Kevin Provoke : Producer Profile

It is not every day that we get to hear a refreshing new sound, one that captures our imagination. About 4 months ago some one sent me a Youtube link to a then unknown female rapper doing a cypher. The link was to XTactic's Prep track, and I blown away by her amazing delivery as well as the throw-back old school hip hop track; I made it my goal to find the mysterious behind the scenes producer that had conjured up the awesome beat and launched the career of Kenya’s first Sony/BMG’s signing. It is after 2 months of searching that I finally got a chance to chat with Kevin Provoke, his buzzy electro – hop signature tracks are now a mainstay, featuring prominently on radio. The most shocking thing I discovered from the interview is that he is partially deaf.. go figure!!

Here’s a run down of that interview

Brief history as producer

I began production in 2005 after 2 years out of high school. I credit Ambrose Akwabi of the production duo Mandu Digital, who allowed me to hang out with him and follow him around; he gave me my first insights into what the job of music producer entails. My journey into music production is also one of frustration that I encountered as young rapper in group called Vaksin, in that we couldn't find a producer who understood the sound we were looking for and also the few recording studios that existed  [ Ed note: RK’s Ogopa, Ennovator, Blu Zebra]  were very expensive and we could barely afford to pay for studio time. I actually remember the first beat I ever recorded on was from Ennovator but he never even got to know that or even meet us or listen to the song...... [ Erm.. Ed note.. !] As fate would have it I decided to produce the group, but that also hit a wall because soon after that, everyone decided to pursue other non-musical interests and I was left alone. In 2007 I saved up money for my fees to go to Popakademie Music school In Mannheim, Germany, where I got a diploma in sound engineering and music production, then got back to Kenya towards the end of 2008. From then on I worked as a ghost producer/writer [un-credited of course] for many producers until when I decided about to it alone and opened my own production facility and studio.  

What is in your tool box (hardware software, mics, monitors, DAW) and why

The core part of my studio is built around Presonus, equipment and that is based on the character of the sound that I feel it gives me. Presonus equipment can now be bought locally and that for me is also another added advantage. The Presonus Fire studio [6*10 is my audio interface of choice, I don't do a lot of Multitrack recordings so this sound-card serves me brilliantly. The mic pre’s on the FireStudio are pretty decent and the mic goes directly into the card without passing through any analogue desk. The award winning Presonus Eureka Channel strip handles any external compression, I find this works wonderfully as it contains a fully-fledged compressor, 3-Band EQ, and takes both Mic and Instrument inputs. My microphone arsenal comprises of a Sterling Audio mic on female vocalists and a Rode NT1 a general mic, as  an industry standard one can never go wrong with this microphone. My monitors of choice are the KRK v88s for the dynamic range and but I soon will be upgrading to KRK VXT. LogicPro Studio 9 is my workstation  of choice and everything I do , from composition to final mix and mastering is handled within the box. I use an MPC 1000 for drum programming.

What can't you do without and why ( hardware  and software)..

I can't do without logic pro 9 as well as the KRK v88 monitors, which give me a good bottom heavy mix that is clean, I also find that I am able to listen to them for extended periods without strain or ear fatigue.

Walk us through your work process from brain fart (rough idea) to finished song

I usually take time before I working on a song, but also a lot of also depends on the artist am working on the song with; I love interaction with artists as it allows me to get in to their space and thus hypes up my creative juices. For me production is a two way street, I expect a lot feedback from the artist and incorporate a lot of their ideas into the song. I hardly just make beats for grabs unless it's for something specific and even if that were the case, I would do it from scratch, basically making the skeleton track in 20 to 30 mins. If an artist knows what we they want, a vocal session can be completed in 2-3hrs.

Specific Production Cuts: Xtactic’- Prep Track

Prep track was unplanned for and I remember I had a beat I sampled in my vault of beats; Xtactic came to the studio on 24th of December when she lay all her vocals. The mix was done after the video ad been recorded, and I actually, did it on my laptop and headphones since I was enroute to Nanyuki! And I need to do it quickly.

Interface of being a producer who can engineer or engineer who can produce. ?

 Not all engineers can produce and not all producers can engineer. I am fortunate enough to be able to do both well.

Music Business; Running a production Company in Africa: how do you do it. Highs or Lows?

It's quite challenging to set up a record company requires a lot of capital and reliable marketing strategies...on the other end music record labels can make a lot coz African artists have untapped talent and work hard.

How do you protect your intellectual Property?

 Once I song is done I make sure it is copyrighted at the Kenya Copyright Board

Selected Discography:

(List of Selected Production Work)

      Xtatic-preptrack, 

·      provoke ft annette- imperfections,

·      Bamzigi-light it up,
·      lyra aoko - colours of life,

·      wendy kimani-rumour,

·      plan b-playground,cannibal-i wish,

·      Nonini-pole pole,

·      legend(basically all his solo tracks),

·     

     Project ape with Eminem, Alicia keys, Kenny Young, Chipmunk and ts-1 ,


By RT for TheMtaaBlog © 2012