Grammy-winning Nigerian producer, Udoma Peter Kelvin Amba, otherwise known as Kel-P to Afrobeats fans, is shifting from behind the desk to the front of the stage. The producer has worked with the likes of Burna Boy to Wizkid, generating billions of streams, and is now making a name for himself as a solo artist.
His latest record, Best of Both Worlds, which was released in collaboration with fellow Afrobeats bigwig Wande Coal, is hoped to make a change in which collaboration becomes more commonplace in the genre.
He talks to MusicTech about how his producing background has shaped his approach to vocal work, and his remote studio that allows him to write, record and produce beats while on the go.
You’ve recently stepped into the spotlight as a solo artist, building your career as a producer. How has your time behind the desk informed your approach to being in front of the microphone, and vice versa?
Being a solo artist is great. However, I find it a little bit hard to do certain things in terms of creating content, but when it comes to making the music as an artist, that is always amazing – I love the process way more than making the music as a producer.
Being a producer from the beginning helped me in shaping my sound — it allowed me to develop my music, taught me and gave me direction on how to actually make my own music. So I’m loving it, loving how I approach it, and finally being in front of the mic while also still producing.
You’ve said in previous interviews that becoming a producer was a happenstance. What was the process of learning how to become a producer? How long did it take to develop your signature style?
The process was an interesting one. I was inside of the studio for two years just making beats nonstop, trying new things and creating new beats every day. Doing that just helped me become better, faster and quicker. Right now, I could make a beat in ten minutes because I’ve been doing this for a long time.
I put in the work, and I found my own sound because I love producing Afrobeat so much and as such, I decided to stick to that and develop that as a producer for myself. I guess it was different and unique enough that when the world heard it, they loved it too.
Tell us a bit about your studio.
I just have a mobile setup at the moment. I travel around the world, and so I set up anywhere I am in the world. I don’t have to be in a proper recording studio to actually make music – that’s how I work. However, when I want to have the vocals cut properly, I go to a proper studio.
What’s your latest gear or plugin purchase?
The last thing I purchased was the new FL Studio plugins. It’s crazy, you could just throw in a song, and it pulls out the stems for you to use. I also bought the Waves V9 plugins, which are very good for vocals. It is super worth the mone,y and I love using them.
What’s the best free plugin you own?
I don’t think I own any free plug-ins currently; however, at the early stage of my career, I used to use Purity, Nexus and some of the internal VST plug-ins that come with FL Studio, such as GMA, FL Keys, to create beats. I also used to use the Internal and vocal plug-ins that come with Cubase, such as compressors, the de-esser, and EQ.
What’s been the biggest investment in your career/studio? Was it worth it? Why?
The biggest investment in my career is actually investing in myself as an artist and investing in myself to become a super-producer!
You seem to be constantly on the move, producing in different cities and locations all around the world. What does your setup look like when you’re away from home?
I travel a lot so I just have this mobile studio, which are my LAN monitors, a laptop, an SSL2+ interface and a Neumann mic. It’s nothing crazy and it means I can set up anywhere.
Sometimes I actually go to a proper recording studio and record things properly, but 80% of the time it’s just this mobile studio setup.
One of your biggest hits, One More Night, uses a sample from Dilemma, by Nelly and Kelly Rowland. Where do you find sampling inspiration? How do you make them fit into your style of music?
I grew up listening to early 2000s RnB, so I told myself that I’m going to sample pretty much every one of my favourite songs. Hopefully I get to clear everything – sometimes clearing is so difficult – but I really love that record so much.
How do you see your sound and studio evolving in the next two years?
My sound has already evolved so much over the last few years, and I can’t even explain this until my unreleased music comes out!
When it comes to studios, I’m not too crazy about building one because I’m in different countries, in different places, so I have my mobile equipment and wherever I am. I could always work in any studio in any country, so I’m not worried about building a studio.
However, I may want to change my gear soon, such as a new interface, a new microphone, buy new VST plug-ins, get new programmes, even.
What is one of the biggest lessons you’ve learnt from your career?
One of the biggest things I’ve learnt in life is you’ve got to grow. You can’t stay in one place — growth is necessary. It’s compulsory.
Another lesson is that you gotta put in the work, and once you’re successful, stay humble but don’t be stupid. And also, sometimes you gotta say ‘No’! You don’t have to say ‘Yes’ to everything.
The post Kel P: “I love producing Afrobeat so much. I guess it was unique enough that when the world heard it, they loved it too” appeared first on MusicTech.
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