Interviews

DJ Shadow: Samplers, Turntables, & Downtime

BY Eric Stenman PHOTOGRAPHS BY Jeff Gros

Home recording has taken some serious leaps during the nineties. A four track and a couple of cheap microphones used to be the standard setup; nowadays it's just as common to find a sampler, turntable, and an ADAT, Pro Tools or hard drive recorder. This "Do-It- Yourself" ethic is very prevalent in the sample based DJ/Electronica world. Is it more chic to go out and buy a sampler rather than an electric guitar? Electronica is the new punk rock, and there are no rules for this subculture's art form. DJ Shadow (AKA Josh Davis) is a perfect example. Here you have a middle class, white kid from suburban Northern California that grew up listening to hip-hop. Most of his work is done at home using only a few pieces of equipment. Shadow's debut album, Endtroducing (Mo Wax Records, 1996) came out of nowhere. It sold quite impressively, and launched him and the rest of the DJ world into the plain view of record buyers worldwide. Shadow's flavorful, sample driven combination of huge breakbeats and spacey organ and bass loops landed his album on top ten lists everywhere. Shadow has now released a new album under the name Unkle. Unkle is Shadow's collaboration with Mo Wax Records founder, James Lavelle. Shadow has been quoted as saying, "He's the director and I'm the DJ." What this translates to with Unkle is this: Shadow creates the music while Lavelle brings together other artists such as Radiohead's Thom Yorke, The Verve's Richard Ashcroft, Beastie Boy Mike D., and many others to add vocal and instrumental collaborations. I was able to sit down with DJ Shadow and talk about some of his gear, his approaches to music, and the making of Unkle's new album, Psyence Fiction.

What is your set up like, equipment wise? I'm sure you've been asked many times.

Well, I don't mind talking about it anymore. Mainly, I just use an Akai MPC-3000.

Will you continue to stick with that sampler?

No. I think it's time to move on. When I first started using my MPC-60 Mach II back in early '92 it was so new. No one was using them. Everyone was still so SP-1200, SP- 1200,SP-1200. Now, it's time for something new. I think that when you change your instrument, you change your sound. But, I still want to keep it simple. I don't want to fall into the trap that a lot of producer friends of mine fall into. A lot of people that I look up to make the same mistake. When they are having a hard time making music, they spend a lot of time and energy on getting new gear. They feel that because they are reading manuals, they are working. However, they aren't making anything. It's easy to get caught in a tech trap where you never put anything out, but feel like your new piece of gear is going to put you on the top. My home studio would still fit on a dinner table. Turntables and my 3000.

Did you use the same equipment for Endtroducing and Psyence Fiction?

No. For Unkle I upgraded to the 3000. I made my own album on the MPC-60.

I've heard that you never use computers. Is that true?

The only time I use Pro Tools is for the editing and sequencing of the album. For Unkle, it was just used to de-click some of the really noisy samples. At the very beginning of making the Unkle record, I was feeling very self-conscious. I was hearing all these chops on drum and bass records that I couldn't do on the 3000. I played around with Cubase a little but then I decided that I already had my sound and that I'd stick with it for a while.be inspired, you need to live a little bit."

How much multi-tracking do you do?

Endtroducing was recorded to ADAT because that was all that we could afford back then. The Unkle album was multi-tracked to 2" analog. Jim Abbis did the actual mixing but James and I were there for every minute of it.

What about outboard gear? Any certain pieces that you like a lot?

MORE INTERVIEWS

Hidden Musics
INTERVIEWS · ISSUE #175 · Sep 2026

Hidden Musics

By Ian Brennan

By 2014, I'd already been transitioning for more than five years from working in traditional studios to almost exclusively doing field recordings overseas. As a result, I'd had some success with groups like Tinariwen, Malawi Mouse Boys, and The Good Ones. At that point, the...

Yves Jarvis
INTERVIEWS · ISSUE #175 · Sep 2026

Yves Jarvis

By Geoff Stanfield

Yves Jarvis is the moniker of Canadian musician Jean-Sébastien Yves Jarvis. His latest release, All Cylinders, won Canada’s Polaris Music Prize for best album of 2025, a record on which Jarvis wrote and performed all of the 16 tracks. Made entirely using Audacity and a half-broken...

Joe Boles
INTERVIEWS · ISSUE #175 · Sep 2026

Joe Boles Seattle Recording Pioneer

By Alex Kostelnik

In the mid-1950s, Seattle was host to the little-known music recording legacy of Jay F. "Joe" Boles. A fraction of his discography includes The Ventures, The Wailers, Cab Calloway, Big Jay McNeely, Buck Owens, The Fleetwoods, Robert "Bumps" Blackwell, Ella...

  Rostam Batmanglij
INTERVIEWS · ISSUE #175 · Sep 2026

Rostam Batmanglij Sonic Cinema

By Sam Retzer

Ever since Rostam Batmanglij burst onto the scene as a founding member of Vampire Weekend, he’s been known for his penchant for baroque and leftfield sounds in pop-leaning indie music. Fresh out of college, he handled production for the first three Vampire Weekend albums (Vampire...

Melina Duterte
INTERVIEWS · ISSUE #175 · Sep 2026

Melina Duterte Sharing Curiosity

By Danielle Goldsmith

Melina Duterte began recording her own music armed with little more than a laptop, a budget mic, and a fascination with how records are made. As Jay Som, she crafted a distinctive sound defined by textural, layered guitars, and soft, intimate vocals. Since then, Duterte has expanded...

Oli Jacobs
INTERVIEWS · ISSUE #175 · Sep 2026

Oli Jacobs Friends & Commitment

By Larry Crane

A graduate of the Tonmeister course, a former Head Engineer at Peter Gabriel’s Real World Studios [Tape Op#63], and now an in-demand mixer, engineer, and collaborator with Jack Antonoff and Laura Sisk [#135], Oli Jacobs has had a heck of a career path. He’s worked on records for artists...