Che Pope Interview (AFTERMATH/GOOD MUSIC ALUMNI) Part 5

[D-Nice]

http://www.illuminati2g.com/untouchable/2021/02/che-pope-interview-aftermath-good-music-alumni-part-5/

Today, we sit with legendary producer and music mogul Che Pope for Part 5 and conclusion of our exclusive interview. Che has worked with the likes of Kanye West, Pusha T, Dr. Dre, The Game, and many many more. He is internationally known and has twenty plus years in the music industry. He is a veteran and it was our pleasure to sit down with him for our multi-part interview. Here is part four. Remember to stay tuned to Illuminati2G for all your latest music news…enjoy. To check out part 4, click on the link below:

http://www.illuminati2g.com/untouchable/2020/11/che-pope-interview-aftermath-good-music-alumni-part-4/

Q.) You met Lord Finesse, Showbiz, Buckwild, and Bob Gibson which you said got you into crate digging? Can you tell us more about how you met and the experiences with them?

Some details and stories are best left untold but simple version is I met Show and Buck and Finesse both in NYC and VA — as far as experiences — everything — studio, record digging, hanging out, show — showing me around the Bronx, etc

Q.) What is the most unknown/obscure sample that you’ve found use for?

Prolly one to the samples on Yeezus from Hungary

Q.) What all gear do you use to produce records?

Wayyyyy too much to list — but my main Daw is logic

Q.) You’re a perfectionist. Let’s say you’re not using live instruments and you’re co-producing. If you feel let’s say a drum pattern they were using is weak or a sound’s not right on an instrument, how do you address correcting it?

I’m known for being direct and straightforward so thats easy I say it or I fix it myself

Q.) If you were stuck with one program’s stock sounds, never happens, but if you were, what program would you use?

Since I use Logic mostly I would say Logic — Live also has good sounds

Q.) How did Teddy Riley help mode you into a song maker/orhcestrator from a producer?

Simple he really taught me the difference between a song and a beat as well as technology — he was an early user of logic (might have actually been notator then) and to use his setup which was extensive you had to learn it

Q.) You spoke earlier on other interview with you about working with Teddy Riley. When you would get advice from him like what to use on a compressor, what to use on vocals, what to use on guitar, etc., what was the most helpful tool that he pointed out to you that you would later go on to use in the studio?

I learned compressor and such more from engineers — warren Riker, bob power, studying Dre refer to previous questions regarding Teddy lessons

Q.) When did somewhat/mostly/everything ***(You pick this one, Che. Lol.)*** that was analog become digital to you in your studio and which sound do you prefer?

Not sure I understand the question but we live in a modern world but I love the sound of analog and vinyl and records from 60s and 70s – so def use a mix of both and manipulate clean sounds with saturation and such

Q.) You said you don’t use Protools minus to cut vocals in an interview with Ask Audio. What do you prefer to use it for if anything?

I am going to excluding use LUNA for audio starting in the near future – I love it for audio

Q.) Tell us about your Apollo enthusiasm.

I was an Apollo fan boi before I started endorsing them — I had bought tons of Apollo gear and loved it — sound wise and the plug ins — I no longer use any waves plugs (which are really good too)

Q.) In the studio, you use the Maschine but you also use the MPC 3000, MPC Live,  Elektron Analog rhythm, Digitak, and Roland TR 808. What do you find yourself using the most besides the Maschine and what is the easiest for you to use?

I use the MPC live and Drum Machine Designer in Logic and Fl Studio for drums mostly — everything else is just when I’m a different mood but the 3 I named are my main weapons for drums these days

Q.) You acquired a lot of knowledge for equipment from Hans Zimmer in regards to technology. Tell us about that.

I learned soooo much from Hans and many of the other composers like Trevor Morris and Klaus Blaudet — learned about the “art” of score, synths, they were very advanced with computers and Daws and such too

Q.) What is needed to be a decent engineer? What qualities would you look for as a producer?

Quick, very competent, good ideas, def calm temperament, and creative — in regards to engineers —as far as producers — dope music period !

Q.) Tell me about the journey Kanye’s “Mercy” track made. You said that track came to be because of a guy named Lifted.

Yes my young homie Lifted that my boy Roc (one the Phoenix Legends) introduced me too —I had it in my pocket for 7 months before I had the right vehicle for the track — myself, Kanye, Twight tone and Mike dean built it out — can’t remember but Mike Will might have beefed up the drums too

Q.) Kanye has been recording out of hotel rooms for years, as you’ve stated, with the Sony C800 microphone. What is the setup exactly and how did you perfect the sound?

Usually — neve and tube Tec and C800 — pretty simple — I believe Dre uses a similar vocal chain too if I remember correctly

Q.) Christina Aguilera and you worked together on Liberation. What was it like being in the studio with her?

Real singer —— REAL — Real talent and she’s a friend so great energy – we get along great — so I love working with her and we’ll be working again soon

Q.) Tell us about the work on Ye. What was it like working on that album?

We worked on 5 different albums — mostly in Wyoming — I’ve spoken alot on that process so don’t wanna go to deep into that but fun fact: Kanye had a set up in his bedroom and would be in the zone cooking up anytime day or night

Q.) Nas dropped Nasir, with your help of course, some call it minimalistic but I think its a very good album. What was it like working with Nas?

I love Nas — always had been a fan since live from the bar b cue so it was an honor but as much as Wyoming had a vibe I wanna work with Nas in NYC or Miami — Nas is thoughtful and I appreciate that in an artists but we had good discussion period not necessarily just about music

Be sure to keep it locked for part 6 of this epic interview with Che Pope. Here’s a little sample of what’s in store for everyone:

Q.) Earl Hayes (R.I.P.) was stated to have contributed a ton to Detox as well as work on his own album with Aftermath and later Timbaland and Dre together. Did you work with him? How was he like? Did he make Detox tracks?

Not sure about any Detox songs but Hayes was my homie — I actually had 6-7 fire songs with Hayes from a project we were doing which sadly we never got to finish and his engineer had the songs so I never know what happened to them

[doggfather]

I am from hungary! That kanye sample was great and big news here.
Like when alchemist did another for prodigy.