On July 30,
will be releasing the latest installment of
, an exclusive EP series in which three hand-picked producers will put their own spin on a record by a reader-approved artist. Number two in the series will be based around "
-produced cut off underground icon
EP. In anticipation of the project's arrival, we're making sure each of the participating beatsmiths has been properly introduced to our readership with a series of
exclusive producer profiles
In the second of three profiles, we chop it up with
, the Los Angeles beat crew behind such Booth-approved cuts as "
" and "
The Sleepwalkers (Matt Bang, Stephen Breuhaus, James Guffey, Matt Kipper)
Our combined production experience has more years than the average human life, but we've been producing together as The Sleepwalkers since '07.
What tools and/or production software do you use?
MPC 1000, MPC 2500, MPC 3000, SP1200, live guitar & bass, MicroKorg, Roland Juno, Yamaha Motif, Roland Fantom rack, etc. We've been known to bang on random objects with sticks for drum samples. Being that we're pretty much all recording engineers, we mainly write/record in Pro Tools with a f**kton of virtual instruments (although we also dabble in Logic).
Head phones or monitors?
Both, but more importantly: car stereos.
What production work are you most proud thus far of in your career?
The track we produced on Wale's debut album (
, ft. Marsha Ambrosius) was an incredible experience all around. Couldn't be happier about our biggest placement to date being that honest/emotional of a song, not to mention how dope it is sonically. We also recorded a live acoustic interpretation of the song with a violin, upright bass, acoustic guitar and harp after the fact. That was the coolest recording session ever.
Describe the process by which you "Re-Produced" Tech N9ne's "Blur" record.
We actually produced about four different versions before running with this one. The first version was real synth heavy and a little too predictable so we ended up ditching the synths and rebuilding around the drums. Once we plugged in Stephen's guitar everything just fell into place. We tried to match the energy of the vocals which is why the verses are fast and furious and the hook is so mellow/dreamy. The transition from hook to verse is like being woken up abruptly from a nice drunken slumber in a house that you don't recognize. Needless to say, we can relate to this song.
What should readers expect from you in the coming months?
We placed a track on Big Remo's
album, which you can cop on iTunes or
. We're also in the process of finishing up a video for
(with Paul Wall, Skeme & Omar Cruz) off of the
LP so definitely keep an eye out for that.