Interview with Steve Sola
Hip
Hop game has been circumvented to different genres and styles. When you have
worked with the major players in the game, you have every reason to gloat. Not
according to the “Mix King” himself Steve Sola. He has been in the studio with
legends such as Nas, Mobb Deep, Infamous Mobb, Cormega to name a few. The
Italian born, New York by blood top engineer has been hip hop’s secret weapon. Steve
Sola may not be a household name but he definitely fits the description of “I’M
NOT FAMOUS BUT FAMOUS PEOPLE KNOW ME!”
Intrigued
interviews Steve Sola in which he talks about his years in the music business, his
role as an engineer, his relations with Mobb Deep, penned out the single from
Tyler Perry’s “Daddy’s Little Girls” and more
1)
What it is, it’s a pleasure interviewing you Steve
Sola. You called yourself the mix king. How many years in the game and how you
get the name the mix king?
It’s my pleasure also Ty. Thank you for interviewing me. I've been in the
professional music business game for 19 yrs; been playing guitar for over 30
yrs. There was an engineer that I had respect for but I was also competitive towards.
He was calling himself "Chairman of the boards”. When Myspace came around
and I needed a name, I was like if he's the chairman then I’m "The Mix
King". I liked how that sounded, so I just put that on myspace. Everybody
liked it and nobody was like …what? So I kept it, especially when the artists
were like "well you should know…… cause you are the Mix King”
2)
I’m definitely feeling the line “I’m not famous but
famous people know me.” It kind of describes me a little bit. LOL.
Yea, I like that too. It just came to me on the spot one day when I
needed a quote for google. It flowed quickly without thinking.
3)
You were born in Italy; do you consider yourself a New
Yorker?
New Yorker-Gladiator- Mobster- Italian Stallion…lol. No seriously...
Mostly New Yorker cause I've been here longer and grew up here, even though I
was born in Rome Italy.
4)
Looking through your resume, how did you make the
transition from a guitarist working with bands to hip hop music?
Sex, Drugs and Rock and Roll can play a toll on you and the bands you
are in. Band members were having sex with the female singers, bass players
doing too many drugs, drummers braking into places to get more drugs…lol…but
true. Also the Rock and roll I liked was changing into these hair bands stuff.
I liked REBEL music, hard, honest, for the soul music. That’s the same reasons
why i got into hip hop in the 90's.
5)
With many gold and platinum hits under your belt and
over 20 million albums sold. How is networking and keeping those connections
playing a role into making it in this business?
The more you are in the music business circle the smaller the circle becomes.
If you mess up, people will find out and keep note of it. If you are not a
friendly good person, people will find out and keep note of it. If you are
great at what you do, people will find out and keep note of it and will keep
calling you.
6)
Talk to us about your label Plain Truth entertainment.
Who is on the roster?
We do a lot of joint ventures because I feel that Plain Truth Ent is not
big enough yet to do ALL the work, promotion, funding etc... And the artists
just make the music.
They have to be part of the movement and work hard even after the music is made.
"One of our slogans is "You wanna be rich and famous? Help Plain Truth Entertainment make you rich and famous" Anyway , our full albums joint ventures (Roster/Artists) are O'neal McKnight, Sam Scarfo, Imam Thug, Dirtmell, The Mix King. Single deals with Gwen McCrae (many remixes coming), Enjoli, J3 and a few other artists that we are negotiating contracts right now.
They have to be part of the movement and work hard even after the music is made.
"One of our slogans is "You wanna be rich and famous? Help Plain Truth Entertainment make you rich and famous" Anyway , our full albums joint ventures (Roster/Artists) are O'neal McKnight, Sam Scarfo, Imam Thug, Dirtmell, The Mix King. Single deals with Gwen McCrae (many remixes coming), Enjoli, J3 and a few other artists that we are negotiating contracts right now.
7)
You have “The Mix King EP”. Was it with artists that
you have worked with in the past or new artists also on it?
I worked with all of them before and here is the list of the songs and
artists
The Mix King "the EP"
The Mix King featuring:
1.The Mix King feat Havoc, Nyce Da Future and Cormega "Schools Out"
2.The Mix King feat Prodigy and Imam Thug "The Recipe"
3.The Mix King feat Dirtmell, Salute and Doemain "No Gangsta"
4.The Mix King feat Havoc, Godfather, Imam Thug, Twin Gambino,
Big Noyd, Ruc aka Mr. QB and Foul Monday "QB International"
5. The Mix King feat Black Ice and Doemain "Ain't Worth It"
6. The Mix King feat Hot Rod "Highway 69"
The Mix King "the EP"
The Mix King featuring:
1.The Mix King feat Havoc, Nyce Da Future and Cormega "Schools Out"
2.The Mix King feat Prodigy and Imam Thug "The Recipe"
3.The Mix King feat Dirtmell, Salute and Doemain "No Gangsta"
4.The Mix King feat Havoc, Godfather, Imam Thug, Twin Gambino,
Big Noyd, Ruc aka Mr. QB and Foul Monday "QB International"
5. The Mix King feat Black Ice and Doemain "Ain't Worth It"
6. The Mix King feat Hot Rod "Highway 69"
8)
Was it hard getting cats to get on the EP?
Not really, they all gave me hot songs and I’m humbled that everybody
got on these songs that I mixed and produced.
9)
Describe your role as an engineer?
Trying to achieve the BEST possible sound quality using the tools that
you have at hand. The opposite of a button pusher "recordist"!
10)
What does it take for an up and coming artist to get
your attention?
Big bank account. LOL. joking ….but……less talent needs a bigger budget.
More talent needs a smaller budget. Greatness needs No budget because me and
other people will want to invest in you and be part of what you are doing. BUT
most of the times artists need some work and help. A beautiful ruff diamond still
needs polishing and that’s where I come in or other professionals to put their
input.
11)
Have you had any experiences in the studio when a new
artist felt intimidated to work in your studio since you have worked with so
many popular artists?
Yes…funny you say that. That’s for sure, they do get intimidated . I
play with them and I say to them don't worry and relax, that mic has been in
front of 50 Cent, Ron Isley etc…etc..lol. If they get too intimidated they
don't belong there. Getting a little nervous is cool on the other hand; I like
a little edge in the recording. It makes it not boring.
12)
Do you think the advancement in technology has lost
the creativity in making a record?
Not really, creativity comes from the heart, soul and mind NOT
technology. You could use the newest technology and still be making boring
music.
13)
There is a difference in the recording process between
the 90’s and now. I remember when artists mess up on a rhyme or when producers
messed up on a sample or misused a kick or snare, they had to do the track
over. Now you can simply punch in using computers.
Yes, you would have to practice your rhyme or song more and then go in
the booth. In the booth the concentration was greater between artist and
engineer. You would have to get it right; the punch would have to be right. The
breathing and punching had to be right. Now some artist think they could be a
little off and we could fix later. They are right because we can. But it’s not
as fluid as getting it right, it’s magical.
14)
Producers and MC’s emailing beats and lyrics. Do you
think it lose the chemistry between the artist and the producer?
There is none. The artist is now the producer. The producer is just a
beat maker. Let's stop calling them producers, they are beat makers.
Even if they are great, they make great music. I’m not taking what they do lightly. Great music will make you want to listen to a song, but without a good song nobody is just listening to the beat. Music, voice and song are a marriage.
Even if they are great, they make great music. I’m not taking what they do lightly. Great music will make you want to listen to a song, but without a good song nobody is just listening to the beat. Music, voice and song are a marriage.
15)
How do you stay relevant in the game since the state
of hip hop has changed drastically?
If you Keep Quality above all the
hype, you will survive and stay relevant, always. That goes for all genres of
music and formats (radio, TV, games, music, shows). I also do other genres of
music and good quality applies to all of them. Keep that true love for the
music. Not just the fame and the money.
16)
What does it take to make a popping album?
Relentless, dedication and hard work for the music first and not just
the hustle for the fame and fortune, groupies and cars.
17)
As a producer and as an engineer, do you know which MC
or rap group is compatible to any beat whether from your beat or another
producer’s beat?
You could imagine how the beat might sound with a particular artist on
it ….but until he or she turns that beat into a song only God knows how great
or weak it will become.
18)
Is hip hop nowadays really dead or it reinvented
itself?
Hip Hop is not dead. I don't care who said it, even if he was famous.
lol. It's just that the 90' Golden Age of Hip Hop is not mainstream anymore. Yes,
Hip Hop is changing. But let’s remember that an artist cannot buy a million
records of his own, fans buy those. If you don't like what’s happening in Hip
Hop Now, don't get mad at the artists making pop music more than your friends
buying it. I think the fans should buy locally. If you’re from New York and you
buy a record from an artist not from NY then you should buy a record from a NY
artist just because you are from NY. Rep your state man! That goes for every
state. Go out and buy some records.
19)
What do you think about the sound quality of most of
these joints played on the radio?
Most of it is good. The musical quality is another issue. A lot of the
songs sound alike. Again …the fans should speak louder, request what you like
on the radio.
20)
You worked with Mobb Deep since “Murder Muzik” and
executive produced all of Prodigy HNIC projects. What was the chemistry in the
studio between you guys?
GREAT since day one! The first song I ever did with the Mobb was with
Mariah Carey, "On The Roof" remix. We had great sessions, great times
and great music. I could write a whole book on what went on in the studio
alone.
21)
Havoc usually has the hard gritty sound. Is that the
type of sound you always gravitated to or it varies?
It varies more now. I was working with Nas before Mobb Deep but when I
had my first few sessions with Mobb Deep for the Murda Muzik album and hearing
Havoc sound, I was like "this is hard". This is Heavy Metal . lol
22)
Any artists or producers you have not worked with yet,
you would like to work with?
I've worked with a few Dr Dre tracks/music with Mobb Deep and 50 Cent
but not with Dr. Dre directly. So it would be an honor to work with him in the
same room. That goes with Eminem too. I worked on the Re Up album and Eminem
okayed all my mixes but we were not in the same room together. That would be
great to record Em. And of course Jay-Z. I think we could do some great music
together. I would love to work with Madonna and maybe even flirt with
her..lol.. There were talks about me doing some remixes for Madonna and her
coming to my studio but it never materialized with the material girl.
23)
Many new artists only focus on going to the studio.
The studio is important but how important is going on interviews, touring and
promoting your music?
Well… hopefully they are focusing on making great music and not just
going to the studio and partying with friends. I think that NEW artists promote
too early and too much about music that’s not ready. The music should be
professionally done and your friends and peers should be going crazy about it.
After that, then you have to put another hat on and promote, do interviews and
tour like crazy….relentlessly. Then it’s up to the fans to love it.
24)
Is there a creativity difference between working for
hip hop artists and R&B artists?
Not really, it just takes longer to do make an R&B record. The
chorus alone could have 48 tracks or more.
25)
You have also wrote and produced the lead single to
Tyler Perry’s “Daddy’s Little Girls”. How that came about and what was your
creative approach to the project?
The creative approach was simple, having genuine love for the music and
creating a good song. Me and my partner Christopher Terrell wrote the song
"Struggle No More" for the movie. Chris manager, Taheim, took it to
Tyler Perrys people and everybody loved it. Atlantic put Anthony Hamilton,
Jaheim and Musiq Soulchild on the song. They also added some production things
and helped make it what it is. It’s the only single of the soundtrack and movie;
even though the soundtrack had other artist like Beyonce, Whitney Houston, R
Kelly etc…Tyler Perry picked our single…yeah. The youtube comments for the song
inspire me so much and I thank all of the fans for liking and loving the song. It's
funny because the song inspires them to keep going even though they are
struggling. Some even thank God for songs like "Struggle No More".
26)
Aside from Daddy’s Little Girls, you also audio mixed “Barbershop
2: Back in Business soundtrack. Will we see you do more production work with
movies and television shows?
YES, I hope so.
27)
What advice would you give up and coming artists and
producers trying to break into the game?
Read this interview TWICE. lol.. Surround yourself to as many
professional people as you can, learn and listen and apply that knowledge to
your project in your own way.
28)
How can artists or producers get at you?
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