Welcome to Run Royal. This site is here to share knowledge, opinions, personal experiences and to connect with like minded heads on Hip-Hop music and it’s culture. Straight shooting the substance without bullshit in between. Think of this site as something like a fan boy talk show, with regular segments, known only here as (Know the Ledge). Our store will provide an outlet to release any product that we are directly involved or co sign with. This will come in due time.
Take a look around and get to know what will quickly become a place of priority when you want an informative and personal look into Hip-Hop and all that it encompasses.
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This Saturday night at The Workers Club, Fitzroy come party with us. Plenty of funk, soul and hip-hop for your ear to hear. Ugh!
New track we did. Taken from Realizm’s – Scribe of the Occult
Following up a solid lead from The Critical Path mixtapes, Slice Of Spice present Overworked & Underpaid, the debut album from First Division (Shylow & Expertise). Featuring beats by Marco Polo (Executive Producer), DJ Premier, Kev Brown, Jake One, The Doppelgangaz, BeatWyze and guest appearances from Prince Po, Rah Digga, Torae, Hannibal Stax and more. Peep the preview and single below and pre order via Slice of Spice.
DJ Sammy B-Side has meticulously gone through the ever growing High Focus crates and carefully pulled out a delicately balanced selection of bangers and gems from the HF arsenal for your listening pleasure. Stream or download.
Beat Butcha’s made a name for himself world wide, working with the most respected artists over the UK, US and AU. His grind, the way his music resonates with his colabs and his natural progression in production is something that’s to be respected. I threw our ’10 second sample time’ over to gain a little more about the man who’s steady ‘spreadin’ the infection’. Big ups to the Beat Butcha!
1. What was your first piece of equipment you made a full beat on and who taught/mentored you?
I mean, apart from looping my favourite beats making pause button tapes at 11 or 12, I was pretty much like most bredders. I started off with very little knowledge or skill of the craft, I’m completely self taught, it all basically started with audio editing software which my friend gave me a demo of called ‘Cool Edit ’96’.
Before I even had a crack, I’d just reinstall the software every 30 days when the trial period ran out hahaha, you know I was ‘keeping it real’ as fuck hahaha (Until someone introduced me to Mr Quistgard).
So yeah, first equipment I had was my first Desktop PC, in ’98, at 16 years old, I shared it with my Mum, it was a piece of shit, even at a late 90s standard. I had no clue what people made beats on, other than knowing vaguely about the Akai MPCs and the EMU SP-1200, which obviously I had heard people talk about on some of my favourite records.
I was already trying my hand at DJing here and there, I had one Technics 1210 at the time and a cheap mixer & I was using my Mum’s Hi-Fi record player as the second turntable. I would take my Mum’s record collection and fuck about sampling bits of French records through and aux lead out my mixer into a shitty soundblaster soundcard using a demo of Cool Edit ’96 to mix-paste sounds over each other.
I’d get drums from either open sounds on hip hop 12”s, CDs or breaks from break compilations and try and mix-paste them over bits of music. Then I’d loop the groove I had made, actually used a more evolved version of that method of making beats for years.
2. I notice you utilise live instrumentation, including the addition of an upright piano to your arsenal. Has this been a natural progression for you or have you always played keys and fucked with live/non sampled production?
It was definitely a natural progression, in the first 7 years or so (until 2005 or 06) I was completely sample based, I didn’t have any keyboards, didn’t know how to use midi. Didn’t know anything basically, I had an MPC 2000 and I was digging for samples, but was mainly using Cool Edit/Audition to sequence.
But as time goes by new things inspire you, new sounds come along and you want to learn new things, you get tired of the limitations of your equipment & skill set. One of the biggest problems I used to have were Basslines, without midi, a bass guitar or any keyboards I was really just limited to using 16 level function on the MP.
So the first synth I got was the Roland MC202, my boy DJ Kam (Beyond There/Mr Bongos) put me on to that being the machine that cats like DJ Spinna and supposedly Nottz used to get those ill bouncy sub baselines. It’s a really basic lil grey box with one sound you can shape and make do some dope shit, the keyboard is 2 octaves of square rubber buttons.
After that I bought a MicroKorg off my boy Chemo and when I got that I basically caught the bug for playing, I love the freedom it gives you in what you can do with song structure, beyond of course business implications.
Again I’m completely self taught, and 99% of the instrumentation in my music is played by me, I’m no virtuoso but I know how to get a good take. I’d say most of getting a good flavour to original tracks is in the sound design, the majority of preset sounds are meh, u need to tweak.
I’m always trying to learn about new bits of theory and technique, its fun learning new things and applying them. Also listening to a dope old joint and trying to break it down and figure out how they’ve made it, so you can apply that to whatever ur making.
I still sample here and there, but it’s pretty rare if my production is completely sampled, I’m all about those sample sounding textures though, most of my sample free material is about going for that aesthetic. Hence why I have stuff like a Farfisa Organ, Challen Upright, Juno-60, Guitars, various pedals, it’s pretty hard to recreate the feel of the instruments you hear in your favourite samples using VSTs.
The way I work these days is a stark difference to the old days, I don’t even keep much vinyl in the studio (mainly coz I don’t have much space for it).
Obviously from a business point of view, sampling has a lot of implications in terms of clearance & losing out on royalties & splits. Because of that, a lot of industry heads these days have issues with sampled beats, so it’s always good to have sample free stuff to play people.
3. What’s your current studio flow…pour up a drink/spark a spliff, find sample, loop drums, chop?
I don’t really have a standard flow, but quite often it involves either sitting behind an instrument or listening through sounds and samples and just vibing it out. Sometimes I will have a preconceived idea of what I want to make, but yeah it varies. I often spend days when I’m not feeling all that inspired making sounds & creating presets, so I got plenty of stuff to work with and so the flow is smooth when I’m building.
I do like my late night sessions with a bottle of Rum though, some of my best shit comes out of nights like that. I also really enjoy working the skeleton of an idea out with an artist into a song….
4. Name a producer or song that has changed your approach to drum programming.
There’s so many, through the eras, I think an obvious one was the Roc-a-fella Bink!/Just Blaze era. The way they were programming definitely made me completely switch my approach to drums, elaborate rolls and the use of toms and crashes.
After that era, the mid-late 2000s DJ Khalil, Hi-Tek, Jake One, & Focus had a big influence on me, kinda simplified my drums for a while because of what they were doing.
5. Incredible production but the MC let it down. Name a track or album like this.
I’m sure there’s loads but I can’t think of one off top tbh. I thought the beats on Right Said Fred’s album were banging, but the MC really let them down. Right Said Fred if you’re reading this, step ur bars up cuhz!
6. Practice, appreciation for the art and creativity are 3 things that make a good producer. How does these things translate into someone’s ‘signature sound’
For sure, I mean what you focus on in taste and in learning will translate into how you sound, I always feel like you can hear peoples influences in their signature sound. And of course practice will help you sound how you want to sound.
7. Tell us briefly about how you got to the point of securing tracks for the likes of Mobb Deep etc..Where did you catch the break?
Not really a simple answer to this question, but basically I been doing trips to the states since ’08, networking & just trying to be in the mix. There was no ‘break’, it’s all gradual…
8. You got 5k at your disposal, what are you going to buy for the stoods or would you take the nose blown and hookers route?
I’d build a shark pit in my studio or maybe an ejector seat, for when artists or a&r’s pass thru on some bullshit. If I had any left I’d get my arms replaced with grenade launchers, maybe start a charity for hip hop producers that have hooks for hands. It’s only 5k though, so mite just buy a snorkel and spend the rest on smoked mackerel pate.
9. If you had to pick it based off critical acclaim and longevity who would you pick out of Pete Rock and Large Professor and why?
I got a lot of love for both the soul brother and the live guy with glasses from Flushing, both have countless classics, but for me by a smidgen, it’s probably Pete Rock. It’s just a personal taste thing, both are legends but I just like more of Pete Rock’s catalog in total.
10. What do you see as the new trends for the ‘mass appeal’ in beat making?
Well I mean half time beats, machine gun note repeat hi hats & note bend 808 subs seem to be in every beat, or like just straight sample loop beats seem to be what everyone’s doing if they aint doing that.
Beat Butcha on Soundcloud
@beatbutcha_soi on socials
Label: Ode Records
Country: New Zealand
Local funk groups come few and far between up here in the Sunshine State. So when I heard of a new outfit making the transition from stage to wax I was immediately excited..
The Francis Wolves are a seven piece instrumental band from Brisbane, Australia. The self-described heavy soul and rare groove merchants play music influenced by soul, late 60s funk, jazz, afrobeat and garage psych. The players are; Dave Kemp, Drums, Brian L’Huillier, Bass, Jason Elliot, Guitar, Kellee Green, Organ, Rohan Hardy, Baritone Saxophone, Andrew Butt, Tenor Saxophone, and Michael Rogers, Trumpet. Forming their very own ‘Garage Afro Soul’.
Their debut 7 inch release “Deep In The Ju Ju” / “Valley Heat” is now available to preorder via PledgeMusic. With only 100 pieces pressed and the pledge at 96% complete you better be quick if you want to scoop up a copy. Follow them on Facebook for upcoming shows/more release info and peep the heat below!
I though you dudes would have used the intro!?! All the same, great use of the break and similar parts in the sample. I’ll have see if I can dig through the archives and see what I did with sample a few years back. Always good to see another producers approach.
Thanks again to Servo, Realizm and everyone who polled this round. Appreciate it
Round 9 samples will be going out in the next week.
This month I though id switch it up a little and give the producers a drum break to level things out and see if you can still pick the programming over the sound. I might continue this for future rounds.
Only rules were that both producers had to use the drum break and of course the sample. I’ve picked up a couple of Al Di Meola’s albums over this years, a real mash of Jazz and latin flamenco type shit. Plenty of tempo and signature changes and some experimental stuff throughout, no real reason behind the dig this month other than it being in close reach. I hit up Realizm from Adelaide and local legend, Servo to do their thing. Thanks fellas, you both kilt that shit!
Have a guess below who mad which beat..I’ll reveal the producers at the end of next week.
Queensland representative Dj and producer STRICKNINE has been gettin’itin both locally and internationally. Expect to see a heap of hot new joints releasing in the near future. Right now he’s in New York City filming a video with Queensbridge OG BLAQ POET and putting the final touches on his album with TRAGEDY KHADAFI. Check the write up and track below ‘MODERN DAY GANGSTA’.
Modern Day Gangsta is a verbal threat, a written retaliation to the current state of corruption riddling broad levels of our systems of authority. This wake up call to the passive, launches with TRAGEDY KHADAFI drawing comparison between political domination and ruling in the streets, with the lyrical finesse of a veteran steeped in 30 years of Queensbridge history. KRS-ONE returns as “The Teacha”, educating us on the infiltration of corporate America by gangster tacticians. A.G. (DITC) characterizes one of the numerous victims of police murder with a sombre hostility that draws a firm line in the pavement.
Three of Hip Hop’s luminaries combine over baneful strings delivered in a landscape of energy by producer STRICKNINE (MF Grimm, Thirstin Howl, Blaq Poet) to re-establish a message that is more relevant now than ever before: “I think it’s time we all stand up”.
You’ve probably heard a slew of 90’s NY based rappers over this instro but i myself never knew it was the official Rainy Dayz remix from 96. credited to Mr. Dalvin with coproduction, programming and mixing handled by Diamond D.
Rae and Ghost spit hot bars over Diamond and Dalvin’s masterful use of Harold Melvin & The Bluenotes, You Know How To Make Me Feel So Good.
Well worth revisiting or hearing for the first time!
This one came through the inbox last week. Aside from Calski, I haven’t heard much from any of the MCs to be honest. Impressive stuff. Nice beat with some solid bars and an overall well mastered sound. Looking forward to hearing some more from these guys.
P-Smurf, Master Wolf and Nix spit fire over Calski’s beat, questioning everything on false reality TV and reflecting the general discontent with mainstream media. Nothing is safe.
The legend Chill Rob is back with a new E.P entitled “Chilled Not Frozen” and here is the 1st single featuring R.A. in top notch form. Loving everything about this. The clip is a straight to camera piece, but when you have 2 M.C’s firing like this, keep it simple stupid. Straight up heat!!!!! Get at the release here…. http://www.nobodybuysrecords.bigcartel.com which by the way is a dope site with some crazy releases from Phill Most Chill, A.G. plus more…. Enjoy!
I though id share a little review blurb written by some hip, young upstart, of a show we tore down some 10 years ago. I think from the jump we were out to make the promoters night a cunt. Beside the fact the ticket prices were a steep $20, it was a poor choice of venue to hold a DMC event in the first place..The spot was a well know techno super club. Turns out half the club was shut and all the bedroom DJs and support acts were arse holed to the basement level to pay excessive drink prices and harassed by overweight bouncers.The Thursday night and loss of the sponsorship (if memory severs correct) didn’t help either. In standard fashion we drunk everyone’s rider, demanded more rider as ours was drunk by some ‘other cunts’, stormed the stage and proceeded to invite anyone and everyone to the stage to fuck it up with us. It will go down as one of the most memorable 750 shows, for me.
Here’s her reports…
750 Rebels performed prior to the announcement of winners. They were impressive in the sense that they were a big group of guys rapping in sync on a swamped stage. How the crowd managed to get up there, stay there and whether 750 Rebels were happy with this development remains an unsolved mystery. Not much else about 750 Rebels impressed me. The crowd on the stage were obviously having a GREAT time and the ones on the ground were moved to shuffle a bit (the most active I saw them all night). Either the music was better, or the Tooheys New was finally kicking in. By the end of the set, which seemed interminable, the room was fairly empty.
I really enjoyed and miss the old DMC battles in the early-mid 2000s. The fact, the DJ had to put a decent amount of forethough into their routine, covering the right selection of music, what parts to play and when was/is an art in itself. What records they were diggin, borrowing or stealing and playing on the night to get an original concept across to get the crowd Gd up was a big thing for me as I’ve never really learnt the technical shit on the decks other than blends. Some kid could use his fucking elbow to scratch a record but if that shit sounded wak it sounded wak but I could always appreciate and see the merit for some of the tricks and showmanship involved with some of it.
Big up to the DJ’s out there putting out live mixes and doing their thing still.