{"id":5808,"date":"2019-01-14T12:00:00","date_gmt":"2019-01-14T17:00:00","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=5808"},"modified":"2019-08-06T15:08:54","modified_gmt":"2019-08-06T19:08:54","slug":"abjo-q-and-a","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/abjo-q-and-a\/","title":{"rendered":"AbJo on his creative journey, influences, and the importance of community"},"content":{"rendered":"

Although AbJo\u2019s ambient beats will make you feel complex emotions, he\u2019s more of a minimalist when it comes to his creative process.<\/h1>\n

For instance, you won\u2019t find him nerding out over VSTs very often, for he doesn\u2019t use them unless they significantly enhance his workflow. Also, AbJo\u2019s DAW of choice is Reason, over more common alternatives like Logic or Ableton – through many years and many DAWs, he’s inevitably drawn back to Reason’s hardware-emulating interface.<\/p>\n

After 20 years of making music, AbJo\u2019s creative philosophy embraces the simple truths of hard work, deeply knowing your musical influences, making the most of limited resources, and trusting your instincts. If the producer’s craft is a lifestyle, AbJo has lived it since day one. Below, AbJo shares insights from his formative years and other invaluable knowledge from his creative journey.<\/p>\n

To start, tell us a bit about your story as a producer – how did you start making beats?<\/strong><\/p>\n

The journey started long before I cared about being a hip hop producer, much less a music producer. But looking back, I think I was always headed in that direction, one way or another.<\/p>\n

I got into playing and making music relatively early, in elementary school. By the time I was in high school, I was already playing multiple instruments at a fairly exemplary level, by my mentors’ and peers\u2019 opinions. I was also not only writing and helping arrange music in my performing arts school, but also playing with community orchestras and gigging jazz bands that were breaking in neophytes at my level. I studied everything by Dizzy Gillespie, Miles Davis, Mingus, Bird, Chick Corea, and Quincy Jones to learn to arrange, all while I spent 12 hours a day with headphones glued to my head listening to The Roots or 50 Cent, Nas or Jay-Z, The Neptunes or The Diplomats, De La Soul or The Lox, Erykah Badu or Jill Scott, The Pharcyde or Souls of Mischief, and anywhere in between, only then realizing that Timbaland, Pharrell, Dilla, Pete Rock, Madlib, and the like were the real stars of the show, in my book at least.<\/p>\n

One thing lead to another, and I found myself aligning with MIDI keyboards and MPCs more than violins, trumpets, and timpani. Then came MySpace, then SoundCloud where I could put my beats up, and then I suddenly became part of this new thing called Soulection and the rest is history…<\/p>\n

What DAW do you use? Is there any particular piece of hardware that you can\u2019t live without?<\/strong><\/p>\n

Reason is by far my favorite, which by the way, has not always been a DAW, and for which I\u2019ve always managed to get flack from other beatmakers and producers for using standalone. I\u2019ve rocked with Ableton or Logic for a minute as well, but I always end up back to Reason. Something about it… my workflow is perfect there, something I just don\u2019t get with other DAWs. I\u2019d mix and master myself out of ProTools or Logic, but I\u2019ve only done that with maybe 2 or 3 projects in my entire career, and unless otherwise prompted, it\u2019ll stay that way, haha…<\/p>\n

Your tracks achieve a compelling balance between analog and electronic elements. There’s a <\/strong>warm and dusty boom-bap element in a lot of your hip hop beats that many producers aspire to create. What are some of your go-to tools to create this vibe?<\/strong><\/p>\n

A lot of that just comes with learning those elements and how to create them from the stock sounds and library in Reason or Ableton. I\u2019m not a big fan of VSTs unless they allow me a better workflow than I already have in some area of my process. Serato Sample, for example, is perfect and exactly what I\u2019ve been looking for, especially having come up with Serato and Traktor DJing since their inceptions – it’s a great way to visualize how you’re chopping up your samples in a practical sense. Otherwise, I make do with what I have and let my now 20 years of musical and audio production experience take the wheel and steer, you know?<\/p>\n

Some of your projects (for example Vibra\u00e7ao Comigo<\/em>) sample <\/strong>instruments and records from around the world, from Brazil to Japan. When making a beat, how do you decide what to sample? Moreover, do you have any favorite approaches to manipulating or chopping up your samples?<\/strong><\/p>\n

Simple: I let my ears do all the work for me. Nothing else matters to me other than what works and what else works together with it. Sure, I had a big picture in mind and smaller pictures developed, but a lot of what I do is just tying together my stream of consciousness into something cohesive. Shoot first, ask later, and review and revise after. I put my emotions and feelings first before I try to make sense of them, and then stuff like #VIBRA<\/em> or Vibra\u00e7\u00e3o Comigo<\/em> becomes the end product.<\/p>\n

You seem to be on the road a lot – how does traveling or being in another country or city shape your music or sound?<\/strong><\/p>\n

It shapes everything about my craft – I wouldn\u2019t be here if I hadn\u2019t traveled as much as I have. It started even before I was making beats or producing, traveling in high school to perform in competitions across the country or backpacking during and after college, playing free or very low-paying beat sets in any bar or venue that\u2019d take me. Japan, Thailand, South Korea, the U.K., Ireland, France, Spain, Germany… they’re all places that allowed me to develop aesthetics in my music.<\/p>\n

Community is something that a lot of producers rely on – a peer group or family of people that inspires and challenges us can lead to amazing musical growth, collaborations, and projects. What does community mean for you as a music producer?<\/strong><\/p>\n

You can\u2019t survive, let alone thrive, without a community to structure yourself in. I\u2019ll admit that at times, me, myself, and I are my community and I\u2019ll be driven by my own devices, but I always end up reflecting the groups, cliques, and niches of my community at large because we always bolster each other to be better, to know more and do more. I wouldn\u2019t be where I am without Soulection, for instance, because that community provided me with more than a simple support system; they\u2019re a resource for me, my craft, and my career. I\u2019m motivated by them to step my game up every time someone on squad receives a Grammy nod or gets featured on FADER and the like, the same as when someone from squad is proud of my latest work<\/a> or feature on Splice<\/a> (for instance, haha).<\/p>\n

Lastly, can you share three tips for new and aspiring producers?<\/strong><\/p>\n

Stick with your guts, always get extra cords, cables, and adapters for your gear for when you’ll need them (you will, trust me), and don\u2019t ever get too comfortable. Better yet, replace that one with my new favorite quote by one of my favorite DJs \/ producers of all time, the magnificent DJ Jazzy Jeff, \u201cDie empty!\u201d In other words, express yourself, often and always, until you can\u2019t anymore – don\u2019t hold on to anything, leave everything on the table.<\/p>\n

Groove to the contemplative, dreamy sounds in AbJo’s \u201cChroma\u201d sample pack.<\/strong><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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