Keeping 45s Alive!

Posted on November 18, 2011 by Delgado

Tomorrow is the monthly 45 Sessions party at Disco Volante in Oakland, featuring the Oakland Faders‘ own DJ Platurn, DJ Enki, and E Da Boss. For those of you who live in the area and haven’t been yet—you’re missing out. Continue reading →

How to Be a Bicycle Based DJ

Posted on November 6, 2011 by Delgado

Bike art by Jose Pulido

As many of you know, I am a bicycling fanatic. Ok, not like a spandex guy, but I simply don’t see the reason to operate a car in a situation where you can ride a bike. I ride my bike to work as often as possible… no matter what work it is!

The bike I ride…. everywhere.

In the 90′s I did a radio show and played hundreds of parties, bars, and clubs, but didn’t have access to a car. On reflection, it was pretty crazy how I got one of the best Reggae record collections in America across Los Angeles County using such a weird variety of bummed rides, bicycles, skateboards, shopping carts, tool boxes, and backpacks.

In the vinyl days, one thing DJs constantly did was hone their record collection to be as efficient and light as possible, without leaving behind any key songs. Today, Serato and dozens of other digital DJ programs have taken care of the vinyl weight factor for us and I can finally ditch the car for most gigs and never be missing a song.

In college, probably 1996, I came up on this back pack at an Army Surplus store.

It was an old British Medic’s bag, according to the sign. $10, and the perfect size for about 70 12 inch records—the perfect compliment to two tool boxes of 45s. Or it can hold 15 records and all the things a Serato user needs.

From bike to reggae

About 15 records (a few Ultimate Breaks albums, a few dancehall compilations) plus some control vinyl, my 13″ macbook pro and charger, dicers, Serato SL1 box and charger, needles and cartridges, promotional CDs, headphones, my portable recorder, bike lock, and slipmats.

And there it is folks—a little technology, the right random junk, and a passion for both music and bikes. THAT is how you become a bicycle based DJ.

From bike to reggae

Equipment

Posted on November 6, 2011 by Delgado

It’s the Xmas season for many of us, and I know a ton of DJs are playing with their new toys… or furiously exchanging gifts for cash to go get some! One thing about us (not sure here if I’m talking about DJs, musicians, or men in general) is that we LOVE electronics—and the newer the better. No matter what type of music a DJ plays, I can always start a conversation about the equipment they use. It’s also one of the first questions I get asked by newer DJs, and it is indeed the very first question this blog received (thank you Juan R. in Hayward)!

Continue reading →

Mixtape Monday: DJ Skyscraper Originals IV—Tupac

Posted on October 24, 2011 by Delgado

Like a lot of you, I love Hip Hop music. Not just the songs, but the songs that make the songs. This week, DJ Skyscraper joins us with a great mix that highlights one of my favorite rappers and the songs that were sampled to make some of his greatest hits. A long time hip hop DJ from a rather unusual location, Skyscraper is no stranger to digging for samples—this is the fourth mix in his Originals series. Listen to the mix below while you read a very insightful interview with the man himself. Be sure to check out his mixcrate page for more music! Continue reading →

Mixtape Monday: DJ Enki Breaks it Down

Posted on September 26, 2011 by Delgado

Like many obsessive music listeners, I hear music all the time. And not just when it’s playing—it’s in my head all the time. Oftentimes it’s a favorite song, but frequently it’s just vaguely recognizable beats with semi-familiar melodies floating in and out. This is the soundtrack to my daily comings and goings, always just out of the reach of my consciousness.

I had always wondered at those “songs” floating through my mind, but I never imagined that such a funky, free floating montage of music could actually be recorded and put to disc. And then I heard Break it Down, by DJ Enki of the Oakland Faders.
I’ve heard mixes with cool concepts executed perfectly. I’ve heard mixes that were incredibly technically proficient. I’ve heard mixes that contained records I’d never even thought to dig for. This mix has all three components, and a subtlety that ties it all together. When I first heard it, I had to know more about it. Lucky for you and I, DJ Enki had time to answer some in–depth questions very eloquently and thoughtfully.
You can stream the mix below while you read the interview. Take a moment to also check out Enki’s blog and his mixcrate page, where are there are more mixes and you can leave him a comment.

Delgado: What was the process of making this? How long did it take??

Enki: It definitely took me a while—it was a serious labor of love. I like to have my mixes more or less planned out before I start recording them, and the planning stage took much longer than usual…several months, I think. And then the recording/editing process took another few months. I think I spent a good 6 months on it, all told, maybe even more.

For the planning part, I started off with some self-imposed rules. First of all, strictly OG vinyl—no reissues, no comps, none of that. That’s that digger mentality and wanting to flex your crates. Second of all, nothing that was on UltimateBreaks & Beats or had otherwise been repeatedly reissued. Third of all, steer clear of well-known samples. Of course, I kind of broke that last rule with the very first break on the mix because Kanye has sampled those drums to death. And there are a few things on there that I knew had been sampled: There’s a loop on there that my man DJ Zeph put me up on because he had used it on the Zeph & Azeem Rise Up album, so I put it in the mix as sort of a shoutout to Zeph, I have a drum loop on there that Muggs has used, and I do scratch the horn riff that Stezo used for “Getting Paid.” But in the big picture, I didn’t want this to be a known-samples mix, I wanted it to be lesser-exposed material.

I also didn’t want this to be a typical breaks mix where you cut up two copies of a break, then cut up two copies of another break, then another, and so on so it’s just one break at a time and you kind of jump from one to the next. I wanted this to be more fluid, more intricate, and more reflective of the kind of loop-stacking mentality that my own beatmaking is based on. And I felt like this would make for a better listening experience, too: Instead of abrupt transitions, it would constantly have elements coming and going so the music and the grooves are shifting and changing but in a way that kept listeners engaged instead of jerking them around.

Once I had the rules and the concept in place, I just started going through breaks, cataloging them, and then grouping them based on similar BPMs. Then I could start putting them together. In some cases, I already knew that this break and that break would go together well, but there was also plenty of experimentation, taking a couple breaks that were close together tempo-wise and seeing if they worked well together. I spent a lot of time doing that, finding those good combinations where the rhythms complemented each other. And I would just build from there—get a good combination, then see how I could move from that combination to the next combination by gradually dropping out elements and bringing in new ones. I wanted things to progress and kind of morph in a smooth, natural way, and I wanted the music to be constantly evolving instead of just jumping from one loop/stack of loops to the next without having something tying them together. And it was definitely a challenge figuring out how to arrange everything and deciding which elements would come in and go out when so that I could get from combination to combination in a way that made sense and wasn’t too abrupt.

As far as construction goes, the one big rule I had was that I wanted to stay away from chopping as much as I possibly could. I wanted to strictly loop things (or, in the case of the longer breaks, just let them play from beginning to end) without rearranging them. There are two or three places where I did some very subtle chopping in order to create a loop that didn’t really exist on the record, but other than that, the whole thing is straight-up loops. Obviously, as I was stacking the loops up, I might nudge the snare in loop A over a bit so that it locked up with the snare in loop B, but I didn’t really get into reprogramming things because I felt like that would be a whole different kind of recording, more of a production showcase or a beat tape than a mix.

Delgado: You mention in the notes that all the tunes & breaks are taken from the original pressings of the vinyl. How difficult was it to find original pressings of all these tunes? Are there a few tunes that you searched for for years?

Enki: Well, I didn’t really go seek out specific breaks for the mix, like “Oh, I should get such-and-such break on there, lemme go try to find that record.” It was pretty much just using what I already had (though the whole time I was making it, I was still digging, so I would incorporate stuff I was finding with things already in my collection). I’ve been digging for a long time, so I’ve built up a pretty good arsenal of breaks and samples over the years, and some of the stuff on there was definitely tough to find, though there’s a fair amount of straight-up dollar bin stuff on there as well. And a bunch of the breaks I have I didn’t know about until I actually bought the record—you know, something looks interesting while you’re digging, so you take a chance on it, and it turns out to have a nice break on it.

Delgado: I know I inherited my addiction to vinyl from my father (luckily I got his jazz collection, too). When did you get bit by the vinyl bug?

Enki: Not until I started DJing, really, which was around 1994. Neither of my parents had a record collection to speak of. I had bought some records when I was a kid, but I very quickly moved on to buying tapes, mostly so I could play them in my Walkman and have music with me at all times. But DJing requires digging (or at least it did back then), and I very quickly threw myself into that. A great DJ needs a great arsenal, right? And I just went wild with the whole concept of finding something I’d never heard before, constantly looking for that next thing that was gonna blow my mind. It’s a real thrill.

Delgado: Since you’re clearly an accomplished digger, do you have a few favorite spots to find the good stuff?

Enki: Groove Merchant in SF is legendary around the world for having the good stuff, but a boutique shop like that is sort of its own thing and not really “digging.” Cool Chris does all the legwork for you; all you have to do is walk in the store, and he’ll have ridiculous heat sitting there waiting for you—you don’t have to flip through rack after rack to find something good. Groove Merchant provides a tremendous service, and I’m definitely in there on the regular. And right down the street from Groove Merchant is Rooky Ricardo’s, and that place has been very good to me over the years as far as digging goes. And of course, whenever I’m traveling, I keep an eye out for flea markets, thrift stores, yard sales, whatever. You never know where your next come-up is going to happen.

Delgado: I was listening to the mix in my office after school, and four junior high girls started dancing and saying that it “slap.” What is it about these breaks that is so timeless?

Enki: First of all, I think it is incredibly cool that junior-high girls are dancing to this mix and calling it the slap. I never would’ve thought that this mix would appeal to junior-high girls at all, but I guess it’s like you say: These breaks are timeless. And I’m really not sure what it is about them that makes them timeless. Maybe it’s the way they’re played, maybe it’s the way they’re recorded, maybe it’s the fact that I looped them up (a lot of times music takes on a different feel if it’s looped). It’s really hard to say what, exactly, makes them so timeless, but they all move me in some way. Sometimes I’ll find a record with some open drums or something, but they just don’t move me. It’s like, “OK, here’s a break, but…meh.” If it has good sounds, good playing, good rhythm, it’s going to move me. And that’s the biggest key right there. I wish I could say definitively what it is that makes them timeless so that I could help make more of them!

Delgado: Hip hop has moved away from using breaks as samples because of their price and the difficulty of getting samples cleared. Beyond the basic beat making, do you think this move away from samples has changed hip hop?

Large Professor: Bandito Numero Uno

Enki: It’s definitely changed hip-hop. Today’s aesthetic is much more pristine-clean, shiny, and drum-machiney, which sounds cold and a bit sterile to me for the most part. There are times when people really freak a sample and mix it with drum machine sounds and do it really well (the way Bangladesh flipped the Harry Belafonte sample for Li’lWayne’s “6 Foot 7 Foot” is really fresh), and in the hands of a genius like Mannie Fresh, keyboard sounds and stock drum machine sounds can be used to make incredible things. There’s definitely good stuff out there in this clean, polished aesthetic, but generally speaking, I prefer samples, grit, dirt, that rugged and raw sound, all of that.

And beyond just the sound difference of sampled vinyl vs. keyboards, I feel like the move away from samples reflects a change the outlook of hip-hop. I remember a Large Professor quote where he referred to the “bandito mentality” that was prevalent back in the late ‘80s/early ‘90s. It was that whole B-boy element–it’s renegade, underground, and all about taking these bits and piece of discarded music and making something great out of them. Hip-hop isn’t quite so rebellious these days because it’s a much, much bigger money maker now than it was back then, and like you say, sample clearance has become a big financial issue. When hip-hop wasn’t such a money-maker and people didn’t really look at sample clearance as a revenue stream, producers could throw as many samples as they wanted into a song and not really worry about it. But the parameters are different these days, and after those first few big sample-clearance lawsuits, people started stripping down their sound (and their song arrangements, it’s worth mentioning), using fewer samples per song, doing sample replays, and even moving away from sampling altogether so they didn’t have to deal with the cost and the hassle of clearance. Correlation is not causation, of course, but it does seem like heavy-duty sampling fell out of favor a bit as hip-hop expanded into the mainstream. But that’s just the mainstream. There’s still a vibrant underground that couldn’t care less about that stuff and just does its own thing—that’s where you can still find that bandito mentality Large Professor was talking about, still being expressed in tons of different ways.

Delgado: DJing has also moved from digging for vinyl to downloading MP3s. Has this had any positive effect or has it simply flooded the market with DJs who haven’t earned their stripes?

Enki: It’s had some positive effect—putting a hard-to-find track in the hands of a talented, skilled DJ who might not have otherwise gotten it is a great thing. And it is cool to be able to bring thousands of songs with you to a gig so you’re prepared for anything. But even that has a flip side: I’ve talked with a bunch of DJs who say that having 10,000 songs can be overwhelming so they find themselves kind of retreating to the same few songs. Like, you’ve got so many options that it just overloads your brain and you go with those few safe things you already know.

But by far the biggest negative is just like you said: The market is flooded with DJs who haven’t earned their stripes. There’s little to no dues-paying anymore. You don’t have to spend the time learning the craft and amassing you collection. You can just get Serato, download a bunch of popular MP3s, and you’re set. It’s even getting to the point where using turntables at all is considered antiquated. It’s unfortunate.

Delgado: You have a great opportunity to play some of these classics at your monthly residency at the 45 Sessions—what is your favorite event or type of event to play?

Enki: My favorite type of event is one in which I have some real freedom to play what I want to play, which is to say the freedom to play “old music,” whether that’s funk, older hip-hop, breaks, whatever. I absolutely love that, and I get to do that at the 45 Sessions, which is why it’s easily my favorite gig these days.

I’m not as clubby as I used to be because I find the typical club a bit constricting—people want to hear what they already know, and if you deviate from that, then they get upset. Plus, I’m about to turn 36, and the typical club–goer is not my age, but is a good 10 years younger than me, so we have very different frames of reference as far as music goes. The club is largely a young man’s game, and I’m not a young man anymore. But I do still play some club gigs, and I find ways to fit in regardless. At these electronic music events, for example, I can get over by playing Miami bass, older Baltimore club, and classic electro stuff, cutting it up, doing live blends, scratching, all of that. So I set myself apart, I still get to do what I like to do, but I’m giving the crowds the tempos, the energy, and the low-end they want to hear, so it works out well.

Delgado: Lastly, the extra nerdy question: What kind of equipment do you have in your studio, and what did you use to record this mix?

Enki: I always love the nerdy questions. As you’ve probably noticed, I’m much more old-school than futuristic in my sensibility, and my studio is the same way. I use an old version of ProTools—6.4 LE (I think they’re up to Pro Tools 9 now, but I’m riding 6.4 until the wheels fall off!)—and I have the greatest sampler of all time, the SP1200. And I have my record collection. That’s it. Everything I make beatwise is made out of records—I don’t own any keyboards or anything like that. For this mix, I did the whole thing in Pro Tools—all recording and arranging.

There’s somewhere between 150 and 200 breaks on the mix; some of the stuff on there is secret squirrels I don’t want to give up, and some of the stuff I forget the name of, quite frankly. But I’ve been asked about that very first drumbeat a couple times—it’s “Doggone” by Love—and so that I give you an even 10 names, here are nine more: “Getting Down” by Eugene Blacknell, “Overtime” by Roger Glenn, “Tomorrow’s People” by McDonald & Giles, “Rainmaker” by Tipton, “Funky, But?” by the Howard Roberts Orchestra, “Dead” by Carolyn Sullivan, “Spinning Wheel” by Peggy Lee, “Handy Man” by The Commotions, and “Raindance” by Electric Indian.

Another HUGE thanks to DJ Enki, be sure to check out his blog, mixcrate, crew, and facebook!

Meanwhile, check out our other Mixtape Mondays features!

DJ Delgado: Wifey’s Choice
DJ Pipo
DJ Gaffle
Treat U Nice
Delgado Fire Vol. 8
DJ Platurn’s Best Of A Tribe Called Quest

DJ Boom Bostic

The top 10 Greatest Hip Hop Songs Ever!?

Prince Aries

Delgado’s Summer Blaze 2003

Joe Quixx

DJ Odiaka: Soul Meeting

45 Sessions Live Recording

Posted on September 22, 2011 by Delgado

Many of you know I really like seven inch records. Those of you in the Bay Area get to go to a regular party that features only 45s all night. Yes, little records, all night.

The party is organized by the Oakland Faders & friend of the blog DJ Platurn, and features residents E Da Boss, DJ Enki, and Platurn. The best DJs passing through the area with their vinyl gems are also invited and never fail to put on a good show, and you will always find me there. This time, I managed to convince a grip of my folks to pass through for dinner (I highly recommend the food at Disco Volante) and stay for dancing, and meet some new friends as well.
Volume 19 of the 45 sessions also featured superstar guest DJs Slopoke (SF), 100 Proof (Seattle), and Chorizo Funk (Austin). As always, Larry Brite was on the mic. A preview of the Hella Records Sale was as there as well, just to be sure I didn’t go home with any money.
Platurn was booked for another import event that night (his wedding), but he invited me to record the event for posterity, and this is something you just GOT to hear.
There are a few skips in the recording, those are my fault (gotta stop & start the recording to keep the file a reasonable size). The DJs clearly do an amazing job—all the sounds you hear are just vinyl being manipulated, no samplers, loops, effects, etc. I put everything in the order it was played—enjoy, download, and share. See you all at the next 45 Sessions!!

In order
DJ Chorizo Funk part 1

DJ 100 Proof part 1

DJ Slopke part 1

DJ Chorizo Funk 2

DJ 100 Proof part 2

DJ Slopoke part 2

Be sure to check the sites above for each DJ, plenty more dope music you want to check out!

Saturday at Lucky Lounge

Posted on September 22, 2011 by Delgado

Saturday Odiaka and I will be at Kingman’s Lucky Lounge in Oakland, bringing you exactly the music you want to hear! Kingman’s is a classy no-cover lounge that has great cocktails. It’s a great place to start your night if you’ve got big plans or going to see a movie at Grand Lake, and a great place to just chill if you’ve been enjoying the day and just want a place to sit with great folks, great drinks, and top notch music! The late night visit by great food trucks in the area is a big plus as well!

Besides the amazing and creative cocktails, Kingman’s has a somewhat unique music policy, which makes a lot of DJs step outside their normal comfort zone of the latest top 40. This gives me a great opportunity to play some great old funk and soul alongside great reggae for a discerning audience. I will usually play some of the classics on my recent R&B mix, as well as requests from the homies. This week DJ Odiaka & I will be bringing you a special Heavy D tribute mix as well! Fall through for good times!

Mixtape Monday: Wifey’s request

Posted on September 19, 2011 by Delgado

Sunday nights my wife likes to clean the house. Last week, I asked her if I could help and she said “just play good music for me.” I’d rather take that as a compliment to my DJ skills instead of an insult to my cleaning abilities, so I recorded the mix as well. She dug it the first time around and has been enjoying it since. I play a lot of R&B but I don’t have any mixes out, so here one is for your listening pleasure.

You’ll recognize everything, just classic tunes that my wife loves. For those of you who don’t know, that means a lot of Mary J. Blige. It’s un-planned, un-rehearsed, un-edited, and therefor imperfect—just a fun quick set to record. I threw a few drops in for the benefit of my boot-leggin homies who will have this everywhere form the Ashby Flea Market to the México City subway in 24 hours. Enjoy.

Track list:

Isley Brothers: Between The Sheets

Bobby Caldwell—Do For Love

Debarge—I Like It

Pointer Sisters—Yes We Can

Mary J Bilge—Love No Limit (Puffy Remix)

John Legend—Slow Dance

Mary J Blige—I Love You (Something About Mary Remix)

Aaliyah—Try Again

Groove Theory—Tell Me If You Want Me To

Delegation—Oh Honey

Soul For Real—Candy Rain

Al Green—Just The Two Of Us

Mary J Blige—Be Happy (Old School Remix)

Sunshine Anderson—Heard It All Before

Goapele—Got It

Gap Band—Outstanding

Faith Evans—Love Like This

Sizzla—Dubplate

Mary J Bilge—Hate It Or Love It

If you love the mix, tell my wife!! Meanwhile, check out our other Mixtape Mondays features!DJ Pipo
DJ Gaffle
Treat U Nice
Delgado Fire Vol. 8
DJ Platurn’s Best Of A Tribe Called Quest

DJ Boom Bostic

The top 10 Greatest Hip Hop Songs Ever!?

Prince Aries

Delgado’s Summer Blaze 2003

Joe Quixx

DJ Odiaka: Soul Meeting

Mixtape Monday: DJ Pipo!

Posted on September 10, 2011 by Delgado

When music resonates with the listener, it captures a moment or an emotion. At its best, it does both.
As a kid, I recorded a lot of those tunes and commemorated those moments on mixtapes that I circulated amongst friends, and every time I hear some of those songs, it is a flashback.
Pipo, an internet hero for cataloguing and sharing a tremendous collection of mixes, made a mix that shot me back in time listening to it this Summer. The year was ’88 and I started the year by turning 12 and ended it winter break of 7th grade, as addicted to hip hop as I could be. These tunes were the ones that converted me. Check it out.

Delgado: For me, ’88 was a big year and these songs are indelibly marked in my brain. It was my first year of Jr High and hip hop defined the difference between us and the square old folks running the school. Since it was Oakland, a lot of us had very personal connections to some acts on the mix… one classic memory was when my entire PE class got sent to the office for rappin “Boyz in the Hood” as we ran laps. Why did you pick ’88? Where were you and what were you doing back then? How was hip hop a part of your life and community?

Pipo: There is an interesting story behind the mix. The mix was made in the summer of 2008. Prior to making the mix, my wife and I went on vacation to Machu Picchu, Peru. It takes about 14 hours of travel time (planes, trains, etc) to get to Cusco (which is the nearest major city to Machu Picchu). Like an idiot, I left for the airport without an ipod or any reading material. I ended up buying all the wack magazines they have at the airport newsstand to get me through the travel. One of the magazines I bought was the current Vibe issue which was celebrating the 20th anniversary of all the classic albums that were released in 1988. Vibe isn’t anything special, but it was the only thing I had to read so I read the article several times and looked at the covers of all those classic 88 albums like a kid in a candy store. I guess that’s where the idea for the mix came from. Unfortunately, a thousand other deejays had the same idea. That’s why I never finished the mix. I scrapped the mix once I heard all the other 88 mixes that were coming out back in 08.

In terms of where I was back in 1988: I was in the fourth grade playing Eazy-E‘s “Eazy-Duz-it” tape on constant loop in my Sony walkman. Back then, I owned two tapes, Raising Hell and Eazy-Duz-it. However, the first hip hop song I ever heard was L.A. Dream Team‘s “Dream Team is in the House.” There is a part of the movie Scratch where Steinski describes the first time he heard hip hop something to the effect of “it was the music I’ve always wanted to hear but never knew it until I heard it.” That’s exactly how I felt the first time I heard L.A. Dream Team. The way Steinski described it in the movie completely captures my initial attraction to the music and culture.

Delgado: Is there a favorite track on the album or one that really defines that time for you?

Pipo: All the Eazy-E joints.

I guess I’ve always had a soft spot for Eazy-E. To do this day, I can rap that entire album without actually hearing the music. I remember being all bitter when the Chronic came out and Eazy-E was getting dissed pretty hard by Dre and Snoop. I hated myself for loving the Chronic. The music was simply undeniable, but I felt like I was betraying my man. Ice T’s “Colors” is another standout track. The song was and is so hard that I was afraid of Ice T when I was a kid because of that song.

Delgado: You run an awesome mixtape site, called pipomixes (which should really be checked out by everybody who read this). Nowadays, it seems like every “artist” is coming out with a “mixtape” every week—since you spend so much time reviewing, cataloguing, and posting mixes, what are some things that you look/listen for when you come across a new mix? What sort of things make you want to send a mix straight to the trash?

Pipo: First of all, I only post and support REAL mixtapes mixed by deejays. By REAL, I mean a mixtape with actual mixing where the deejay uses two turntables and a mixer. For me, the most important thing is the mixing. I grew up listening to the Beat Junkies running the L.A. radio waves, so they set the standard for me on what a mix should sound like. Believe it or not, separating the quality from the trash is pretty easy to do. Actually, most of the submissions I receive are quality mixes. If I don’t post a submission, it’s usually because of poor track selection or a played-out theme (like a Dilla tribute), more so than poor mixing. I think the deejays who submit mixes to the blog are generally familiar with the quality of mixes posted, so I don’t get too many wack submissions.

Delgado: Obviously you DJ as well, since you sent us all down memory lane with this mix. Who are some DJs that inspire you? Any mixes that you’re worn out trying to emulate?

Pipo: That’s a loaded question. Of course, I’m inspired by all the usual suspects such as the Beat Junkies, X-Men, Jazzy Jeff, DJ Revolution, etc… J. Rocc is the mixtape king. PERIOD. The deejays who have impressed me the most in terms of their live performances are Jazzy Jeff, Revolution, and J.Rocc. I will also never forget seeing the X-Men live for the first time.

In terms of mixtapes, I’ve got to give credit to Neil Armstrong‘s Original series. I think those two tapes set the standard for all of the mixes you hear these days. I think those tapes were the first mixes to really put some production value into a mix. Vinroc’s Reconstruction mix, J.Rocc’s Sex Machine mixes, and Jazzy Jeff’s Roots Promo mix are also some of my favorites. Oh, I almost forgot! J.Rocc’s ACT 3 and 4 are the two greatest mixes in the history of the universe.

Delgado: Lastly, the nerdy question: What equipment do you have in your studio, and what did you use to record this mix?

Pipo:

2 technics 1200 turntables

Torq Connective

Numark DXM06 mixer (very slept on)

Ecler Nuo 2.0 mixer (I’ve been using this more lately because I love the analog sound)

SP-404 (I sold my 303 right before they became popular. Not a day goes by that I don’t regret that)

2 Yamaha HS80 monitors

M-Audio Fast Track Pro interface/soundcard

Adobe Audition 1.5 (too lazy to learn anything newer)

Those are my tools of the trade. Only my cats could tell you how the tools are used.

A huge thanks to Pipo, be sure to check out his site, follow the man on twitter, and most definitely check his soundcloud for more dope mixes!

Meanwhile, check out our other Mixtape Mondays features!

DJ Gaffle
Treat U Nice
Delgado Fire Vol. 8
DJ Platurn’s Best Of A Tribe Called Quest

DJ Boom Bostic

The top 10 Greatest Hip Hop Songs Ever!?

Prince Aries

Delgado’s Summer Blaze 2003

Joe Quixx

DJ Odiaka: Soul Meeting

Mixtape Monday: DJ Gaffle

Posted on August 22, 2011 by Delgado

Dj Gaffle is a long–time pro based in Atlanta with tons of experience on the radio and in clubs. One of our shared passions is hip hop, and after a few long conversations about the state of the genre, he hooked me up with this mix, titled “Ol’ School Hip Hop Rejoice.” It features many songs that literally define the genre, along with tunes that bring back memories and some would–be classics that got lost in the shuffle. Great tunes, mixed with a side of turntablism. What more can you ask for on a Mixtape Monday?

Along with this link to the mix, Gaffle sent me some insight as to his thought processes when making the mix!

Delgado: What was the inspiration for this mix? Are there any particular tunes that you built it around or that have great stories for you?
Gaffle: This mix was done in 2007. The current “Hip Hop” music being released at the time put me in an anti-radio mode so I wanted to put something out there showing how Hip Hop music is supposed to sound and my mix was the solution.

Delgado: What did you learn making this mix?
Gaffle: I learned that Serato cuepoints are the sh!t !!!

Delgado: Who are some of the biggest influences on your style as a DJ?
Gaffle: DJ Jazzy Jeff, DJ ALaddin, DJ Nabs, DJ Jaycee, DJ Rock Raida (RIP) and DJ Cash Money

Delgado: What is your favorite event, type of event, or genre of music to play??
I like to play for a mixed crowd with open musical minds. I like my crowd happy, tipsy and ready to party. I don’t like playing thugged out trap, snap and crunk music the entire night. That music numbs your mind.

Delgado: What equipment do you have in your studio and what did you use to record this mix?
Gaffle: I have my Technics 1200 M5G turntables to practice and mix on along with a Rane TTM57 mixer. I gig with a Numark NS7.

Delgado: You and I have been talking a lot about the state of hip hop in 2011. What specifically drives you nuts about today’s music, and what give you hope? Are there hip hop acts today that you respect and think are (hopefully) pushing the game in the right direction?
Gaffle: As far as the state of Hip Hop in 2011, I don’t like a lot of the southern dominance in music. Local radio pushes the songs with the most ignorant lyrics and subject matter. What kills me is girls even requesting this stuff… songs like “Tony Montana”, “BMF”, “Magic”… are dope dealer focused songs so why are girls asking for them? I’m in Atlanta and these ‘ignorant’ songs got/get strong radio push. I also am discouraged by today’s poor music sound quality. Bad production with loud over-synthesized crap mastering makes for a headache in my headphones. Enough ranting from me because not all music fits this description. There’s some good R&B and NeoSoul out there. I’m hoping this new collabo of Jay-Z and Kanye West changes the game. I’ll be buying that album and pushing it in my club on day one if the cuts are good.

Enjoy the mix and be sure to check out his website and his blog!

DJ Gaffle- Ol’ Skool Hip Hop Rejoice

TRACKLIST
My Lovely Program (Intro) – Wattstax
Glaciers of Ice – Raekwon
Heartbeat – KRS One feat. Redman
How I Could Just Kill a Man – Cypress Hill
Looking at the Front Door – Main Source
Outta Here – Diamond D.
Scratch, Bring it Back – EPMD
Full Clip – Gang Starr
Oh My God – A Tribe Called Quest
Shook Ones Pt. II – Mobb Deep (Gaffle mix)
Closer – Goapole
KRS One Attacks – KRS One
Born to Roll – Masta Ace
Be Happy – Mary J. Blige
Area – De La Soul
I JuswannaChill – Large Professor
Runnin’ – The Pharcyde
D. Original – Jeru the Damaja
Microphone Fiend – Eric B. & Rakim
Zulu War Chant – Afrika Bambaataa
Around the Way Girl – LL Cool J
E.V.A. – Jean J. Perry
Da’ Rocwilder – Redman & Method
I Know you got Soul – Eric B. & Rakim
Ain’t Nothing to It – K9 Posse
Ain’t no Half Steppin’ – Big Daddy Kane
Silence of the Lambs – Showbiz & AG feat. Kid Capri
Slam! – Onyx
Streets of the Ghetto – Ed O. G.
Puerto Rico – Frankie Cutlass
Gaffle Enemy (intro)
Amerikkka’s Most Wanted – Ice Cube
Ease Back – Ultramagnetic MCs
Group Home (Can I Bus) – Group Home feat. Canibus
Jingling Baby – LL Cool J
Mystery of Chessboxin’ – Wu-Tang
’96 WRAS 88.5 show live – (Grand Master Flash)