![]() It allows a level of expressiveness and touch that brings depth to the music. The machine is a cult piece of gear among producers and beat makers. They aren’t played live on a drum set, but rather tapped out on the “pads” or hyper responsive controls of the MPC, an instrument that allows the loading, triggering, and composition of beats, bass lines, and other elements. What truly stands out is how expressive and nuanced the drums are. Like, if a song is in a certain key, and I overdub a string bit, I have to manipulate the pitch control on the turntable until it works. And any other things you hear were done straight off the turntable, pitched in. It all went straight from turntable to the MPC to tape. But all the record was 100% sample – or vinyl-based. There are lots of overdubs on the album, as well. I never had the luxury of taking extended samples. ![]() When asked about his approach to making the whole album on essentially just turntables and an Akai MPC-60 MKII sequencer-sampler, here’s what Shadow said in a 1997 interview : What I love about it is the simplicity of production combined with painstaking sourcing, editing, and composing. The debut did very well initially in the UK and slowly permeated the US market, now standing as a classic of its time. It is a moody masterpiece from 1996, comprised from long-forgotten breaks and samples. One of my favorite albums of all time is DJ Shadow’s Endtroducing.
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