Trackmasters Tell All: The Stories Behind Their Classic Records (Part 2)

Foxy Brown f/ Blackstreet "Get Me Home" (1996)

Album: Ill Na Na
Label: Def Jam

Poke: “That’s a good story. We came up with the idea to use the sample. We needed somebody hot on the record so we chose Blackstreet.”

Tone: “This is obviously prior to her album coming out, so they were really into Fox. We always tried to make event records, tried to make the record so it’s a pin in time so everybody is like, ‘Yo that time was crazy.’”

Poke:“We went down to Virginia to get the vocals from Blackstreet in Teddy Riley’s studio. He knocked the vocals out no problem, it was one day vocals. But when we were ready to mix and finish it, Teddy Riley put a veto on it. He said ‘No, it can’t come out cause it doesn’t sound right.’ [By that he meant,] sound right to him.

 

If you walk into the studio and we play a track on the big speakers it’s hot because it’s loud. But if you turn it down, it’s not that great. What we do is we mix. We get truer sound with little beat up speakers. When you listen to those speakers, that’s basically what [regular fans] have in their car. - Tone

 

“So we had to go back down to Virginia to mix the record over with Teddy Riley. If you listen to the record, it actually sounds like a Teddy Riley record because it’s his mix, his high hat. He didn’t change any of the sounds but he just mixed it, it was in his element.

“We played a backseat to him when he was mixing. The only thing I wouldn’t allow him to do was the drops cause I was like, the mutes on the records is something I always did. But he had an old beat up board and I couldn’t do it on his board so I had to tell him where I wanted the drops. But that was a great experience.

“I remember the feeling of being in the studio with Teddy. He mixes on big speakers, not small speakers. We put it on small speakers to get the true sound. His true sound came from his speakers uptop. I thought that was interesting.”

Tone: “That’s why a lot of records sound horrible. If you walk into the studio and we play a track on the big speakers it’s hot because it’s fucking loud. But if you turn it down and allow yourself to hear everything that’s going on, it’s not that great.

“What we do is we mix. We party to the big speakers but we get true sound with the small speakers. And we get even truer sound with the little beat up speakers. So when you listen to those speakers, that’s basically what [regular fans] have in their car and that’s what we listen to for the end result.

“After a while, over the years of producing, I stopped changing the system in my car. I used to put these big ass speakers in but I stopped doing that. I just use the factory system. When I get my CD, I just put it in the factory system so I can hear exactly what the customers gonna hear.”

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