Flo' Dolo
New member
For what it's worth, since the age amd serious propogation of electronic instruments to the masses, somewhere around the early 80's, I think the whole paradigm of what a "producer" is has changed dramatically. At that point, the whole producer-as-artist thing became a much more tactile art.
{pardon my upcoming generalizations}
Before this time, a producer's role could arguably be considered that of a conductor, synthesizing ideas, pieces, parts, and people into a cohesive body of work. I imagine for the more instrument-driven people of today (such as band members) things haven't changed so much since bands often want, need, or are forced to use producers who are known for a certain feel or sound.
Electronic multi-instrumentalists (rap, dance, electronica producers) are often "in-charge" of the whole soundscape and every other aspect of the music, including its' overall dynamics.
That being said, today's producer is a more concrete artist - picks and chooses the sounds/snippets, determines where, how, and why they're laid down, etc, etc. Producers, at least when they fuck with electronic music are the artists, just as necessary artistic in their capacity as MCs are in theirs.
Unfortunately, there are too many not-so-special MCs rhyming over phat betas, and vice versa.
AND ABOUT HOUSE MUSIC & WIMMINS...
I've boned many a fine filly many a time to the likes of mr. fingers and others. In fact, at 12 or 13 years old ('82 or so), I got puh-lenty of phat "roller skate dances" and booty squeezes to everybody's favorite in the hood (at the time), Kraftwerk (not house, but not the "quiet storm" either). Popped my cherry between flipping over the same damn art-of-noise record for the whole evening. And oh those late nights listening to cybotron... House and techno weren't always generally associated with white kids, hookers, freaks, or drugs. Damn I miss being a kid.
For what it's worth...
Flo' Dolo
{pardon my upcoming generalizations}
Before this time, a producer's role could arguably be considered that of a conductor, synthesizing ideas, pieces, parts, and people into a cohesive body of work. I imagine for the more instrument-driven people of today (such as band members) things haven't changed so much since bands often want, need, or are forced to use producers who are known for a certain feel or sound.
Electronic multi-instrumentalists (rap, dance, electronica producers) are often "in-charge" of the whole soundscape and every other aspect of the music, including its' overall dynamics.
That being said, today's producer is a more concrete artist - picks and chooses the sounds/snippets, determines where, how, and why they're laid down, etc, etc. Producers, at least when they fuck with electronic music are the artists, just as necessary artistic in their capacity as MCs are in theirs.
Unfortunately, there are too many not-so-special MCs rhyming over phat betas, and vice versa.
AND ABOUT HOUSE MUSIC & WIMMINS...
I've boned many a fine filly many a time to the likes of mr. fingers and others. In fact, at 12 or 13 years old ('82 or so), I got puh-lenty of phat "roller skate dances" and booty squeezes to everybody's favorite in the hood (at the time), Kraftwerk (not house, but not the "quiet storm" either). Popped my cherry between flipping over the same damn art-of-noise record for the whole evening. And oh those late nights listening to cybotron... House and techno weren't always generally associated with white kids, hookers, freaks, or drugs. Damn I miss being a kid.
For what it's worth...
Flo' Dolo
