When discussing RZA as a marvel of Hip Hop production the template that really shows his depth and range is usually accepted to be his work between 'Enter The Wu-Tang (36 Chambers)' (1993) and 'Wu-Tang Forever' (1997), the two WTC group albums, and the solo albums in between. Those latter projects is what we commonly refer to as the first round of solos, five albums which each offered a unique look into the starring emcee's persona, style and musical preferences - or their respective chamber as the Wu themeselves would call it. The way RZA managed to craft a complete body of work for each individual emcee (that was also distinct from the group projects) which was easily distinguishable from the previous and next projects through their sonic substance and either the samples used or the way they were used. The music created for those albums not only reflected the emcees voices but also a sound which were the musical equivalents of their respective personality. 'Ironman' (1996) is a great example. For Ghostface who always had a strong love for the soul classics of the '60s and '70's, RZA used those type of records as sample souces (Al Green, Jackson 5, The Persuaders, etc.) and took a cleaner and more polished approach to the music than he did for Raekwon's hard hitting, red hot street opera released a year earlier.

RZA and Ghost even invited Force MD's and Delphonics to add their voices to the album and created their own take of a heartfelt soul classic with Mary J. Blige on the autobiographical ' All That I Got Is You'. It's no question that this was clearly Ghostface's chamber, his personal work, and RZA did a marvelous job of tailoring it to suit his musical needs. In contrast compare it with Method Man's 'Tical' (1994) which was all around super grimey, dark and dusty. Layered with unorthodox sounds, heavy drum programming and such heavy low end that the basslines would damn near blow out your speakers (' Biscuits' is a good example), the close-to-scary darkness that surrounded the songs was the musical equivalent of the blunts dipped in honey that Meth supposedly smoked at the time.

Targ reshebnik onlajn sa. Bobby Digital in Stereo is the solo debut studio album by American hip hop recording artist and record producer RZA, of the hip hop group Wu-Tang Clan.It was released on November 24, 1998, and was certified Gold on February 5, 1999, by the Recording Industry Association of America (RIAA).

Each of the albums RZA produced around this time can be described by pointing out their differences, but it's also important to note that despite each album being easily distinguished from the next, RZA also managed to create them in a way that collectively would help create an unmistakable Wu sound - a sound that to this day has never succesfully been re-created by anyone else (despite superb 'interpretations' by people like True Master and Allah Maethematics). I would like to challenge this commonly accepted discourse by making a case for the inclusion of RZA's very own solo debut 'Bobby Digital: In Stereo' (1998) to be considered as a natural part of the aforementioned first round of albums that defined RZA as a producer and built the Wu-Tang brand. In that case it both marks the end of an era as well as the beginnings of a new one, something that can be said for 'Wu-Tang Forever' as well. Coming two years after Ghostface's soulful celebration and embracement of his life, beats and rhymes, RZA went back to his well of inspiration to craft yet another totally individual chamber of sounds within the Wu-Tang pantheon. But this time the resulting body of work would take even the most loyal of followers by surprise as RZA stripped down the majority of what had made him number #1 to the hoards of people who worshippped at his altar - his mastery of creating music from samples. Although his various albums had contained very different styles they all shared the common thread of being sample based music. Around 1996 he had instead begun experimenting with a wide range of keyboards and synthesizers which he dubbed his 'digitized orchestra' while also taking up Western music theory.

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