A Quote by Grace Chatto
I find the production in 'A&E' very beautiful, it reminds me of Ace Of Base, the way the bass has that space and the reggae.
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I love bass, I really do. Bass is ace!
I wouldn't want to hear Beethoven without beautiful bass, the cellos, the tuba. It's very important. Hip-hop has thunderous bass. And so does Beethoven. If you don't have the bass, it's like being amputated. It's like you have no legs.
I've been listening to a lot of dance, hip-hop, drum-and-bass, reggae, R&B - very rhythmical music.
I do have very solid reggae roots based on the fact that I'm Jamaican, and so that is a part of myself; even if I never do all reggae, it has to come out in some way because that's who I am.
At the time, I didn't know that bass would not be enough for me. I'm not a bass player because bass is always a background instrument even to this very day.
That's why I'm very wise [in] the way I choose the remixes 'cuz I know that the song has to transcend well. You already have a base, instead of me just doing my own production and I don't have to start from scratch.
The beautiful gift of my husband is that he saw me the way I've always wanted to be seen and there's something really powerful to that. When you find true love I really believe that that's what it is at its core. He makes me want to be a better person, but then he also sees me and reminds me that I am a good person.
My older brother always tells me I changed as a person when I saw 'Ace Ventura.' Because when I saw 'Ace Ventura', I became obsessed. I watched the movie as many times as I had to - back then, you couldn't go on the Internet and find the script - so I watched it as many times as I could to write my own script of 'Ace Ventura.'
For me, reggae music and its aesthetic are touchstones in both simple and complex ways. Reggae's capacity to be a folk music that is created in a wholly modern context of the recording studio (and sometimes that is the sole performance space) is riddled with the kinds of contradictory impulses that we have come to expect from the post-modern. I revel in this, for it gives me, shall I say, permission.
I have physical problems with listening to reggae. It's weird, I don't know why. It doesn't fit the way my heart pounds, and I feel very bad when I hear it. I have a neighbor--she's a waitress who comes home every night at four in the morning and she plays reggae very loud. I hate that. I can't sleep and I can't wake up either to that music.
'Ace of Space,' for me is not a reality show but a challenge.
The big change was reggae and hip-hop, which came along after Split Enz had started. When Bob Marley first visited New Zealand, he lit a fuse that is still burning very brightly. The Maori people particularly honor reggae music in a very big way. So there is a strong reggae scene and a strong hip-hop scene, especially among Samoans. There's still plenty of quirky stuff around. No one expects to make much money here, so it definitely does encourage an underground sense.
Any rehearsal process - I find, anyway - does have quite an effect on me, and I very much live in that world for the whole period of time that I'm involved with the production. But normally, afterwards with a little bit of space, I can come right back out of it again.
I often use a return channel to get some shape out of the bass. It's a good way to split the frequencies of the bass so that the sub bass is clean and in mono and the higher end of the bass sound can be filtered off - have it on an audio channel and that's where you can use effects.
I feel good to know that they recognize the potential of reggae music. And they are exposing it to the world, letting the world hear how beautiful reggae music can be.
Early on I did all the production for UGK, like on 'Southern Way.' Yeah, 90 percent of the production and not for any other reason then I couldn't find anybody that would give me what I needed, so I had to make it myself.
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