Tone the BackBone
It's funny, for me, music is like an older sibling. It's just always been there. Everyone in my family plays or sings and pianos weren't just furniture. In fact, my uncle had this really nice fender rhodes that he used in his band. I'd sneak in his room and play it while he was at work, always forgetting to turn the knobs back to the way he'd left them. Who would have known that many years later that that same rhodes would live again, on millions of records that I produced.
My Mom's a physician, and I naturally wanted to make her proud by following in the family footsteps. I was a bio major in school, did internships in plastic surgery at Harlem Hospital, and even taught biology to Jr High students during the summer at Downstate Medical School. There was only one problem, my older sibling, you know... that music thing. It just kept haunting me to the point that I was going to school and writing songs in the music lab for hours. This wouldn't have been so bad, if I had gone to class too. Okay, so now I'm definitely there, facing life's proverbial crossroad. I went home, confessed to Dr. Mom that med school wasn't for me, and began my most difficult and rewarding journey.
Now what? It dawned on me that I knew nothing about how records were made. So, I went to the best recording studio in Queens called "Power Play". All the biggest rap and house artists cut albums there, at the time. I lied to the manager and told him that I was in audio engineering school. I had some friends who really were, so I threw in their professors' names for added effect. He bought it, and I was in. I now had the privilege of mopping, sweeping, going to the store for artists, and not to mention cleaning toilets. In return for this I received the generous
sum of... nothing!
Most of the time not even a thank you crossed my path. It didn't matter, cause knowledge was what i was after. I read every manual I could get my hands on and watched everything. I'd empty the trash in the control rooms as slooooowly and often as possible, just to get a glimpse of the magic. The nightshift had it's benefits though. When the clients were done, the studio was mine. After a few months knob turning and speaker blowing, it was time for the next chapter.
I left Power Play, got two jobs and started saving for equipment. After getting a few pieces, I combined equipment with my man Todd, and we opened "DuKey Recordings" in the basement of his mom's house. It was there that I really started to learn the art of production. All the local talent came our way, and we soon had a rep for low cost quality work. After my Power Play training, I was fairly knowledgeable in the studio, so whenever there was a problem in a session, they got me. So, one day someone called me "Big Tone The BackBone", and the
name just kinda stuck.
Even though DuKey was a home based business, it's talent pool was deep. One of our clients "Da KnucleHeadz" signed a deal with Epic, and Todd and I did the remix for their first single "BootLeggaz". Now I was starting to learn the industry. Da KnuckleHeadz manager Brian, went on later to sign Lil' Jon and the East Side Boys to TVT. Now I was getting connects. We often had guest stars in the studio like Large Professor, Onyx, and Da BeatMinerz . But just when it seemed like everything was going so well, Todd's parents became ill and we had to close DuKey. On to the next chapter.
I went on tour with KRS One and Mad Lion for awhile to earn some cash. I was like the driver, slash security, slash roadie, slash whatever he needed me to be guy. Now I was learning the art of putting on a show. When we got back, I went all over NYC selling mixtapes to stores on consignment. Now I was meeting DJs and learning distribution. I bumped into DJ Evil Dee from Black Moon at one store, and he asked me to sell some of his tapes. Evil Dee was also a member of Da BeatMinerz, the production team which did the Black Moon albums. I took his
tapes to a graffiti artist who designed crazy covers for each one, and started moving them. I always made sure to come correct with the money, and eventually I was asked to go on tour with Evil.
After touring with KRS, I was fairly knowledgeable about setting up shows. Evil liked how I handled things our first few times out, and asked me to be his road manager. I saw the world on these tours and learned about so many different cultures, all united by a love for music.
Da BeatMinerz were hired to do a remix for which no sample could be used. They knew I played a few instruments and asked if I could recreate the sample. I did of course, and this led to them incorporating my production skills on many of their records. I earned my first Platinum Plaque for the "Return of the Mack" remix we did for Mark Morrison.
Evil also had a radio show on NY's WQHT HOT 97. Now I met ALL the top artists and learned the politics of radio. I did a remix for Universal that wound up becoming a Reebok radio
commercial. Now people in the industry saw me as a producer, not just Evil's road manager. During my time with Da BeatMinerz I learned the art of sampling. They had mastered it. Their record collection is ridiculous, yet completely organized. There's a true respect for an artist's work and music that must be maintained when you sample. They instilled that in me for sure.
I went on to produce the single "Next Lifetime" on Erykah Badu's first album, which sold over 4 million copies. This was also my first #1 song on BillBoard's Hot R&B Chart. I then produced the "Bag Lady" single for her second offering, which also hit #1 on BillBoard. This led to a remix for Jessica Simpson featuring Natina from Blaque for "A Lil Bit", a remix for Kelly Rowland's "Stole", and "Miss Wonderful" for Chico DeBarge. Over the years I've been fortunate enough to work with Joe, Lil Mo, D'Angelo and so many other talented artists and musicians. I've been blessed on my musical path so to give back, I also teach a Music Production Class to High School kids. I tell them that if they show up and pay attention, I'll teach them everything I know and won't make them clean my toilet.
Technology has always influenced art. Just look at what computers have enabled filmmakers to create. When I think back to the first few pieces of equipment that I scratched and saved for, and paid so much for, I have to laugh. It was kinda like doing surgery with sharpened stones. You really had to work hard, and find yourself in a professional studio to make commercial quality recordings. With the stuff available now, that couldn't be farther from the truth. And with the products that You guys at Open Labs are cranking out, all limits have been lifted. It places music back into a creative space, solely based on imagination. This is as it should be.
Artist Q&A:
1.) How did you first hear about Open Labs?
I initially heard of OL in an issue of Scratch Magazine.
2.) What Production Station do you have?
So far I’m the proud owner of a Timbaland Special Edition NeKo, and a MiKo LXD. The DBeat is looking kind of good as a travel option though!
3.) How has the gear changed your method of work?
I can now compose within the software domain, as opposed to only mixing in it. It’s an incredible time saver in an industry where everything is needed “Yesterday”.
4.) What is your production station's primary function, live or studio?
I’m first and foremost a producer, so the studio is where they conjure up their spells.
5.) What is your favorite software on the board?
I don’t know if it’s my favorite, but the software I use most often is Pro Tools. It’s an industry standard, so being adept with it makes you universally compatible. I do enjoy the open architecture of Reaper 3 though.
6.) How do you use it?
I compose and mix with Pro Tools at this point, since the midi implementation has been enhanced. With my OL gear I can run as many virtual instruments as I need.
7.) Which kind of equipment have you owned in the past and how do they compare to your Open Labs equipment?
I have to admit that I’m so truly blessed. I own all the MPC’s (except the 60 & 5000), an SP 1200, a couple of ASR 10s, a ton of Roland gear, keyboards from ceiling to floor, a Rhodes, a Wurlie, a couple of Organs, a few Guitars, Basses, a Drum Kit, etc, etc. I crossed over into the realm of “Collector” years ago.lol All of these pieces are really good at specialized functions. OL gear is like an all inclusive Magic Multi-Tool.
8.) Has the gear changed the way you write songs?
Okay where do I begin? ha-ha I’m producing with a total sense of artistic freedom right now. I liken the creative process of song writing to walking down a long hallway with many doors. OL has provided me with the keys to open any of them. I can explore without being concerned with processing power, file size or any of the other “techie” issues that tend to get in the way.
9.) How different is the composition process compared to the standard computer or laptop system?
First of all everything is in one central box. With discrete units, you need to deal with many different manufacturers to resolve an issue. With OL, its one phone call and you’re good.
10.) Do you think the quality of your production now would be possible with another keyboard?
No, definitely not. Mainly because I wouldn’t even attempt to do the things that I now do inherently. I’m over the top with every track now.
11.) Have you had any experience with our Tech Support and how does it rate with you?
Yes. Mike and the guys are very knowledgeable great to work with as well. They had me up to speed in no time.
12.) What is next for you and your Production Station?
Mars. I hear the housing market is great there. No seriously, my goal is to leave a strong, well received and respected catalog of songs, which my descendents will be proud of. You know, my kids are already arguing over who will get my OL gear when I’m gone. Do they know something I don’t?
Equipment used:
Purchased Timbaland NeKo & MiKo LXD
Artist Link:
http://www.myspace.com/tonethebackbonemusic