Tag: paris

Machine Controlled Part 1 ~ Phil Weeks

machine_controlled_visaomedia
Machine Controlled is a series where we talk with artists and djs who perform with hardware ranging from vintage drum machines, to samplers, circuit bent machines to the latest midi controllers. We’re setting out to see who is embracing hardware and mixing it into their setup between CDJs and even laptops. We hope this topic pique’s interest and you can discover some new music as well. From their studio to their live performances, this is Machine Controlled.

Until recently, we convinced ourselves to purchase two vintage drum machines locally, a TR-606 and a TR-707, curious to see if we can use them with our modern devices. We’ll get back to that story later in this series, while viewing our Soundcloud feed, we saw a tracklisting “Phil Weeks + TR909 @ Get Underground”, we were very curious when we saw “TR909“, clicked play, and was intrigued right away, asking ourselves, “Is he playing a drum machine with CDJs?” after listening to Phil Week’s mix and watching some videos of the night, YUP he’s definitely getting down with it. It made sense after our purchase, let’s do this series and see who’s getting down with Machines.

Phil Weeks (Robsoul Recordings) – Paris France
Whether DJing or producing, the Parisian with the huge personality delivers raw beats influenced in equal measure by classic Chicago house and nu-school French flair, underpinned with a hip-hop attitude. His long running Robsoul Recordings also defines him as one of the most skilled label heads in underground house music. In the studio Phil is dedicated to classic hardware like Akai’s MPC 3000 sampler and Roland’s TR909 drum machine. Phil’s work can also be found in the collaborations Fries & Bridges (with Hector Moralez) and PS Project/Bubba Beats & Kid Piston (with DJ Sneak). Phil Weeks recently played live PA(MPC + TR909) at the Rex club to celebrate the release of his third album ‘Raw Instrumental’ alongside Mark Farina.

Tell us, how is the Paris house music scene? Of the cities you’ve played in, which city shows the biggest response to your music?
PW: Paris is dope, the club scene is really diversified and people are real receptive to me and my sound. As far as other cities, it’s always changing to be honest. Last year, I played a few times in Italy, this year it’s all about UK, but I would say I get a lot of Love in Bucharest (and Romania in general), London, Paris, Manchester, to name only a few.

You own a lot of hardware. What was the first machine you purchased?
PW: My Hardware: MPC3000 (2), Akai S-950, Ensoniq ASR-10, Yamaha SU-700 (5), Roland TR-909, Roland TR-606, Oberheim DX, Roland TB-303, Roland SH-09, E-mu Vintage Keys, Yamaha 03D, Digitech Studio Quad V2, BBE Sonic Maximizer 322, Fat Man (valve compressor) and there’s some more I don’t use. As a kid my first purchase to make house music with was a Roland MC-303 in 1996. I had a lot of fun with it, even if alone it was not enough, price I can’t remember, the money was still “Franc Français”. I bought it brand new at “Star Music” in Paris. Why? To do some Daft Punk Shit!!

What motivated you to start playing on a TR-909 at the club for a DJ performance? You’re planning to play with your MPC as well in to the setup, is there anything special you need to sync them together and are you mixing CDs with this as well?
PW: Everything started thanks to my residency @ Rex Club in Paris (I have my own night “Get Underground” with my partner Didier Allyne). I knew the club owned a TR-909 and few days before our party, I ask them if I can have it setup for me, just for fun and I really enjoyed it. In the setup, the 909 is just to add some extra madness into my dj set. I’m still trying to figure out how much I should use the 909 before it gets boring. Then again (thanks to the Rex), last Thursday I was able to do a little live PA to present the release of my new album “Raw Instrumental”. The setup was MPC3000 master, midi sync + midi with TR909 + a CDJ to add some loop or efx and vocals. I was playing all my songs live with the MPC & added some extra beats with the 909. The 909 was also useful for the time I needed to upload a new song in the MPC (between every track). The CDJ was helping once in a while for transition.

Any concerns of bringing your own machines out to gigs? What are people’s responses to you using a vintage drum machine now at a performance?
PW: I’m not too fond of taking my TR-909 anywhere with me, I always ask the club to get one if they can. The response is always great when u do something different, and the 909 sounds phat!

Is there something special about using hardware/machines instead of the computer?
PW: I guess not, depending again if you use the computer as a sequencer or as your whole studio, then the “grain” of the sound won’t be same. The computer isn’t too fun for me, honestly not too familiar with it.

The MPC 3000 is your primary machine and used to make your new album “Raw Instrumental”, have you tested it against other MPCs, why the 3000? Any particular obstacles you found going through this process with the new album?
PW: The music I love to listen to and also produce is very simple so I don’t feel any obstacles using the MPC to exclusively sequence. I tested some newer MPC’s that had some crazy features on it but my 3000 sounds & the groove way better (to me atleast).

What’s the second most used machine you own?
PW: I use my Yamaha 03D mixer for all my tracks for effects & compression. Besides that, I would say in this order: the TR909, the SH09 & the TB303. For mastering, I always use my 03d or the digitech studio quad (aux. on the mixer). I also like to use the Waves Rvox Mono compressor/gate (usually for vocals) on the computer (with soundforge).

You have a TB-303, usually seen online for $2000, worth it?
PW: That’s fucking crazy price. I got mine for free, a friend found one in his vault and gave it to me. I think the original price brand new back in the days was $100. No way it worth $2000, that’s a joke. More expensive than an MPC3000 Limited Edition… come on!!!

Who is responsible for showing you all the possibilities with using hardware, sampling, etc?
PW: I’m pretty much self taught, reading the manual. I learn pretty fast especially when I want it big time. No school, just love and dedication.

At what point are you using the computer to touch your music?
PW: I use the computer to chop & get my samples ready (then I adjust everything inside the MPC) and to record my track when its done. I also use the computer to record vocals (32 meg max memory in the mpc3000) & in this case I sync the computer to the MPC.

You record some of your own vocals, any tips of what you usually do when recording vocals for tracks?
I don’t even have a vocal room to record vocals, this is pretty ghetto. But I spend a lot of time on the Post Production to make my voice sound better. A lot of compression, a gate, reverb/delay, chorus, EQ are always needed and sometimes some more crazy FX.

By the looks of it, you like to keep it gangsta, if you could own a classic car to roll in, what year/make would it be?
I own & drive a 1999 Honda Legend 3.5 & I love it. I love big modern cars, flagship like Lexus LS or Mercedes Class S, but if I have to pick up an old American classic car to do a photoshoot in, I would say a 1976 Cadillac Coupe DeVille.

You can view more videos from Phil Week’s Underground Chronicles.

MAMSON x CHARLIE LUCCINI ~ Visao Spotlight

MAMSON ~ mame diarra ~ visao

PART 1 – MAMSON aka Mamé Diarra
“Mamson, is a french dancer & choreographer. As an artist, you should approach and display your talents with such finesse, and complex style. Music frees your mind and speaks through your body.”_Alex-T

VISAO: Tell us about your childhood? Inspirations?

MAMSON: In 1997, I really started to get into dancing (hip hop). I’ve been dancing since young age, a big influence was Michael Jackson of course. I initially began with B-Boying in Hip Hop, NewStyle and then House Dance. In 1999, I joined the Wanted Posse where my vision of the dance changed. Now, I dance professionally, I give classes and do shows with the Wanted Posse around the world. My inspirations are: Michael Jackson, Mangas, Matrix, all the members of the Wanted Posse.

VISAO: You’re pretty tall slim guy, do you think your physical attributes contribute to your style? Tell us what’s a typical practice session like, that may lead up to a show or a video.

MAMSON: Yes, I think my physical attributes contribute to my particular dance style, but there is so much work too (physically and mentally). I train 8-hours a day except weekends because of shows, workshops, or battles.

VISAO: You have a unique freestyle technique in dancing. Tell us how you develop your moves, and decide what’s visually appealing?

MAMSON: I try to be the most original possible, create new moves and to develop, even if at the beginning these moves have nothing to say and I don’t want to give a name to any of my moves.

VISAO: You’re part of the Wanted Posse & Serial Stepperz, dance crews. What’s your role in the groups and what feedback to get from younger kids?

MAMSON: My role is like everyone in the groups, I am dancer and choreographer.I get great feedback from younger kids, because I’m an example of a dream job to travel around the world doing what I love.

VISAO: Can you dispel the lines between hip hop vs. house music. Most fans stick to one or the other, seems as dancers you embrace both. Is there any firm belief you all share and favorite music artists you like dancing to?

MAMSON: For me is not hip hop vs house music, I like both, so I dance both. Energy is different but it’s the dance and we let the DJ do their thing, too.

MAMSON ~ mame diarra ~ visao

VISAO: Dancing, full time job for you? What are your interests outside of dancing/hobbies? If you could tell us your ultimate goal w/ dancing what would it be?

MAMSON: Yes, dancing is a full time job for me. Outside of dancing, I go to the cinema (3 times a week), listening and watching Mangas (one piece is my favorite) and go to the theatre. My ultimate goal? Create a musical and create a dance school.

VISAO: Times are changing, and have definitely changed since we were kids. (Looks like we’re the same age) What would be the message you would like share with everyone at the end of this 2009?

MAMSON: Not to forget where you’re from, always believe in your dreams and pray. Salam.

Mamson 2010: Shows with wanted posse in Spain, Switzerland, Indonisia, Combodia, South Africa… Workshop in Russia, Kazaskhan, Spain, Belgium, Swizerland, Canada…Most of all, Peace!

CHARLIE LUCCINI ~ Visao Media
PART 2 – CHARLIE LUCCINI (Dance Director)

VISAO: Charlie Luccini, you are a film and dance director, tell how you got started?

CL: I’ve been dancing since I was 8 years old and did my first short movie in high school. I started to combine those two passions since the first movie in a break dance battle scene (So old school ..lol).

VISAO: What was your education like? Who inspired you?

CL: It took me time to study all the main jobs involved on a musical motion picture. As a teenager, I took two years in a dance school to learn Jazz. After high school, I left my math studies to join a drama school, and then graduated from a cinema school in Paris. My brother was a choreographer, he taught my sister how to dance and I was always there practicing. My sister took me to my first dance show when I was 11, she loved Paula Abdul and I got stuck into that hip hop story since then, as a dancer, then a rapper, then a beat maker, then a songwriter, then a movie writer, now a director. I’ve been teaching what I’ve learned to the new generation for 10 years now. The musicals, “Singing in the rain”, “West Side Story” and “Grease” got me to the question “Why is it so hard for hip hop to be considered in major musical movies?” Michael Jackson inspired me the most, I consider “Smooth criminal” as the best video of all time!! And the most innovating hip hop moves in a pop video (That’s Poppin Taco).

VISAO: Tell us about the Johannesbourg Series, what’s the concept/message. Why Africa?

CL: The Johannesbourg Series started by the creation of a new show “Racines (Roots)” by the Wanted Posse. They took me in to compose the soundtrack. We worked hard for three month to find the best way to express the evolution of dancing from the past to nowadays.

I was honored and took the opportunity to build a visual concept around it.

The message was brought to us by the kids from Tembisa, Soweto and Alexandra. The Kwaito is gathers all those young kids dance music movements, Hip Hop, House music, Dance Hall and more.. We do the complete opposite, we split up Hip-Hop dancing into, Popp’n & Lock’n, Breakdancing, Crump’n, etc.. We should be allowed to mix up the influences we like as we want to. Dance the way, we want to and not be afraid not to be consider as hip hop or anything else. Cause hip hop is a way to live, a state of mind. Dancing is a way to express ourselves, a way to be proud of being human and able to feel life through body moves and defy gravity and share with nature. We’re all different and we don’t dance, not cause we been told to, not cause we been taught to, we dance cause we’re spontaneous. Africa took us back where we came from (and I’m not only talkin’ about cultural roots).

That’s what the Johannesbourg Series is about, that’s what the Wanted Posse shared down there.

VISAO: How did you hook up with Mamson?

CL: Mamson is a member of the Wanted Posse, so I’d say he was family, first of all. One morning I woke up to shoot a video shoot with Dedson (Fi-Hi Freestyle), and had one day left to test a new type of DV-CAM. Since I’m a workaholic and avoid wasting material time, I wanted to shoot something else, that’s when Tam (from Section C) told me, “If Mamson’s available you would get an interesting shot”. So I called him, and he told me, “I’ll be there in 20min”. That was the time I had to think about the place and the concept and shoot between the clouds moving fast. I’m glad Paris is one of the greatest spots to compose in. He killed that concept in one shot; he’s amazing and is one of my best inspirations.

I think the best way to express a dancer’s best skills, is to allow them to not only show some moves, but show their entire routines, linked moves and freestyles. There’s a spot in the human that can be reached and inspire our feelings when we look at a dancer, I try to capture that! It also takes a good dancer, a good spot, and great natural light, that’s the basis of my style. The editing is a matter of inspiration and color mood.

Other dancers to look for: My kids, UNDERCOVER (undercover gaiden on youtube), the TWINS, ICEE, LEGION X, DIABLO, FAB, PREPIX (Korea), they are so many to name.

VISAO: We’re loving the house music in you’re videos, who is it?

CL: Most of the time, I like to have original soundtracks for each video. VERBAL CLICK signed 80% of the soundtracks. The music is composed for each dancer and creates a better value. Hip Hop performers (singers and rappers) get on stage, make videos and get beats working with a whole crew. Dancers used to be left behind, now I try to find a way to put them in front.

VISAO: What’s your take on when to use hip-hop vs. house music in your videos?

CL: No rule about that, most of the house dancers are hip-hop dancers. The feeling is to key the level of motivation. If I get two good house dancers and ten good hip hop dancers, then I’d do more hip hop videos, if house dancing gives me better skills, so be it.

VISAO: What’s your ultimate goal and future plans with film? Tell us about Forty Four Films?

CL: My ultimate goal is to re-invent the musical movie. Forty Four Films is a way to represent my zip code, 44000. I live in Nantes ( Atlantic Ocean side of France). I’m willing to produce now so I can build up Luccini Productions.

Next productions: Gameplay – New show from the crew “UNDERCOVER” (5th place @ World Championships), Undercover Gaiden – TV pilot, Johannesburg Series host, Hip Hop Dance Freestyle and Back Pack Commercial and more to come…I’m also thrilled to be head coach of the team UNDERCOVER Boogie (partner) and I opened up a dance school in Nantes – The Misfits Academy: We’re willing to expand the young talents, to help our zip code to be represented in the next generations.