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“We all learned from each other and competed for the best sounding mixes,” says Ryman.
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The talents of Carlos Bess and Nolan “Dr.
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Ethan Ryman, who ended up overseeing the 36 Chambers sessions, arrived after “losing my shirt on a production company business and needing money and experience in the studio, so I was taking everything that came my way.” Ryman was flanked by Dennis Mitchell and Blaise Dupuy, who had both previously worked at a Manhattan studio called the Box before Vazan courted them when it closed. “You’re gonna hear the new style now: this isn’t Rakeem, it’s RZA, the RZArector!”Īdding technical audio support to this new Wu-Tang style was a wave of engineers that had found their way to Firehouse. “We’re gonna show everyone they were wrong,” Vazan recalls RZA telling him. The deals went sour and they were dropped, but the rejection prompted the formation of the Wu-Tang Clan. RZA and GZA (then recording as Prince Rakeem and the Genius) also cut solo demos at the Firehouse which scored them record deals with Tommy Boy and Cold Chillin’. The spot wound up attracting a hip-hop clientele key late ’80s and early ’90s artists like the Audio Two, MC Lyte, Das-EFX and Guru passed through the vocal booth. He opened the studio in 1988 and sought to drum up business via adverts placed in the Village Voice. Originally situated in an old fire station on Dean Street in Brooklyn before later moving to Manhattan, it was owned and run by the engineer Yoram Vazan. True to RZA’s vision, the Wu’s lo-fi production was coated with a grimy and grungy patina that would become the clique’s calling card – and this texture was facilitated by a team of up-and-coming engineers working out of a small studio called the Firehouse. As RZA told Hip-Hop Connection magazine back in 2006, “You had Snoop and Dre dominating with this really low and funky but powerful bass sound, so I wanted to show them how New York bass did it, that really gritty bass sound – and make it louder! I wanted things to be tough from the very beginning right to the end.” Dre had formulated in Los Angeles and taken into the mainstream. Released in 1993, Enter the Wu-Tang (36 Chambers) resonated like a rugged New York City response to the slick and melodic g-funk sound that Dr. The Wu-Tang Clan’s debut album changed the sound of hip-hop.