Sunday, January 25, 2009

The Phawking Jammie from back in the day!!!


Back in middle school and high school I was in a group with my friend's Keith & Kenneth. We went by several names... for a while we went by Sycotics, probably because of Diamond D's LP that dropped the same year. (yeah we spelled it wrong) Then we were SYC, which some how was Sycotic... something Click. HAHA Then... hahah well, we earned a few emcees and added bits of their name to the click when we were finally known as SYA.

Keith and Kenneth were ALWAYS my boys, I was busy with other things although I still was real serious about hip hop and music. I wasn't in the fold as much, but we were always down to work on some ish. Then again it was high school and all we really wanted to do was to try to impress some ladies. (The twins were always more sucessful than I back then.) HAHAHA Also, I started getting more and more interested in production back then and finally got my 1st sampler, a Yamaha SU10.

A couple of the tracks that I gave the redux action to on the LP were originally from those days. (Wild Style, T.E.C.H. and the original beat that ended up becoming Everybody Get)

One of the tracks I did back then, which is now on the player is this old school jammie, "Do You Wanna Rock Wit Me." I'm not on the track, but I produced it. Keith and Ken came over to my place on a Saturday and were like, "Yo, we got this idea for a track..." At 1st I didn't wan't to do this track because at the time Puffy and Ma$e were getting real BIG off of all that jiggy ish and I didn't want to make some radio top 40 type music. I was in high school and STILL an over the top backpacker. (before there was that term)

After the twins finally convinced me to make the beat, I laid it down and we recorded this demo version in a few hours. I've always dug this track and have always wanted to redo it proper. I remember when I was in college I heard De La use the same sample on the "AOI" LP and at 1st I was pissed, but after a second it was one of those moments when you know that you're on the right track. HAHA

Well... although life has many different paths for everyone, I was talking with them on the phone the past coupel weeks and we've been talking about finally putting some ish down. Hopefully this track will get remade, redone and given the proper release it deserved. I'm honestly amped to remake this beat and clean it up.

So, peep one of my personaly jammies from the vault. (seriously) I've only let a few people hear this track, but it's still pretty dope. Enjoy and hopefully we will have a proper version of this personal classic for everyone to dig.


Monday, January 12, 2009

For those of you that don't know, L-Rox mastered my LP and Redsecta is his company. I got to know him through the producer forum on As this project was developing I was asking him questions and getting pointers for mixing etc. He really helped me a lot when it came to the final mix down. (basically guided me through 3 different cuts of the LP) He's no doubt been someone that has tought me A LOT regarding audio enginering. If you have a project you're seriously working on... I can't stress it enough for you to hit him up.

A couple months ago we did an interview for his site and now you can check it out at...

There you can read the article and hear a couple of the tracks from the LP.

Here's a pasted version of the the interview, but I highly suggest peeping his site.

A little over a year before I mastered Dawhud's "Basement Sessions", he hit me up asking me to critique all of the mixes and after a couple of revisions, I got thefinal mixes to begin mastering the album. One of the things that I remember noticing even from the first set of mixes he sent was that there was this (for a lack of a better way to put it) "old school boom bap" feel that I really don't hear much these days, even from a lot of cats who borrow from that "era" of hip hop. It's there not only on the flavor of beats, but also on the recordings and mixes, and as I learnedlater, this is in part because he's been working on this album for manyyears, but also because here's someone who has been working on musiclong enough to know how to get that sound. Ladies and Beatheads, Ipresent to you, Dawhud:

Introduce yourself Dawhud, where do you hail from, how did u come up with the name?

Originally from Seattle. I just moved to Indy about a year ago, but I'm not totally planting my feet. (might move) The name is Arabic for David.
In college I became Muslim, but I'd say at the moment I'm not practicing anymore. I had a ton of wack names over the years, but I just thought I'd go with something that says "me." So, that's it basically. Even got it tatted on my left sholder.

That's real. How long have you been rhyming/producing? What came first?

Well, I started rhyming when I was 11. Simple party rhymes and ish like that. To be honest it was dancing that came 1st. Trying to be like Kid N Play. HAHA

Damn, so if you would have stuck with that, we could be seeing you on "America's Best Dance Crew"?

HAHAYeah, if that Hammer shit was still dope. When I was in 6th grade I got a Casio Rapman. It was this keyboard with a mic and a jog wheel that made this scratch sound. That was when I started thinking about making beats. Then came the pause mix tapes and then I started digging when I was about 13.

How deep are the crates by now?

Jeez... PBWolf said it, "my vinyl weighs a ton." My room is so full of stuff. I've probably got around 4k or more. Not including CDs or tapes.

Do you have a method of cataloguing at all, like what you've gone through and stuff?

All my hip hop is filed A-Z. Everything else is... well... I know where stuff is, but it's not really organized. I will say it is kind of sectioned like CTI ish and Stereophonic orchestrated stuff. I also have like a section which is my "to do" crate where I set aside all the stuff I know I want to work with.

How many beats do you make on average? are you the type that wants to knockout a bunch of beats per day/week/month or do you work only when you feel like creating?

Basically when I have the time or in the mood. I was into cranking out beats back in 98-00.

I want to touch a bit on the sound of your project...

Yeah, no doubt.

When I got your mixes to master, almost immediately I could tell these were done on analog gear, I'm not sure why analog samplers sound the way they do but when I heard your tracks, I went "oh wow, I have a feeling dude is rocking some old samplers here."

Yeah,I'd say that most of the LP was done with an SP1200. I used an MPC 2000on a couple joints and did the drums on "Who's Next" with an EPS classic.

That's it - I used to work with an Emax, and it's that sound, they've got that analog filter chip in there

Yep,some grimy dirty ish. A coupe of the songs were originally from back in98 when I had a Yamaha SU-10. It was basically just like the SP-303that all the Madlib jockers rave about.

You got an interesting story about buying a sampler off Large Pro

Haha yeah. I got his S950, but haven't really done too much with it; I got it off of ebay by TOTAL happenstance. He hit me up "thanks for paying real quick I'll mail it out Large Pro."

Right, I wanted to say that I heard on one of the tracks (FingerCramps) I heard you say something about you having Large Professor'sS950

Right, on Finger Cramps; I'm thinking it's BS and was like, "real cute your online name is Large Pro." Blah, blah dig my own grave. After he emailed me I checked my records from him to see what his real name is, which is "William Paul Mitchel." Well... about a week later I get the box and it says W.P.Mitchel on it. I screamed like a little girl.

Haha, that's funny, well, I'm sure Large Pro will be glad it went to a good home!

More than anything I just wonder WHAT he made with it.

Yeah, that’s a museum piece right there; it would be interesting to know what he's done on it.

Like when he said, "Put it in the S950 and streach it." Was he talking about that? Dope regardless.

Overall the project has that "party" vibe, almost like it was done back in the day when people only had samplers, and limited sample time to work with, did u track those to tape?

The closest were the beats for "Wild Style" and "T.E.C.H." I actually took the original ish from the 4 track I did back in 98 and loaded it up into the computer.

Dope, so the project is roughly 11 years in the making?

Yeah,in many ways. "From this Moment On" I made around 00 and Just Be and Ioriginally wrote the whole song, but never did an official recording ofit till I got real serious about this project.

I really liked the mixes, they were nice and open and I think we mastered it to be up to par with what's out there now, in terms of average loudness, but I feel we retained a lot of that "grimey" feel; it's really one of my favorite projects to listen to after having worked on it.

Really? Thanks. I agree, it pops,but keeps that feel from all those old tapes I used to rock when I'dride the bus. More than anything I wanted to put out something that Iknow I would listen to and enjoy. There's a ton of what I would call"hobby rappers" that just slap 10-15 songs together and call it a"mixtape." (i.e. demo with no focus). I think that's one HUGE elementthat's missing with a lot of emcees and producers. Focus. It's like theExecutive Producer is missing. Know what I mean?

Right. One thing I noticed too is that you got some skits on here and they're DEVELOPED skits, with the appropriate background noises and everything;it's all really well done, there's one where you and your boys are at school banging on the lunch tables and rhyming and it sounds realistic that's not common anymore.

Funny you say that because I actually recorded me banging on my desk for that.

What did you record that with?

I just took my condenser mic and put it on a small desk stand. That wayit got the vibrations from me hitting the table and the actual sound of me knocking on the table. It was kind of the same way when I did "Ol' School Sessions." On the beat box part you hear this chime... well backin high school when we'd have our cipher kids would use quarters to make scratching sounds or chime/symbols.

Nice man - good example of creative recording; so what do you work with at the moment?

I finally got protools, but haven't really figured it out. For the LP and some of the other stuff I've been working on I tracked everything in Acid Pro. 4. Kind of a poor mans Pro Tools.

Whatever gets it done man. Me personally, I'm always more impressed when I hear dope projects done with modest setups!

Yeah, this LP was really one of those, work with what you have and make it work kind of projects.

Let me ask you, what about your turntable(s) for sampling, what do you have? Do you sweat the cartridge much for sampling?

Tech1200's and Shure M-44's; I don't really sweat all that stuff, when it comes to making beats, but I also DJ, so I've got the pro stuff. (if that's what you want to say).

That's the equivalent of having a decent mic/pre combo for samples! What's next for Dawhud? What are you working on?

Several projects; one is "Dub Styles: Walkman Redemption" which is kind of a follow up to the LP. It's the mixtape they talk about on the album. So,you could say it's the album within an album; "Revisionist History",which is simply that. I'm taking the original samples from classic hip hop tracks and flipping the samples. So, when you hear it you'll be like, "Oh, $h!t that's I Got Cha Opin." That's going to be a dope project. I'm mostly going to be producing for that project. I've already had Prince Po, Moka Only, Pacewon and The Mudkids work on that project; also working on a project with Dee Supreem and Just Be called"Trans Atlantic." He's a producer from Finland and Just Be and I are now in different parts of the country so this whole project is going to be a bunch of jumping files back and forth. (like the Foregin ExchangeLP)

That's what's up man. Where can heads reach you?

... and soon:

Yo, many thanks for letting me work on your project, it was definitely an enjoyable one, any shouts?

No doubt. I really liked having you put in some work on this project. Youreally made this LP shine. Uhh... Dee Supreme, Just Be, Ak-Rite, Fash-1all the people that helped out with the project and who've supported me through this whole thing.

Sunday, January 4, 2009

LP of the year from "Weekly Volcano"

Floored by this. (I'll need to update the press-kit for sure!)

"Album of the Year: Dawhud, Basement Sessions (Olympia – Hawk’s Prairie)
Seek it out, the Olympia-bred Indianapolis transplant dropped a gem. Dawhud’s three-year project defines the art of creativity as he captures the second golden-era of hip-hop with a fine composition of drum beats, skits and amped lyricism that has long since been discarded to the land that legends created. Take a listen and enjoy this work … should make 25360’ers proud. East Tanglewilde REPRESENT!"