#8 checkmalab_EP.2

WASSSSSSSUUUUUP PEEEEOPLE!

Comin’ thru with EP.2 of #checkmalab

feat. SK 12!

As Woody, SK is located in my hometown

47 aka Kleve, Germany and it’s always

a pleasure to hang out there.

SK 12 forms itself together from his

forename Sascha and his surname or

hometown (Kleve) and the 12 (referring to the famous SP12 which was

released in 1986 by E-mu Systems and

shaped the whole sound of an era)

indicates his love for vintage samplers,

audio gear, vinyl and early 90s hip-hop

production.

His lab is as limited to the bare

essentials of that golden sound as

his way of producing.

SK uses a 16 voices polyphony MPC60

(designed by Roger Linn and released

in 1988 by Akai) drum machine in

midi combo with the perfect match –

one of THE 12bit monsters –

the S900 (released in 1986).

Besides that he channels the outs

to a Yamaha 1202 for mixing and

finishes it straightaway thru a

Delta 1010 lt audio interface with

Soundforge/Cubase.

Ever since ’97 he’s in the game,

fell in love with the beats and

sound of this continuously

evolving thing called hip-hop.

The core elements of hip-hop in

its divine form encouraged him

to choose his field –

the art of beat making.

With a couple lil breaks, but

constantly learning more and

more about many different music

genres, digging thru breaks and

finding more obscure and rare vinyl,

he gained a knowledge of music like

I’ve never experienced from no other.

As a real vinyl/diggin/hip-hop virtuoso

one thing is clear – SK got always

something to tell when it comes to

any vinyl used in the early ages

of hip-hop.

His biggest influence is DJ Premier

(one half of the famous group

Gang Starr formed in 1986) who’s

also responsible for his weapon

of choice.

Besides Premo also Jay Dee, Madlib,

Beatnuts, Pete Rock, Kool Moe Dee,

D.I.T.C.,.. you kno’ THE names.

INTERVIEW

SK, how do you usually start and

what’s your procedure?

‘I usually start with the main

sample first, then get some drums

and sample both bit for bit into the sampler.

Later on I record some seq’s and

make a rough draft and start

adding samples and more sequencing

and arranging to make it a whole.’

Where are you heading to and how

would you define your mind set?

‘Always curious finding the next

sample to spark my inspiration.’

What’s your personal favourite work?

‘Can’t pick any favourites and

99% of my beats are unreleased

anyway.. so, nobody would know wtf

I’m talking about anyways :D’

Unfortunately, he’s very reserved

with releasing his work, but you

can hear a couple on our Soundcloud

and if you didn’t know by now –

SK directed the whole JJR005 project.

Check this out: https://jindujunrec.bandcamp.com/album/rien-ne-va-plus-rhythm-roulette-ep

His way of creating comes down to the essence of sampling – exploitation.

Takin a tit bit out of something and develop it into a whole new context.

To get to the point – he really, really attaches importance to keep it as simple as it is and ever had been.

Keeping it as raw as it gets and staying true to the culture and its roots and continuing on to carry the legacy.

Since he’s an ‘ol’ cat’ in the biz of self-realization in sound and like to keep the process in the machine, it’s rare to hear any effects (expect some mastering and the use of a virtual limiter/compressor) in his works.

What does JINDUJUN mean to you?

‘To me it’s like a beat making family and we like to cook it up all together once in a while.’

Do you have some knowledge to share when it comes to the art of making beats?

‘Keep on digging & exploring music. Look for the classic breaks, but at the same time try to find that unknown killer break on a cheesy organ LP or a children church choir record.

Don’t get too fancy with the gear. Find the right tools for you to work with and stick to it.´

WORD UP!