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In the studio with...  Every
dance label would like to have production and songwriting talents
on which it can count. For Lilla Vietri, owner of New York-based house
label Kult Records, she has Dynamix, makers of big-room jams that
offer radio-friendly hooks—the kinds of sounds that tastemaker
DJs like Junior Vasquez champion in his all-night sets before they
make their way to the mainstream. Comprised of DJ/producer Eddie Cumana and songwriter/keyboardist Beppe Savoni, Dynamix has helped carry Kult with artist-fronted cuts like “Don’t Want Another Man” (with Tina Ann), “Never Get Me” (with Nina Eve) and “No Man Can Tame Me” (with Inda Matrix). Back on DJ turntables with “Bodyfly,” another anthemic Inda Matrix cut, Dynamix remains the face of Kult Records in many ways. Not only is Cumana Kult’s main production talent, he’s also helped transition the label in the emerging digital realm. Kult’s e-commerce plan for ’04 includes sales and promotion of digital music via their website (kult.com). Cumana’s efforts—creating the original productions, digitizing Kult’s entire catalog, even implementing the site’s Flash code—were vital. “The music business is so different now that you either expand or change,” says Vietri. “This is the next phase. Also, it was important to revitalize our catalog, so that songs that have become classics are now available all the time. The life of an underground vinyl record is too little. Eddie’s work has helped the label change and grow.” DJ Times: How are Dynamix and Kult approaching ’04? Cumano: Aside from the productions, which will include a multi-artist album called Rhythm Beatdown, I’m focusing on the launch of Kult’s e-commerce component. Our entire catalog will be available for single downloads and custom CDs, as well as vinyl from Kult’s back catalog. We want to make Kult a fully functional digital label. DJ Times: Describe the Dynamix sound. Cumana: Stomping big-room music that’s artist-driven. But as a DJ, I’d refer to my sets as hypnotic journeys. I like to take clubbers on a ride. DJ Times: Why do you think you’ve had success with Dynamix? Cumana: Those songs are hooky enough and the production is tough enough to sit right in between clubs and the radio. As far as my personal contribution to the success of my productions, I’d have to say it’s been my DJ mentality. In addition, since I opened my production studio back in ’96 and served as the in-house engineer for three years, I have spent countless hours programming and refining my kicks and experimenting with gear to find my “levels.” I found that if you want to learn about a piece of equipment, the best thing is to throw away the manual and play with it without knowing what it’s supposed to do. With this philosophy, I’ve found many ways to create and process my sounds. DJ Times: So what’s is in your studio? Cumana: For sequencing, I use Emagic Logic Platinum and Propeller- head Reason 2.5. For mixing and recording, I have: an Apple G4 with a Pro Tools|24 MIX3 recording system; JBL MPX 600 amps; Alesis Monitor One and Yamaha NS-10M monitors; Audio Technica AT4050 and a Neumann U87 mics; and various signal processing gear. For sounds and synths, I have an Akai MPC-2000XL; E-Mu SP1200 and XL Lead; Roland Juno-106, JP-9090, JD-800, Jupiter 8 and SH-101; Korg MS-20, M1, and Trinity Plus; Sequential Circuits Prophet 1 and Prophet 5; an Access Virus; and a Novation Supernova. DJ Times: Is there a piece of studio gear that you can’t live without? Cumana: The UREI/UA 1176 [limiting amp], the Teletronix LA 2 [valve leveling amp], the API pre-amps, and the Avalon Design VT-737sp [tube compressor/EQ]. They’re invaluable for their unique texture and the way they address the sounds you put through them. DJ Times: Which producers and remixers influenced you the most? Cumana: Quincy Jones and Giorgio Moroder for the foundations they laid for us to build on. Tom Moulton for all the Salsoul classics. Mark Liggett, Chris Barbosa and Mark Kaman for some of the most memorable ’80s club hits. C+C Music Factory, Louie Vega, Kenny “Dope” [Gonzalez] and, of course, Stonebridge for some of the most durable ’90s hits. DJ Times: When you’re spinning, what DJ gear do you prefer? Cumana: Technics SL1200 MK2 or Stanton STR8/150S turntables, UREI 1620 or Allen & Heath X:one V6 mixer, Pioneer CDJ-1000 MK2 decks, Korg KAOSS pad, Lexicon Jam Man and a kick-ass booth monitoring system. DJ Times: How does a producer or remixer make money these days? Cumana: A lot of labels now expect everyone to do mixes on spec [i.e.—you get paid later, if at all]. This practice has been adopted across the board and a producer must invest time without any sure compensation and bidding against lots of other remixers. I recently did a spec remix for a well-known, legendary artist. While that was shelved because of various issues, the artist loved it so much, she now has a new recording contract and a new album and contacted us for an official remix for her next release. So I think spec mixes still can work. Even with the state of the music industry today, you still have to invest in yourself even harder. |