed me to lay down the beats and funky bass lines that were in my head. However, it was when Roland released the TR-808, and then the TB-303, that my music and my life would change. It’s probably due to the RS-09 that pads and long, sustained chords have always been prevalent in my music.
#Newcleus jam on it instrumental how to
So, I saved up my money and bought a Roland RS-09, my first polyphonic synth (though it was basically mostly organ and string sounds), and a $5 beginner’s theory book, and started teaching myself scales and how to play chords. The cool thing about Roland was, they were making innovative instruments that were affordable. You’ve been very vocal about your appreciation for and creative use of Roland gear. Rhythm, which fit in the palm of your hand, but was actually somewhat programmable! That was all I had, so I would use two cassette decks and built my earliest tracks, tape to tape. My first drum machine was the first Boss (by Roland) Dr. My first synth was an Electro-Harmonix Mini Synthesizer, a monophonic, toy-looking thing with membrane keys that was made out of cheap, thin plastic with a cardboard underside.
#Newcleus jam on it instrumental professional
I couldn’t afford any of the professional equipment that was out there. When I first decided to try my hand at making my own music in 1979, I was an office messenger in a mailroom. I like to think also that the rhymes, most of which were battle-tested in the parks of Brooklyn in the ’70s, were just simple and catchy enough to be timeless.Ĭan you tell us some of the history behind your development as a producer and musician? The track just drips with spontaneity and funky authenticity. Whatever it is, it’s been a blessing for a long, long time! I came up with every aspect of the track and arrangement in about 45 minutes, and I am usually very slow. I wish I knew! I would bottle it up and then sprinkle some on everything I did! I think it has a lot to do with the fact that it was probably the most natural and impulsive track I've ever made. What is it about “Jam On It” that has kept its fresh and appealing to new generations through games like Dance Dance Revolution, DJ Hero 2, and other outlets? This disqualifies it from being hip-hop, as the #1 rule in hip-hop has always been not to bite someone’s style. There is still hip-hop to be found out there, but it mostly struggles to be heard. Most everybody sounds the same, using the same styles, flows and cadences, and the same subject matter. Rap has very little divergence in style and substance. Well, in my opinion, what we have now are hip-hop and rap. What are your thoughts on the current state of hip-hop music? Any particular favorites? That's why the whole world is singin' this song I'm Cozmo D from outer space, I came to rock the human race You can picture the kids popping and locking, gathered crowds clapping in time, all because Newcleus traveled the cosmos for a safe place to share their funk. In addition to the 808, Cozmo D used a TB-303 for the sequencing and the RS-09 for chordsĪround five minutes in, the beat gets vicious and the bass line pushes even harder against the 808. In fact, Roland powered the whole “Jam On It” production. "Jam On It" follows the classic structure established by Sugar Hill Gang, even referencing Superman ala “Rapper’s Delight.” And those percussive sounds? The cutting claps and pitched cowbell so perfectly suited for a breakdown? Pure TR-808. The deliberate, delicate keyboard plinks evoke the New Romantic movement, while simultaneously predicting future acts like Santigold, Outkast, and Bruno Mars. Still, the song never feels a moment too long. “Jam On It” is so dense with groove, creative production, and lyrical panache it couldn’t be contained by traditional pop lengths.