Hook, line and sinker
DJ Potpher is the mastermind behind many of the songs on your current playlist from local artists like Blacksheep, Sunny Boy, Tulisan, Lioness and Paul Da Prince.
Tjil sat down with the soft-spoken and humble music producer and engineering student, Potpher Mbewe, popularly known as DJ Potpher, who described his journey in the music industry and how he is making it work.
Born and raised in Zambia, 27-year-old Potpher's love for music is tangible and mirrors that of others.
The only difference is that he wanted to make music instead of always listening to other people's work.
Now, 11 years later after diving into the industry, his hard work, dedication and patience is starting to pay off.
T: How was your childhood?
P: My childhood was awesome. I grew up with my late grandmother and I always loved creative activities. We were always creating something with our hands. I used to listen to my cassettes that had rap on by DMX.
T: What drew you to producing music?
P: I got inspired when I heard my brother remake a beat by Ja Rule featuring (Ashanti Always On Time) using Fruity Loops 3.0 in early 2002. It was so astonishing, realising what I could do if I had my hands on that deck, after being exposed to rap music. When I learned how to use a computer, I asked him to install the app on my aunt's PC. So every time I asked her to play games I opened Fruity Loops and the rest is history.
T: When did you officially start producing your own music?
P: I decided to make my work public in 2010, after high school. A friend published a song I produced and I was then invited to visit Blazing Studio's in Zambia because they loved the beat. It was such an inspiration for me and the words of encouragement I got from the studio owner got me where I am today. He told me to get my own home studio, by starting with a USB microphone, and I remember selling my phone to get the microphone on EBay.
T: Tell us about the most interesting project you have worked on this year and what you learned from it.
P: The most interesting project I worked on this year is Bad by Lioness.
It entails how much a project can deviate from one point of view to the other to rectify into something catchy.
The project had to be amended to get it right. It tells me how much patience helps me in figuring out the idea of my projects.
Dreams by Lioness also had to be assembled piece by piece, with time; Twamana by Blacksheep as well. We would sit in the studio for couple of days to make sure the project is good enough to put out.
T: How did you build a clients' list?
P: I built my contacts by delivering my best studio work. You get to meet a person who will want to work with you; that's if your projects are valuable. Coming to Namibia meant that I had to prove my worth, because no one knew me and I had to start from scratch. It started with my neighbour knowing about me, then underground artists, until you meet established artists. Every client is your CV to the next one, because they help you sharpen your skills.
T: What could a great-sounding recording do for an artist's career?
P: It is very important for an artist, because it entails seriousness. Upcoming artists should always make sure to have their song worked by a quality studio, to have their songs on point. It must be someone who understands the work of the industry. Means of quality control can push you towards your goal. Don't compromise the quality of your work, because of the price of the best studio.
T: What do you feel are the other elements an artist needs to have as part of their product, in order to go out and sell their brand?
P: It starts with co-ordination. To have a good song an artist needs to work in hand with the producer. Know your producer; make sure the producer has the means to say what is right or wrong. Be flexible and don't do it your way, put ideas together. Secondly, as an artist always put your mind at work all times. Plan your work by recording ideas while outside the studio, then with all of this you go into the studio.
T: When you put your prices together, what are the artists paying for?
P: When I put prices out for my recordings, an artist is paying for the instrumental, the mixing and mastering.
T: Maintaining a successful career takes a lot of work and commitment, how much time do you dedicate towards your work?
P: I would say all of my time. I always listen to other music to learn a few things, like what elements are being used and how can I make something cool out of it. It doesn't happen just in the studio. I formulate ideas, record them and then I just lay them down when I have time for studio.
T: Is there an artist you want to work with, but haven't had the opportunity yet?
P: I would love to work with Sally 'Boss Madam', Gazza, KP Illest, PDK, Oteya, Tate Buti, Young T and others. I would like to conquer and work with regional artists like Nasty C, Maphorisa, Emtee, Cassper Nyovest and Diamond, just to mention a few. Call me ambitious, but a dream starts somewhere.
T: Do you have advice for young people who want to become music producers?
P: Always put your mind on your work; knowledge is very important, so always learn something when you open your program. Be part of the industry by following what is trending and learn how to use it. Be humble and respect people who can bring you into the game. And remember to conquer one step at a time, because it's never too late.
June Shimuoshili
Born and raised in Zambia, 27-year-old Potpher's love for music is tangible and mirrors that of others.
The only difference is that he wanted to make music instead of always listening to other people's work.
Now, 11 years later after diving into the industry, his hard work, dedication and patience is starting to pay off.
T: How was your childhood?
P: My childhood was awesome. I grew up with my late grandmother and I always loved creative activities. We were always creating something with our hands. I used to listen to my cassettes that had rap on by DMX.
T: What drew you to producing music?
P: I got inspired when I heard my brother remake a beat by Ja Rule featuring (Ashanti Always On Time) using Fruity Loops 3.0 in early 2002. It was so astonishing, realising what I could do if I had my hands on that deck, after being exposed to rap music. When I learned how to use a computer, I asked him to install the app on my aunt's PC. So every time I asked her to play games I opened Fruity Loops and the rest is history.
T: When did you officially start producing your own music?
P: I decided to make my work public in 2010, after high school. A friend published a song I produced and I was then invited to visit Blazing Studio's in Zambia because they loved the beat. It was such an inspiration for me and the words of encouragement I got from the studio owner got me where I am today. He told me to get my own home studio, by starting with a USB microphone, and I remember selling my phone to get the microphone on EBay.
T: Tell us about the most interesting project you have worked on this year and what you learned from it.
P: The most interesting project I worked on this year is Bad by Lioness.
It entails how much a project can deviate from one point of view to the other to rectify into something catchy.
The project had to be amended to get it right. It tells me how much patience helps me in figuring out the idea of my projects.
Dreams by Lioness also had to be assembled piece by piece, with time; Twamana by Blacksheep as well. We would sit in the studio for couple of days to make sure the project is good enough to put out.
T: How did you build a clients' list?
P: I built my contacts by delivering my best studio work. You get to meet a person who will want to work with you; that's if your projects are valuable. Coming to Namibia meant that I had to prove my worth, because no one knew me and I had to start from scratch. It started with my neighbour knowing about me, then underground artists, until you meet established artists. Every client is your CV to the next one, because they help you sharpen your skills.
T: What could a great-sounding recording do for an artist's career?
P: It is very important for an artist, because it entails seriousness. Upcoming artists should always make sure to have their song worked by a quality studio, to have their songs on point. It must be someone who understands the work of the industry. Means of quality control can push you towards your goal. Don't compromise the quality of your work, because of the price of the best studio.
T: What do you feel are the other elements an artist needs to have as part of their product, in order to go out and sell their brand?
P: It starts with co-ordination. To have a good song an artist needs to work in hand with the producer. Know your producer; make sure the producer has the means to say what is right or wrong. Be flexible and don't do it your way, put ideas together. Secondly, as an artist always put your mind at work all times. Plan your work by recording ideas while outside the studio, then with all of this you go into the studio.
T: When you put your prices together, what are the artists paying for?
P: When I put prices out for my recordings, an artist is paying for the instrumental, the mixing and mastering.
T: Maintaining a successful career takes a lot of work and commitment, how much time do you dedicate towards your work?
P: I would say all of my time. I always listen to other music to learn a few things, like what elements are being used and how can I make something cool out of it. It doesn't happen just in the studio. I formulate ideas, record them and then I just lay them down when I have time for studio.
T: Is there an artist you want to work with, but haven't had the opportunity yet?
P: I would love to work with Sally 'Boss Madam', Gazza, KP Illest, PDK, Oteya, Tate Buti, Young T and others. I would like to conquer and work with regional artists like Nasty C, Maphorisa, Emtee, Cassper Nyovest and Diamond, just to mention a few. Call me ambitious, but a dream starts somewhere.
T: Do you have advice for young people who want to become music producers?
P: Always put your mind on your work; knowledge is very important, so always learn something when you open your program. Be part of the industry by following what is trending and learn how to use it. Be humble and respect people who can bring you into the game. And remember to conquer one step at a time, because it's never too late.
June Shimuoshili
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