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![[*]](./images/ozhiphop/default_icon.gif) posted on 7-6-2006 at 01:05 PM |
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[OS Interview] Embee from Looptroop (interview by Oops)
Swedish hip-hop producer Magnus Bergkvist AKA Embee is probably one of the stronger influences on my beat-making. I remember a lot of time
spent on public transport bumping "Modern Day City Symphony", an album I consider a classic and definitely a part of the soundtrack to my life.
Embee chops and scrambles up a lot of very beautiful sounds, both dark and light to create a very unique take on the hip-hop genre. His music is
definitely special in a precious way, but not in a fragile sense. His use of warm and sometimes gritty analog sounds, teamed with thick basses and
tightly sequenced drums ooze personality and is definitely very some of the most musical beats on the hip-hop platter. Add three MCs like Promoe,
Supreme and Cos.m.i.c. and the two-inch tape is set alight.
Anyone who knows the Looptroop sound knows that no other beat maker does hip-hop quite like Embee. Maybe it's his roots in house,
or his European background, who cares, like I said, it's special. With many Looptroop tracks in the bag, Embee dropped a solo
record in Europe in 2004 that that took almost a year to find it's way to Australia. Years in the making, (something that seems common for
producer-albums) "Tellings Of Solitaria" invites us deeper into Embee's often melancholic domain and allows him to flex his experienced
pad-tapping hands, finger-walking into other musical regions and collaborating with not only MCs but vocalists, winning him a Swedish Grammy Award for
Best Hip-Hip & Soul Release of 2004. You can read more about Embee here: http://en.wikipedia.org/wiki/Embee
Looptroop arrive in Australia this week on their second tour here. They play Brisbane, Sydney, Melbourne and Adelaide and I have the honor of
joining them for most of the tour. What follows is a conversation I had with Embizzle over AIM while he was preparing for a weekend trip to Moscow,
just days before they fly out to Oz.
Oops: Ok, well the first thing I think of when I think of Embee is your unique sound. Is that inspired/influenced by the music you
listen to or the gear you use?
Embee: I guess it's my personality mixed with the music I've grown up on. The gear is always secondary.
Oops: What got you started with beatmaking? What gear did you start out on?
Embee: I started out making some kind of strange mix of house/hiphop in the late eightees. I used a Roland S-10 that I actually got
right behind me now. My first buy was two Technics turntables that me and my dad had to return after the weekend since they really sucked. Couldn't
afford the 1200's back then so I had to wait a couple of years. I've kind of always made music since I was a boy so it came natural. I got
influenced by hip hop around 89/90 and wanted to make some kind of "beats" back then.
Oops: So your dad was supportive and encouraging when it came to making music/beats?
Embee: Yeah. A lot. He saw my talent early. Maybe it's because he's also very creative minded that he's supported me thru the
years.
Oops: How old were you in the late eighties?
Embee: I was like 11.
Oops: Yeah that's what I mean... 11 is a young age to start making beats.
Embee: Yes.
Oops: So when did you start making bangin hip-hop?
Embee: It's up to each and his own to judge, but I really started feeling my own stuff around '93 when we did the Superstars
tape.
Oops: Which would you use most, sound modules or samples from recordings?
Embee: Samples.
Oops: Vinyl or CD? Or both?
Embee: Vinyl only…but I don't judge that much anymore it's just how I like my sound even though I've sworn many times during
mixing for the downside of the vinyl sound (rumble etc).
Oops: Are you a sample digger that spends a lot on records to get samples or do you try to make the most from whatever you find
whether it costs $10 or 10¢
Embee: I don't spend that much for a single sample, it's more like what comes to me. The more obscure the better though.
Oops: Yeah for real, I cant say any of your samples are something I can pick from anywhere.
Embee: It's not a sport. Just try to head where others don't...You should check out my new mixtape "Mash Hits". Some really
serious diffin' on that one...Straight up well known hits!
Oops: I like the way you chop things up small... I have to say I like that style of beat making.
Embee: Thanks
Oops: I know you have an SP12, when did you get that?
Embee: I got it from our sound engineer Vladi in 99. Wanted that sound on my drums (as heard on Modern Day...). I kind of took it too
far on that one though. The snares sound terrible. I used a lot of kitchen stuff and spray-cans to have under the "original" snare. Experimenting...
Oops: Yeah I thought I could hear the SP12 drum sound on there... I am listening to it now! [as I typed the interview] I like those
gritty sounds man…that 12bit sound... crunchy, crusty shit. I like the snare on long arm of the law…CRUSTY!
Embee: YEAAH. But if I had better equipment back then I would have made it different.
Oops: What kind of gear did you use for MDCS?
Embee: A Soundcraft Spirit Folio Board, Behringer compressors. Alesis reverb, Roland digital portable studio (8 channels), Atari 1040
SE, Akai S1000, Sp 12.
Oops: Personally I really like the sound of this record [Modern Day City Symphony], but I like Lo-Fi kinda sounds, so it appeals to
me for that reason...
Embee: I mixed it in my bedroom (the music, not the vocals) so it was a basic setup.
Oops: Was the Atari used for sequencing?
Embee: Yeah. 1 Mb RAM
Oops : Ha!
Embee: Good for one shout-out!
Oops: So you use computers for sequencing in general? Do you find that this helps you get more creative with arrangements?
Embee: The audio-side is the best part about computers. I actually used only a Yamaha QY10 for sequencing up until 97 when I got the
Atari. I don't like sequencing in computers but I have to get used to it since it's my only option while touring if I don't bring the MPC.
Oops: So you like to sequence on the MPC?
Embee: Definitely.
Oops: Song mode?
Embee: I actually don't use song mode...
Oops: Just flip through sequences or do you do it all on the fly live with tracks?
Embee: Flip.
Oops: Cool.
Oops: Have you had any music training? can you play an instrument?
Embee: I took lessons for Mandolin and drums when I was younger. I can play piano and drums. Later on (94-96) I took classes for
trumpet and alto sax.
Oops: So you dropped your solo record a little while back, was that something you decided to do recently or has it been a work in
progress for a long time?
Embee: A long long time. Maybe 5 years or so. I didn't work on it practically during that time though but the ideas were there.
Oops: Was it good to work with vocalists as opposed to MCs?
Embee: Yes. Always wanted to do that and still do.
Oops: Was there more freedom with what you could create. I know that MCs can be very particular about the style of beat they rap
over...
Embee: Definitely. But it's a whole different way of working. Quite more possibilities which is both positive and negative.
Oops: Negative in that it makes the possibilities more infinite?
Embee: Yea. But the positive side weighs it all up. I'm fond of picking harmonies when the lead is done.
Oops: Listening to your music, I have found that you tend to lean towards orchestral samples... some folky stuff... it's all very
melodic which I love. Is this a reflection of your personality that you mentioned before... sometimes melancholy... most often very beautiful sounding
instruments...
Embee: Guess I'm kind of a ballad bloke. I always liked mellow music.
Oops: Some MCs in Australia would run miles from some of these pretty sounds. I personally love the sounds you choose.
Embee: Cool.
Oops: You have some really nice bass in your music. Is that mostly synths? Or samples?
Embee: A combination. Now it's mostly from synths. Tweaked.
Oops: How does the set-up you have now compare to the one you used when you made the Superstars tape?
Embee: I guess the biggest difference is that anything is possible now. Which is good, but it’s also bad because you can work until
you drop. You never really get DONE if you don’t have discipline. I prefer reel-to-reel recording. That makes the vocalist having to be on top of
his shit since you can't retake forever. Guess people get lazy with the digital world in many fields
Oops: When was it that you started to use analog tape for your recordings? Are we talking about 2" tape machines here?
Embee: Yes two inch. I've never owned one myself but used it in different studios around. First recording was in 96. I used a
portable yamaha-studio before that. Tape.
Oops: Do you think that makes a huge difference to how a finished recording sounds? (using tape compared to remaining digital thru to
CD/wax)
Embee: Nowadays much gear can do the reel-sound in a good way, but it's still hard to simulate the real reel feel!
Oops: Do you do much work on your samples to clean them up at all? How important are FX, EQ and compression to sampling?
Embee: Not really. Have to do that when I mix, but don't want to get stuck in the creativity because of that during the making of a
new song. But it's fucked up when you have a great sound that really fits the song but is too weak to use when it comes to it in the mix. I can get
really angry at how vinyl sounds at times too.
WAX CABINET GEAR LIST
PowerMac G5 Quad desktop computer
2 x Apple Cinema 20" Displays
Powerbook G4 laptop computer
MOTU 828 MK II Audio Interface
AKAI MPC2000 Sampler
AKAI S1000 Sampler
E-MU SP12 Sampler
Roland S10 Sampler
Yamaha SU200 Sampler
BOSS 202 Phrase Sampler
Yamaha Motif 7
KORG X5 Synthesizer
M-Audio Ozone MIDI Controller
Roland SPD-S Drum-pad/MIDI controller
SPL Transient Designer
2 x TL Audio 5051 Mono Valve Processor
Dynaudio BM15 A Monitors
AMEK TAC Scorpion II Console
Focusrite Voice-Master Platinum Pre-Amp
Lexicon, Zoom & Alesis Processors
DAT Machine
2 x Technics 1200 Turntables
Vestax PMC 05 DJ Mixer
Sennheiser Headphones
Rode Michrophones
Malmsjš Piano (1896)
MD's, Ipods
DISCOGRAPHY
EMBEE
MASH HITS MIXTAPE (CD, 2006)
TELLINGS FROM SOLITARIA (ALBUM, 2005)
SEND SOMEONE AWAY (12", 2005)
NOT TONITE (12", 2004)
EMBEETIOUS ART EP (2000)
THE WAY BEYOND MIXTAPE 98 (MC, 1998)
THE WAY BEYOND MIXTAPE (MC, 1996)
LOOPTROOP
FORT EUROPA (ALBUM, 2005)
FORT EUROPA/LOOPTROOP RADIO (12", 2005)
DON'T HATE THE PLAYER (12", 2003)
THE STRUGGLE CONTINUES (ALBUM, 2002)
FLY AWAY (12", 2002)
LOOPTROOPLAND (12", 2002)
MODERN DAY CITY SYMPHONY (ALBUM, 2000)
LONG ARM OF THE LAW (12", 2000)
AMBUSH IN THE NIGHT (EP, 1999)
SCHLOOK FROM BIRTH (EP, 1999)
PUNX NOT DEAD (ALBUM, 1999)
HEADS OR TAILS (EP, 1998)
FROM THE WAX CABINET EP (1998)
FROM BEYOND K-LINE (EP, 1998)
UNSIGNED HYPE (EP, 1997)
FROM THE WAX CABINET (MC, 1996)
THREE SICK STEEZ (MC, 1995)
SUPERSTARS (MC, 1993)
PROMOE
SONGS OF JOY (SINGLE, 2006)
THE LONG DISTANCE RUNNER (ALBUM, 2004)
LONG DISTANCE RUNNER (12", 2004)
GOVERNMENT MUSIC (ALBUM, 2001)
PRIME TIME (12", 2001)
THE CASUAL BROTHERS
CUSTOMER'S CHOICE (EP, 2003)
THE CASUAL BROTHERS EP (2001)
PETTER
STORSTADSIDYLL (ALBUM TRACK, 2006)
JOL
LIFE IN THE SUN (EMBEE REMIX) (2006)
PST/Q
NATT KLOCKAN TOLV P DAGEN (ALBUM, 2002)
VI MOT R…SET (12", 2002)
PLURALIS MAJESTATIS (EP, 1999)
MOBBADE BARN MED AUTOMATVAPEN
NU €NNU DRYGARE (EP, 2003)
ISON & FILLE
KLIPPTA VINGAR (ALBUM TRACK, 2004)
SEDLIGHETSROTELN (LOOPTROOP, TIMBUKTU, MBMA)
SL€PP FNGARNA LOSS (EP, 2001)
RING SNUTEN (EP, 2000)
CHILLY & LEFY
VILKA €R DOM (12", 2003)
VILKA €R DOM (ALBUM TRACK, 2002)
FILM MUSIC
QUALITY CONTROL (2004)
FESTIVAL (2001)
JALLA, JALLA (2000)
Interview by Oops
©2006 OzHipHop.Com – No part of this interview can be used without permission from the Webmaster.
www.guanabana.com.au
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AD
Oz Hip Hop newb
Posts: 23
Registered: 16-3-2006
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| posted on 7-6-2006 at 05:36 PM |
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Rad interview... dig hearing bout the production side of things...
Embee is def a unique producer, so many layers and cool sounds!
www.adatt.com
www.myspace.com/adevilamongstthetailors
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phatchance
officialphatchance.com
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| posted on 8-6-2006 at 12:21 PM |
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Really great interview, I would completely kill for that setup. Nicely done Oops, very interesting to read an interview with a producer, by a
producer, very informative.
Peace
Hey, how are you doing? Good, I hope. You look great... you smell great. I really feel like we're starting to get to know each other through
this signature, would you like to order my album 'Inkstains'?
http://www.jbhifionline.com.au/music/urban-grooves/inkstains/470165
Or iTunes for you 21st Century types
http://itunes.apple.com/au/album/inkstains/id343269990
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Part2
listening to: forks and scarfs
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| posted on 11-6-2006 at 03:49 AM |
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Cheers, nice producer shit in there...very good read.
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-_n-2_da-J_-
ineligible for a custom status
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| posted on 12-6-2006 at 11:26 PM |
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| Quote: | Originally posted by Part2
Cheers, nice producer shit in there...very good read. |
Boom bap boom b-boom bap.
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Oops
awakeningscrew.com
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| posted on 21-6-2006 at 04:48 PM |
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thanks for the positive feedback on the interview. i did it in a rush with no time to prepare questions really. Embee was also hurrying to get his
mixtapes made to bring to Australia so it's not quite as in depth as I would have liked it to be. Just so you all know, Magnus' dad is a writer (not
sure if he writes fiction or non-fiction) but i just felt that sometimes this info is important when artists talk about their parents input and
reaction to their creativity. It's always good to hear about supportive parents when it comes to music as sometimes parents don't believe that music
and art is a safe career choice, but then look at what someone like Embee has achieved in his life and the opportunities that will continue to present
themselves to him in the future...as they say, the sky's the limit!
[Edited on 21-6-2006 by Oops]
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