Production Specs: The ARE

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THE_ARE_CoverThe ARE, al secolo Russell Gonzalez, è un produttore di Houston che ha iniziato la carriera nel gruppo K-Otix nel 1992, dopo una sorta di “apprendistato” con DJ Premier. Dopo lo scioglimento dei K-Otix, avvenuto ad inizio Anni Duemila, The ARE ha iniziato ha iniziato a produre per il giro underground statunitense, lavorando con nomi come Lone Catalysts, Punch e Words, Phife, Dave dei De La Soul, Masta Ace, Kay, Headkrack, MED, Zion I, e tanti altri ancora.
Capace di essere estremamente versatile e pulitissimo nei suoni quando necessario, The ARE per un periodo è stato uno dei membri dei celebri Trackmasters, e ha fatto la transizione nel giro mainstream, arrivando a produrre artisti del calibro di Keyshia Cole, Nicki Minaj, Lil’ Kim e LL Cool J.
È spesso giudice delle beat battle sponsorizzate dalla Red Bull e di solito fa il DJ nei locali più famosi di Houston, dove continua tutt’ora a vivere.


First commercial beat sold/placed: Keyshia Cole – Where This Love Could End Up. Before that I did the Lil Kim – Chillin’ Tonight song but she was doing the indy thing at that time.

How long did it take you to produce something that you were proud of: It varies, sometimes thinks fall right into place and the song is done. I’ve always like simplicity so things can happen pretty quick.

Favourite production set-up: I still use gear. My favorite is the ASR-10. I’ve used this since the beginning. Over the past few years I’ve incorporated plug-ins, Sample Tank and Native Instruments but usually that comes after I’ve gone from the ASR to Protools. This helps me make the track a little bigger.

Best digging advice from someone ever: Don’t dismiss some of the less obvious records out there. A good producer can make a beat out of anything.

Producer, in the last 3 months, that made you say: “Oh, shit, I have to go back to the lab!”: There’s a lot but Dilla still does that to me from time to time. It’s more about inspiration from these producers.

Your worst production mistake ever made: Not keeping a tighter grip on my production and then finding out someone added things to the song after it was released.

One essential mixing tip: DRUMS!! Always make the drums knock!



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