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So I did all of my first demos, just me having fun, on this bootleg dual cassette boom box. And because it had a dual cassette deck you could then take that and record it into the other one and use the external mic over it. I got really good at it and people would have me do little blends and mix tapes for them. I would just take rap records that I liked and just loop the beat by pressing pause and record and make like five minutes of these beats. I think a lot of people started like that because it was all I had. I had a boom box with a dual cassette deck and a mic so I used to make pause tapes. I probably started trying to make beats at around 12. How did you get into making beats? I discovered it early because I wanted to rap.
SETUP A KEYBOARD AND MICROPHONE WITH FRUITY LOOPS 12 FULL
Music, a full length collaboration with Killer Mike, set to drop tomorrow and his own long awaited third solo album, Cancer4Cure, hitting shelves the following Tuesday. El's discography is about to swell considerably in the coming weeks, with R.A.P. In the '90s he redefined New York's rap underground as a member of the pioneering crew Company Flow and then did it again in launching the seminal (and since-retired) Definitive Jux imprint at the turn of the century.
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This week we talk to El-P, a producer whose resume runs deep. Every other week, with Beat Construction, an extension of our column in the magazine, we aim to illuminate the role producers are playing in creating some of our favorite music. The producer is one of the most crucial yet anonymous figures in all of music.