When I was working on the album, toward the end of it I was doing more studio work than practice. Those that hate hip-hop or who think hip-hop is what plays on commercial top 40 radio will struggle with it for sure, but for those into scratching and others b-boy aspects of the genre, this is a brilliant animation that you need to see. It should also be known to all fans of turntablism, that a 5 part series entitled Shiggar Fraggar is also a must have for any hardcore fan. It is very odd indeed and it did take me a minute not to hate it for the visuals especially the dentistry but quickly the strength of the music and how well the two fold into one another makes it work surprisingly well, albeit in spite of itself. I left my music in the hands of these guys, and they tweaked the sound in a way I didn't really like. I think you should balance training with studio work.
The dental commander and his team, armed with the ancient relic known as the Wave Twister the only weapon powerful enough to defeat the enemies , travel to the far ends of inner-space for a final confrontation with the sinister army of oppressors. Written by A group of space dentists get drawn into an intergalactic war over the power of old school hip-hop as represented by the Wave Twister device, which they have in their possession but a villain known as the Red Worm wishes to seize before it is used to defeat him. I recorded the way I felt: maybe I'll record a bit of this today, or maybe I'll record that for a couple of hours. All recorded live, with various ad-libs from the djs. It is no less weird for being influential, but for sure it deserves to be discussed in those terms.
There is something especially funny about the subtitles which are available in English, Spanish, French, German, Japanese, Russian, Polish, Swedish, and Finnish : They reflect the scratching, in all its stuttering, repetitive glory. A trailer for Wave Twisters is available, as is one for Scratch, although the latter it looks like it was downloaded off the web which is a shame since Scratch is a beautiful looking film. That's why it took so long. The story revolves around several characters-such as the Dentist, Rubbish, Honey, and B-Boy Grandpa-whose mission is to spread the four lost elements of hip-hop scratching, rapping, break dancing, and graffiti throughout inner space. The scratches aurally bombard you from all angles, almost like spread-out laser-beams echoing in the dark. He has the ability to develop each character with tempo and pacing, solely through his music.
Videos are really important, too. The whole project took about ten months. I knew it would work. If you are really good, you can do it in one take. I use Digidesign's Pro Tools audio-editing software and Shure microphones for recording vocals.
Song by song, the record explains a tale of an entire civilization that communicates only through the sounds of scratching. My album was structured like building blocks. At first I just thought I was going to make a scratch album with scratch songs on it. Fans of guitar music can buy albums that feature only guitars. It had a little story, and I liked that, so I started making all my songs like that.
Altough this album came out many years ago, the choas and organized madness that layers this piece still overwhelm even the most hardcore of tablist heads. The music is quite brilliant from start to finish and it just makes it more impressive that we have the artists themselves scratching within the film — those who think there is no skill to this should really watch them in actual while hearing the results. Continuing to break new ground, his debut gives further evidence that the most talented record spinners have evolved into complete musicians. Q-Bert's legendary hand graces 17 tracks, and fellow Piklz Mix Master Mike, Shortkut and other guests come along for a wild ride where nothing is off limits. It's amazing how something relatively stripped-down can sound so powerful and dense. What I learned is that I should be there next time.
At the same time, he wanted to highlight the underground elements in. The lost arts are being oppressed throughout inner-space by lord Ook and his evil minions the Chinheads. I use Shure M44G or M447 needles on all 16 turntables. He can be reached at robin. It is known as the first -based musical. However, I prefer live performance. That the animators were able to match his skills is really impressive.
Continuing to break new ground, his debut gives further evidence that the most talented record spinners have evolved into complete musicians. That was not in my brain in no way beforehand! We totally remixed all the songs with new scratching, and we've redone everything I hated on the album. . He blew everything up from buildings to cd controllers to used toothpicks! But like I said, I'd rather do things live. One of the things that you take away from Scratch is the sense that these guys feel, on some level, like their skills come from outer space.
Credits: Art direction and illustration: Doug Cunningham ; animation: Eric Henry, Syd Garon, Trisha Golubev-Lerner ; sound engineer: Kormann Roque ; surround mixer: Joel Jaffe ; characters designed by Doug Cunningham. Where this album, as far as soundscapes and professionalism, this man is speaking with his hands. I used it for a little bit of reverb here and there. The E-mail message field is required. The film ends with the team teaching the liberated the lost fundamentals of hip hop. First, there's a pretty lengthy making of video that covers every step of making the piece in detail. The only other instruments featured on the album are guitar and bass, played by Buckethead.