1.) Introduce yourself to the readers who may not be familiar with your brand.
Vanderslice, producer, crate digger extraordinaire, the baker of cakes, and the taker of naps.
2.) When did you first discover Library Records?
I found my first library record in 1998 at Academy in New York. There was a radio station that dumped their stock. They were very cheap, I remember buying Bruton's for like 7 bucks a piece, very few people were digging for libraries back then.
3.) How important were they to your own sound?
I don't think they were that important at all because most of the really dope libraries were paint by numbers. They sounded like pre made hip hop, and if you knew where to find them, you were just ahead of the game. Add Drums, layer the bass, and abracadabra you're a genius. I think shaping my own sound was much harder because of that than easier, especially when I was super broke and the internet was YEARS behind the curve.
4.) In the current climate of the sampling based musician how important is it to diversify what you are sampling?
I don't know how to answer this question really. I think the more people try to diversify, they lose something along the way that they wouldn't have lost if they would just stay in their lane? I like what I like. I don't know if it's a diverse sound or just a variant of what i've always been doing. Whatever works.
5.) What is it about Kersey & Castle’s library records that separate them from a lot of the Sample Packs available now?
The texture is there. The texture is the most important thing when composing samples that so many of the other libraries are missing. Especially if they're trying to capture a feel of the late 70's and early 80's crime cinema. If the textures are all wrong, there's no feel, and if there's no feel, why sample it at all.
Here is an example of what Vanderslice did with one of the samples from "Music For Silencers" volume 1
Get "Music For Silencers" by clicking HERE