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Must Volkoff<\/strong> is the perfect example of what’s hidden in the belly of Australian Hip Hop. Check the covers of his solo albums and you all will get an idea: the deep dark space and the abyss of the sea.<\/p>\n Both of them take us into the sometimes eerie, sometimes melancholic but always incredibly dope textures of Must’s music. He has showcased his beat-making and production skills in several albums in recent years, all of them sharing this funky yet ghostly feel that is typical of his music scenery.<\/p>\n He’s a dope producer, and one of those many dope non-US producers that should get as much acclaim as anybody else in the game. But, despite things are way better now than they were fifteen years ago, being Australian (or German, or Italian, or whatever) still implies a marathon through a forest of cheval-de-frise<\/em> to be acknowledged worldwide.<\/p>\n To overcome the trouble, Volkoff has recently published a collaborative album with the British mc Sonnyjim: these two just match and, in a sense, complete each other while creating the songs.<\/p>\n We strongly advise you all to check it because the album is dope as hell and constitutes an interesting entry point to discover Must Volkoff beat-making world (you can find it qui<\/a>, just in case!).<\/p>\n As the sound definer of the Melbourne based independent Hip Hop label Pang Productions<\/a>, Must has accepted to be on our Specifiche di produzione<\/a><\/strong> column, so let’s have a glimpse of his approach. Enjoy the reading!<\/p>\n What was your first commercial beat sold or placed, do you remember?<\/b> Quanto tempo ha impiegato per produrre qualcosa di cui era orgoglioso?<\/b> What’s your favourite production set-up to this day?<\/b> What’s the best digging advice you’ve received from someone ever?<\/b> Is there any producer, or beat-maker, in the last 3 months, that made you say: \u201cOh, shit, I have to go back to the lab!\u201d?<\/b> The worst production mistake you’ve ever made was…<\/b><\/p>\n Adding too many sounds and extra instrumentation. Forgetting to keep it simple.<\/p>\n One essential mixing tip for the producers out there.<\/b>
\nNot sure exactly. One of the first was for Maggot Mouf\u2019s track Animal Instincts<\/em>, out on Broken Tooth Entertainment through Shogun Distribution, back in 2007. I remember staying up to see the video clip on TV at 5 am.<\/p>\n
\nI was proud of my first beats at the time. I\u2019ve always backed myself.<\/p>\n
\nAkai MPC 2500, Akai MPC Live, Pro Tools software, a Fender Rhodes clavier, and Avalon 737 compressor, Technics 1200’s turntables and a Rane 57 mixer, a jazz guitar with wah and tremolo pedals, Fender P bass, and lots of jazz records.<\/p>\n
\nGo for records that just sound good and sound like the type of music you want to sample. Don\u2019t listen for an actual sample in the shop<\/a> and buy a record for that one bit. When you get home it usually doesn\u2019t work out the way you expected.<\/p>\n
\nI\u2019ve been inspired by funk bands lately. Check out Surprise Chef<\/a> from Melbourne.<\/p>\n
\nListen to your productions at different volumes. Some things are more obvious with the monitors down low. Cheers, Musty<\/em><\/p>\n