You arrived yesterday from Toronto!
I arrived yesterday yes,
I finished the tour last week.
We actually toured in the United States and Europe
with Madjid Jordan, I don't know if you know them,
they're two guys from Toronto, I met them there.
They asked me to come and open their world tour,
and I arrived yesterday from Toronto.
I propose, if you agree, that you return virtually where you were two days ago.
Ok !
It's a bit like your office in a way!
No, well, most of the time when I go to Toronto
I work in this studio, and it's an honour for me,
because when I started I made music in my room,
and I moved from my room to this studio.
It's truly amazing that I had the opportunity to work in this studio.
For those who wouldn't know him, on the screen we can see 40,
Drake's producer,
we can say, one of the biggest producers in the world.
Yes, he's one of the biggest producers of the last decade.
He started with Drake actually,
they're very close.
He made "Take Care" with him, and lots of albums
and they keep working together today.
Can you tell us exactly how you met 40?
How did it happen?
At first, it happened on internet.
I didn't produce Hip Hop beats at all,
but electronic music.
I listened to Drake's album "Nothing Was The Same", released in 2013,
and it immediately caught my ears, I don't know why in fact, melodically it was ...
In some pieces you could find three different tracks in the same one,
And I really liked that.
I started a small project, in my room,
where I imagined Drake on,
in this same kind of atmosphere and sounds.
By the time I made this project,
I received a message from 40 on Twitter.
So at first...
I jumped all over my room!
But I didn't think for a second: "That's it, I'm going to Toronto …"
I just thought: "It's cool that he likes what I'm doing
and I'll continue to send him some stuff."
That's what I did, I kept on and sent him some projects,
and he sent me a message two months later.
He told me: "I'd like you to come to Toronto."
They were working on "Views" at the time,
and he asked me to help him finish this project.
That's it! And then we pursued our collaboration,
and I've been living there for three years now.
Thanks !
I suggest we watch a second extract.
In France, your name appears in the credits of Lomepal,
but also Nekfeu.
How do you manage to put all that together?
In fact, for me there's no real difference between
collaborating with Americans or Canadians, or French people.
Basically, with Lomepal we had a good chemistry.
I started sending him some tracks,
he came to my parent's home,
It was even before I left for Toronto.
It's very organic.
When I work with someone, it's not a plan at all.
We met, we understood each other,
he likes what I do and vice versa,
so let's go!
I don't care where people come from, or their fame.
I just want to make music.
That's how I worked with them.
Same thing with Nekfeu.
He followed me on Twitter and asked me for instrumentals.
Then we met, and we got on very well, that's it!
Awesome. Third extract!
This is the one track that helped make your artist name Stwo known around the world.
Yes
So, what's the difference between this track and those you created for others?
I really have two personalities,
I guess I am schizophrenic!
There's a part of me who produces for people,
and there's another one for my own music.
When I have no inspiration to produce for people
I develop my own projects,
and vice versa.
This is what I do to always have fun and not get bored,
it's my way of remaining inspired.
And in fact, "Lovin U" is just a track that I made
without thinking of inviting this or that rapper on it.
I made the track, sampled some voices
and uploaded it on Soundcloud at the time, it was in 2013.
This is how I started having my own tours,
some people wanted to see me play my music in clubs.
And I've been told then:
"Do you know you can make music for other guys,
they can kick on it and everything! "
That's when I started creating some projects for Drake,
and it worked out of the box ...
It's really not calculated,
I can't even explain to you,
I really don't have any plan!
I know there's a lot of people who say: "You have a vision."
I have no vision, I work day to day!
I wake up, I make a beat,
sometimes I don't make any music for two weeks...
I think that's why it works,
because it's not a strategy!
Precisely, in terms of creation,
when I called you and I asked you:
"Could you send me a picture of your studio?"
There you answered me:
"No, because my studio is wherever I happen to be,
with my laptop and my Maschine, and that's it."
All I need is a room,
with no distraction,
just a keyboard, a computer and Maschine.
Starting from there, I can make music anywhere.
You can feel this in my music by the way,
it's not complicated at all,
it's very simple,
you'll see, I'll show you!
I really believe this is what's the most interesting,
working with as few things as possible and make it work!
Precisely, what if we set up your studio,
if You set up your studio tonight, at La Place?
Yes, I can try and show you!
I thought, while I'm at it, I'm going to show you something Hip Hop or RnB.
Let me show you the last track I released.
It's a track featuring Jeremih, I don't know if you know him,
he's an American RnB singer.
I've always been a fan of Jeremih
and I was lucky enough to collaborate with him on this track.
I'm gonna show you how I made the instrumental.
I work on Logic.
I use Maschine a lot,
but always in Logic.
What I usually do,
I open the interface and I build my patterns.
I don't know why, but in this track,
I made the whole session in line in Maschine.
So I don't even have an audio track of Maschine,
everything is directly played up to the end of the track.
But maybe I'll play it before talking about it.
So basically, as you can see,
there's a lot of space,
I never try to scare the person who's going to sing.
Basically for me, the more space in the piece,
the more the rapper or the singer will be able to project himself.
It's true that, asproducers, sometimes
we can't help but put a lot of elements because we want to impress people.
When in fact for the rapper, the less there is the better.
They're scared when there are lots of drums, lots of synths,
they wonder: "How can I deal with this, I have no more space..."
Hence, I really try to clean up my tracks
and remain as simple as possible.
This way, as soon as I play the track, they can hear melodies right away,
and they're totally free to do what they like on it.
So, here's the session.
The synths I used in this track come from Omnisphere.
Regarding the VST,
for my bass, I use only two, Reaktor and Razor.
I use the one called "Punch in the Balls",
and this one, too, "Under the Top".
Basically, "Punch in the Balls" is my 808.
I'm not keen on using ready-made 808 sounds,
I don't know why, I never managed to use them.
That's why I made my own 808,
but it's really stylish,
we can change the drive easily.
Regarding "Under the Top", it's more of a sub in fact,
for the breakdowns, the moments when you really need
a bass throughout the track.
I don't add any compressors or anything,
I like its original sound.
I play a little bit with the cut off or things like that,
but for the most part I use it as it is.
There's a bass, a synth, and then I added lots of drums.
I also had to mix the vocals for this track.
Even if we think we're producers and all we have to do is creating the beat,
for me it was a great experience to spend whole nights
to try and mix voices, because it's something I never did before.
Now I feel more comfortable
to work with singers.
So just take, for fun, an a cappella on internet,
which is completely dry, where there's nothing on it,
and try to make it the most listenable as possible.
I often challenge myself like that,
it's geeky stuff, but I go on Youtube and say to myself:
"So, how can I make a voice sound the best possible",
even if I do not need it for my project.
I learned almost everything I do on Youtube, for real.
You tap "tutorial no matter what" and it's great.
They explain everything.
That's how I learned most of what I know,
and I experiment a lot, too.
The second project I wanted to show you is slighlty different.
I made this track at home in Toronto, so not at all in a studio.
It's a 14-minute piece, where the bpm changes all the time,
but using only the same sounds,
and it delivers a lot of different atmospheres.
It was super exciting, and I put it on my Soundcloud.
As you can see, the session is huge.
In this part, there's one track I did in "Sketches",
for Native Instruments.
If you have a drought of inspiration, or are looking for new things,
challenge yourself a bit like:
"I'm gonna create a 15-minutes track " or ..
It's just a kind of training, that's what I do, personally.
And I think that's why I keep loving it, remain motivated,
it's because I challenge myself
instead of doing the same things all the time.
If you make only Hip-Hop beats for example, come home tomorrow
and make a piece of Electro or Dubstep or something else.
It's all about pushing all the time motivation and inspiration
to explore new things.
And again, if you're looking for some pianos,
there's the Una Corda libray, there are plenty of pianos and it's super cool.
And for the bass,
there are plenty of great sounds on Razor that you can use.
These two are really my go-to,
I use them all the time.
Same, I make all my drums on Maschine,
and the day I understood that thing ...
I guess you all know it,
but I told it to a guy who didn't it and it changed his life,
so I'll tell you.
Basically, let's say you're making your drums pattern,
just move it to your daw,
and it's turned straight into .wav format.
It's really fast!
It provides you directly a .wav file,
I mean, an audio file.
In one click, and it's done in two seconds.
It changed my life and since then, I do it all the time.
Something else. Here, if you select just one sound,
you don't want to export everything,
shift into piano mode, and export that moment. And as you can see, only the kick is taken into account.
It's just small things but ..
Knowing these little tricks changed everything for me.
That's it, thank you very much!
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