XTEK OVERLOAD has been an instrumental force in starting and maintaining some of Cali's Central Coast Hip-Hop. From helping other Dj's get started to providing production for emcees (M.C.s) who could not afford studios in the early 90's in the Pre-PC or digital era. Now days recording is much easier, if you know what your doing. With the support of new associates, studio musicians, and most of the original cru. XTEK continues on a quest to provide a positive outlet for the creative, musical, and lyrical expressions,a different brand of Hiphop.

Mixtek Empire was Tek's first experimental project; along with Randy Sifuentes as the altered egos of XTEK (George D) and MR. OLDE/SWIFT (Randy S.). Together they produced more than 10 songs. All this on an analog four-track, along with 2 yamaha samplers, 2 Techniques turntables, an SM58 Shure microphone. All purchased legitimately by working fast food joints, and donations from supporting family members.

As "The Empire", they wrote their own lyrics and learned more about the art of recording. In nineteen-niety and again in1993 at the music deptarment at Santa Barbara City College. In Niety, Tek Overload learned MIDI channel configuration, audio bus optimization, mic placement, and fundamentals of music theory. These few skills went a long way when spending numerous years constantly cooped up in his project studio putting these theories into practice. As the mid to late 90's arrived and personal computers began replacing or adding to analog equipment in the studio, XTEK began planning the next ten years. Ofcourse what you plan and what actually happens and how you opinions change is quite different, therefore your perception due to your human experiences allows reality to show its many sides.

After the Mixtek Boys project, another member Joined. Shaka (Chui Malik), joined Mixtek Empire to form The Lil' Indianz in Nineteen Niety-Two. Again XTEK OVERLOAD provided dollars and thousands of hours to the next project; in order to start doing a few live shows and finalizing demos. The technical limitations situation was improved. A Roland W-30 sampler, and four tracks did not provide professional recordings most of the time but it was more than would have been possible with nothing at all. With the W-30 sampler, it became easier to have all the music pre-writen, arranged, and semi-mixed down. The lyrics we're very time consuming aspect of the early experience of recording. TEK was able to pull-off another very nice demo, although the rest of the group felt that it was ready as a"professional Recording" to become a real album TEK did not feel confident quite yet. X.TEK felt it was better than the the previous project, although the short comings were variables such as, low voltage recordings (did not have the signal contour to always "mach up" on differnet stereos). The signal to noize ratio ranged from bad to almost decent., The vocals we're not too hard to mixdown, although TEK felt that in another year or so, the content and delivery of the lyrics would reach a new level - artistically speaking (everyone was a bit iggity with the rhymes, or a bit gangster in those days - these are just my views and opinons kids.) In comparison from then and now it is the difference between recoring in the late fifties to recording THX in the late seventies.

In Nineteen Niety Two, members of Poetic Justice, DSS and The LIL' Indianz came together to form The Limbz (Outta Limbz or at first The Outter Limitz). This project introduced TEK to the subtleties of dealing with more artists, and more human dynamics than previously (all in the studio at the same time like it was a party). XTEK felt that the cost of running the studio needed to be shared, when replacement or repairs we're needed (this never came to be). It seemed that XTEK was able to deal with artists input from all members and came out with "great" compositions as they were written. The group survived two temporary break -up's and humbleness held the projects and The Limbz together. For a while more with less time in studio over the years, and more sporadic behaviour as time burned on.

Due to the lack of funding and excessively selfish members ( which is more common than not with all rappers). Trying to be the star of the show is the attitude that comes about when members are no longer humble or needy and create unreasonably or severely competative ecosystems. TEK began feeling un-motivated due to feelings between members, and "disrespect" caused XTEK OVERLOAD to avoid sertain situations and further problems. Today, only one artist is in studio with TEK per session. Members must rehearse outside the studio, no more than five takes per verse must encurr; And members who are disrespectful will find their ego's taking them some place outside XTEK's realm. Which is fine, non confrontational methods are essential in this professional industry.

In Nineteen Niety Five, XTEK OVERLOAD began work on The Limbz final demo / first CD Brainchild or Brainchildren. XTEK OVERLOAD, payed about 85% of the cost in order to complete the EP, M.Hayes (Kajmaj's wife) and Kajmaj payed for the manufacturing of about six-hundred CD's. This time, we we're back down to only Three members, and guest appearances by Mr.Noname ( who later became part of The Limbz according to IZE).

In the early phases of a "corporate style hostile takeover" of The Limbz group, orchestrated by IZE, DJ.JRA, and Mr.Noname who seem to feel competition with their own crew was a healthy thing, especially agains XTEK who wanted to keep the group down to KAJMAJ and IZE and himself. Still, at this time, members could not or did not want to pay for studio time. Becoming ultimatly egotistical and slowly wearing thin the aura of motivation that kept them together. XTEK completed the first album in a final rush and made some serious mistakes in the critical final phazes. The group agreed back in '92 to vote on decisions made within the group. Xtek's lists includes: 1.)Completing a project without the necessary buget. 2.) Having two songs not agreed upon by all of the artists. 3.) rushing to meet a sudden deadline. 4.) Mastering was not completed 5.) An E.P. rather than an L.P was made.By this time XTEK was ultimately fed up with the inability of other members to provide more financial assets to the project, and help pay the cost of operations. KAJMAJ, was the only one along with his wife Marissa to provide blank CD's, printing materials, and CD cases in their struggle to achieve this L.P.completed in 1999.

With the begining of a new millenium XTEK found himself fighting to keep his physical health due to stress and having worked in a Toxic industrial environment. In which due to error an accident sprayed multiple gallons of photo-resist on TEK. Photo-resist is a very toxic chemical, used to protect microscopic layers of electro-magnetic components in the manufacturing of hard-drive heads. The reason XTEK worked at this job for 10 months wast purchase a Miranantz CD burner, which was pricey at that time in 1997. Along with a Pioneer CD turntable to be used for instrumental playback during live shows. Thanks to no-one but XTEK's mom, a computer became part of the studio and provided 450 mhz processing power in order to do the final mixdowns on an E-MU sound card.

After XTEK's health was somewhat returned, he found that the hostility towards he for asking for funding from members and according to himself his own feeling of frustration. Becoming at times, irrate and avoiding individuals, and all of the new attitudes had caused a gradual takeover of The Limbz by new members. Other frustrations within the group caused a lack of respect which slowly escalated, This led to TEK no longer providing more than 10% of his energy to this group. He continued to develop the website and help book shows, but gradualy began working with new artists. New artists, as it seems, have a more humble and trully motivated position. Where as TEK found that, as artists see their improvement, they sometimes begin to become egoists and almost schizophrenic which is an extremely shy and egotistical mind; XTEK refers to it as "the super-hero syndrome". This state of mind needs to be dealt with openly and usually this ego-syndrome seems to be stopped if the artist is told exactly what their role is and that such behavior is not permissible in XTEK's groups. Also, cost of operation must be shared equally, therefore the Hardlinerz project has been working out without a hitch.

In the future, professionalism will still be the most fundamental part of recording, with this comes an environment where all people involved are able to maintain a possitive and motivated state of creativity. A few "Hip-Hopers" have misconstued the concept of being responsible and responsive to the studio engineer and basic etiquette. If allowed they will drink, smoke weed, bring un-authorized guests, cause damage to equipment through beligerance and negligence, even tagging up the bathroom, and go as far as to think that costs are going to be run up indefinitely. It is unrealistic to try and pull strings in a studio with the intent to possibly take over the operations of the group, when a group has existed for years without intrusion or perpetration.

It is ultimately, much more productive to continue recording instrumentals, says XTEK. To keep writing the music without obstruction or faulty relationships. In order to proceed as a producer/composer it eventually becomes apparent what is important, and soon one finds that lyrics are not essential, the beats sounding "super-bright", are.