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  Artist Interview: Brisk...  
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Ich fände es schon geil, Aufnahmen mit einer Bandmaschine zu machen, um den richtigen 90er Jahre Sound hinzubekommen, aber davon abgesehen wäre auch das zu viel Aufwand – und lernen müsste ich es dann auch erstmal.
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Analog would be great, but I just don’t have the room for it in my tiny studio. Which is probably a good thing for my electricity bill. It would be awesome to record with a tape machine and get that authentic 90s sound, but it would take too much time and effort, and I’d have to learn how to do it first. So, I just take the easy route and do everything digitally. Even my MPC Renaissance is just a controller which I use alongside Samplitude. The mixer in Samplitude is so awesome that you don’t even need an external mixer, especially with all the plug-ins that are available today. Plus, I don’t think it would make sense to spend the time and money on analog equipment, since the payoff wouldn’t be big enough. And kids today wouldn’t hear the difference anyway since they’d rather listen to MP3s on their phones.
  Artist Interview: Brisk...  
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Habe aber sehr schnell gemerkt, dass ich da nicht so das größte Talent für habe und habe es seinlassen. Musikalisch habe ich damals die Fantastischen Vier gehört und fand schon immer das Scratchen sehr geil.
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I was really into graffiti and tried my hand at it for a bit. But I realized pretty quickly that I wasn’t that good at it, so I stopped. Back then I listened to Die Fantastischen Vier and always thought scratching was awesome. The sound, the look of the turntables set up with the mixer in the middle. I loved everything about it. I knew I had to try it, and I had this Die Fantastischen Vier film record, “Die. 4. Dimension,” from Bravo, which was actually pretty good for scratching on top of real vinyl records. I started learning where the sounds started and getting a feeling for it. Then I showed a coworker of mine some of the stuff I had produced. He said he knew this really good DJ who was a few grades ahead of him, DJ CSP. We still keep in touch, and he’s been like a brother to me. He taught me all the basics, from the baby scratch to the transformer scratch. He was also how I found out about Samplitude. I was addicted to scratching. And then I was addicted to producing. The rest is history (laughs).
  Artist Interview: Brisk...  
Montrer texteMontrer source en cacheMontrer URL avec texte source
Ich fände es schon geil, Aufnahmen mit einer Bandmaschine zu machen, um den richtigen 90er Jahre Sound hinzubekommen, aber davon abgesehen wäre auch das zu viel Aufwand – und lernen müsste ich es dann auch erstmal.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir magazine.magix.com comme domaine prioritaire
Analog would be great, but I just don’t have the room for it in my tiny studio. Which is probably a good thing for my electricity bill. It would be awesome to record with a tape machine and get that authentic 90s sound, but it would take too much time and effort, and I’d have to learn how to do it first. So, I just take the easy route and do everything digitally. Even my MPC Renaissance is just a controller which I use alongside Samplitude. The mixer in Samplitude is so awesome that you don’t even need an external mixer, especially with all the plug-ins that are available today. Plus, I don’t think it would make sense to spend the time and money on analog equipment, since the payoff wouldn’t be big enough. And kids today wouldn’t hear the difference anyway since they’d rather listen to MP3s on their phones.