Success by Endurance: Get on Someone’s Radar, Part 1: Louis C.K. and Why You Should Form a Beatmaker-Anchored Group

Build Your Own Platform and Prepare for the Long Haul; True Success Never Comes Instantly

By AMIR SAID (SA'ID)

A few months ago, I heard a story about comic Louis C.K. and his self-distributed one-hour online comedy special, Louis C.K. - Live at the Beacon Theater. At that time, I didn’t have all the details; I hadn’t heard of C.K.’s show until two months after he had initially released it. But as a casual fan of his work, the murmurs and word of mouth about the show peaked my interest. As a DIY advocate, I was also interested in hearing more details about how the show came about. Was it really independently produced and released? Was it really released from his own website? What payment options did he make available to consumers? And, was the show a success or not?

Several weeks ago, I read a mention on Twitter of an interview that Louis C.K. did on the talk show “Fresh Air”. This lead me to hit up the “Fresh Air” website. There, I did a quick search of “Louis C.K.”, and the results yielded a link to his his interview, which was available for instant listening and on podcast. In the interview, C.K. confirmed that he produced the special with his own money, edited it entirely, and released it independently from his own website. In exchange for two streams and two downloads of the unencrypted, high-definition show, fans were asked to pay just $5 directly to him via PayPal. C.K. explained that he went this route because he wanted to see if releasing a video of himself could make money. But he also revealed that TV comedy specials he had done in the past had netted him no money at all. “I've never seen a check from a [TV] comedy special,” he says in his interview with Terry Gross, host of “Fresh Air”. Clearly, he went this route also because he wanted to eliminate the middle man, no? Finally, C.K. expressed that the project was a success, revealing that he “made all of his money back and then some.”

Now, here, I want to make a couple of points of context—about the anatomy of a sale—before I go on:

• Louis C.K. independently released Louis C.K. - Live at the Beacon Theater in early December, 2011. It got on my radar in February, 2012, nearly two months later—not the first week of its release.

• I first heard mention—word of mouth—of Louis C.K.’s special on Twitter, not a paid advertisement on television or radio.

• Because Louis C.K. was already on my radar, when I heard that he had a new special, I was interested in learning more.

• I was able to learn more about Louis C.K.’s special by tuning into an archived episode of the talk show “Fresh Air”, a show that is heavy on my radar.

• After listening to Louis C.K.’s interview on “Fresh Air”, I wanted to purchase his special, which I did less than 24hours of listening to the interview.

O.K., end of context…

It’s important to note that the way in which Louis C.K. rolled out his special exemplifies, in both broad and specific ways, how music projects are now sold. Although, the instant-hit, first-week sales paradigm is certainly still in play, most music releases, especially those from independent recording artists, make their sales over an extended period of time. This difference is in how core fans and casual fans of large and smaller acts make purchases. For big, major label backed releases, there’s typically a large push to attract both the core fan and the casual fan alike within the first week of release. In these cases, first-week sales (good or bad) often narrate the level of success (or failure) of the music release.

For smaller, independent releases, first-week sales aren’t as critical. For one thing, core fans of independent artists don’t always go for the first-week sales crunch. Because they already have a fluid connection with the artist, they maintain an unwritten revolving commitment to buy the releases. This revolving commitment is understood to mean that the fan may not buy the album in the first week or even the first month of it’s release, but that he or she will indeed buy the album at some point, usually within the first 6 months of the release or sometimes longer. Also, because smaller, independent artists lack a major national/international marketing and promotion push, the rate of casual fan discovery takes longer for them.

While bigger, major label-backed artists rely on a heavy push for their releases, most smaller, independent artists simply build something that they trust (or hope) people will gravitate to. In other words, smarter independent artists know how to follow the maxim, “Build it, and they will come”.

Louis C.K. followed this maxim. He built his brand and offered a project directly to his fans, and they came. He didn’t wait for approval or validation; he just built it! With his own imagination, wherewithal, and money, he put together his comedy special and released it to the world on his website. I’m not sure how much emphasis C.K. placed on first-week sales. I know he did some press in the weeks leading up to the release, but that was minimal, and it was certainly not a 4-month, full court marketing blitz. Either way, I get the feeling that he knew that his "Beacon Theater" project was the sort of thing that would scale over time.

The Radar: Why Most Music Releases Scale Better Over Time

Right now, there's so much music, so much information in general, that one can hardly find the time to get through new releases in a year, let alone the first week it drops. In fact, when you think about it, in an age of ultra accessibility, the idea of buying or listening to music projects in the first week of their release is an antiquated practice that has outlived its usefulness.

I don’t know about you, but throughout the year, I find myself playing catch up. Each month, I miss a number of potential great releases, not because of a lack of interest but because of the overwhelming amount of releases. Add to that the sheer amount of noise that's tossed around, and the task of keeping up with new music becomes even more daunting. But that’s the problem. Discovering great music shouldn’t be about keeping up with mounting release dates; discovering great music shouldn't be a task. Discovering great music should be an enjoyable, rewarding journey. And I’ve found that the only “new” music that I can check is the music that makes it on to my radar. (Louis C.K. made it on to my comedy radar more than four years ago, yet I only recently purchased something from him.)

I circle back to the "new" music that stays on my radar with a strong signal. For me, and I suspect many others, hearing music as soon as it's released is less important than hearing it at all. With more choice than ever before, I can tune into “new” music on my schedule, not the arbitrary release schedule of 10s of thousands of different artists. So for me, and I believe most others as well, the probability of me hearing “new” music and buying it (or something else from the artist) depends on whether or not the music/artist can get a strong signal on my radar. The greater the signal on my radar, the more likely I will purchase…eventually.

The Instant Success Problem; the Similarities Between Comics and Beatmakers; and Why Forming Groups Might Be the Best Way to Go

There is no such thing as instant success. Peel back the curtains on any success story, and what you’ll find is a more humbling set of facts. Everything from arduous practice hours, to tons of money spent (and lost), to creative failures, to opportunities that fell through, to lost and made business connections; it’s all there behind the curtain of instant success.

Louis C.K.’s story, like most comics, is a story of endurance. Countless hours of practice (writing bits and honing his style). Long and late nights. Numerous dead-end gigs. False-starts. Rejections. You name it, he’s gone through it. And through it all, like other comic success stories, he carved out a lane for himself—his FX show, Louie and his aforementioned comedy special being the most recent testaments to that fact.

There are plenty of stand-up comics chasing after success. For most of them, the idea of success is divided up into a series of reachable plateaus—develop your own style and type of bits; get noticed; earn a following; get noticed again by “TV people”; get a TV special; land a writing gig; land a television show. Of course, the order of some of these plateaus could be rearranged, but you get the picture.

Like stand-up comics, there are loads of beatmakers. And, like comics, serious beatmakers spend countless hours practicing, studying, and developing their craft. Beatmakers drop long, late nights without a second thought. We optimistically field dead-in beat sale offers and collaboration work that never takes off. We absorb false career starts and fast-talking music insiders and posers. And we endure rejections on a multitude of levels. Yet with all of this, why is it that most beatmakers fail to simply carve out their own lane?

The main reason is that most don’t even try to carve out their own lane. Why? Well, that’s easy to figure out. You see, in beatmaking, the idea of success—that most beatmakers envision—centers around two things: a beat placement or a beat sale. For nearly two decades now, the dream of landing coveted placements has given off the illusion that all one needs to do is make a beat (quality debatable), get it placed, and success instantly follows. In lieu of successful beat placements, a number of beatmakers have turned their focus to selling and leasing beats at unprofessionally low prices, often dragging down their brand and profile rather than raising it. (Check out, “Don’t Market Your Beats Like a Pack of Cheap Steak Knives”) Finally, a small number of other beatmakers have gotten into music licensing, but that’s a different article. But what you haven’t seen much of, however, and what I strongly advocate for, is beatmakers forming groups.

The music business is certainly different than the comedy business. Hundreds of comedy clubs exist all over America. There aren’t any beat clubs. And stand-up comedy, like the movies or a sports match, or a music concert, is an event that people pay money to go out and see or watch at home on the tube. Beatmaking, by itself, can’t make such a claim. Live beat showcases and battles don’t move the needle much at all. Those events, the best of which sometimes tout acclaimed A&Rs and “celebrity” beatmakers as judges and offer some level of placement/career assistance, are usually populated by some music insiders but mostly by the participants and their friends and family. In other words, these aren’t shows in the traditional sense; those beatmakers who participate are not being paid. In fact, in some showcases, they’re actually paying the showcase organizers to participate. A legitimate investment for some beatmakers, no doubt. But what if beatmakers just formed groups (or became solo rap acts) and bypassed the song and dance of beat showcases and the precarious world of beat placements?

Two years ago, I took in a show during the 2010 CMJ Showcase here in New York. Among those on the bill who I had come to see (and would have paid for, had I not been comped at the door with a press pass, thanks to Michelle over at Audible Treats) was Diamond District and Nottz. Formed by Oddisee, a beatmaker (producer)/rapper, Diamond District is made up of solo rappers XO and YU. And Nottz, one of the most prolific beatmakers (producers) to date, rocks solo. Both performances were worth the attendance (Diamond District’s set was especially impressive). More importantly, both acts proved the point that I’ve been making for years—That beatmakers could form rap acts and put themselves on.

Rather than limit the idea of success to placing beats with artists (which often attracts unnecessary middle men), or selling beats for less than their true value, beatmakers should expand their focus to include building new music groups. As a basis for success in beatmaking, beat placements are, for the most part, not sustainable. Being a part of your own group, with control of your music and direction, presents a much better chance for career sustainability than chasing after beat placements. Oddisee’s CMJ showcase and other tour opportunities over the past several years are proof of this.

There is, and will always be, room for a dope new act. Music consumers thrive on a fresh slate of new music. And there’s never been more music consumers in the world than there is at this moment. So instead of tossing your best beats into a bottomless pool of other beat placement chasers, why not use them to start a new act? A new act that you’re a central part of, not a marginal character. What’s the worse thing that can happen? A few show/tour dates and some record sales? Either way, whether you build a new group or create a series of beat tapes, the idea is to build something of your own, then get on someone’s radar. If you do so, eventually the success will come.

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The BeatTips Manual by Sa'id.
"The most trusted source for information on beatmaking and hip hop/rap music education."

BeatTips Tutorial: Making Arrangement "Changes" in Beatmaking

"Changes" in Beatmaking Often Run Parallel to Other Popular Forms of Music

By AMIR SAID (SA'ID)

One of the greatest things about hip hop/rap music is the fact that, as much as it is different from other popular music forms, it still employs some of the fundamental practices of those forms. Perhaps there is no better example of this than in the area of arrangement.

Hip hop/rap music is steadfastly based on the groove, more specifically, the loop of a groove. So the prospect of adding in changes (commonly known as "switch-ups" in beatmaking) is sometimes challenging. However, with a number of basic guidelines for adding in changes to your arrangements, you'll likely find that it's not as difficult as you might think. In the tutorial below, I have included a number of basic (but key) guidelines that I follow when I add in changes to an arrangement.

(1) What kind of rhyme and rhyme voice will go with the beat?

After you've established the main groove of a beat, let it play for a while. Do this for one main reason: You want to really think about what kind of rhyme and rhyme "voice" would go well with the beat. Figuring out what sort of rhyme and rhyme voice would match up well with the beat helps you determine if the beat needs any changes. Remember, even mix drops (track solos, mutes) can serve as effective changes. And sometimes, once you've established a great groove, you might not need to add any changes.

(2) Is the arrangement of the beat sample-based or non-sampled-based?

Sample-based beats often allow for fewer and less-complex changes, because of there more strict adherence to the groove. Overly complex changes in sample-based beats tend to cause too much distraction throughout the beat. On the other hand, non-sample-based beats typically allow more room for changes. But that doesn't necessarily mean that this "room" must always be filled up. Changes need not simply occupy space; instead they should exist to serve some purpose in the beat; e.g. to show contrast, for tension or release, etc.

(3) What sort of changes could the beat handle? minor (e.g. an slight embellishment) or major ones (e.g. an main transition or a broad "switch-up")? And how long should they be?

Having determined that the beat could indeed use a change(s), the next thing you want to assess is what kind of change would work best with the beat. Different types of changes can be added to a beat, but just like with other popular forms of music, the most common change is an embellishment. Embellishment typically refers to embellishing (decorating) of a melody. This applies in beatmaking and hip hop/rap music as well; however, because of the "looped groove" dimension in hip hop/rap music, it is the groove—riffs and melodies locked in a rhythm—that is most often decorated. Thus, for our purposes here, think of an embellishment as just any musical component(s) that decorates the main groove or any aspect of the rhythm of the beat.

A "switch-up" in beatmaking can be a much more elaborate affair. Unlike an embellishment, which more often than not is simply a musical element based on something already present in the beat, a "switch-up" is often an independent musical phrase, one that isn't based on something already in the beat, like the main groove.

As far as how long a change and/or switch-up should be, well, each beatmaker is different. That being said, a length of 1-4 bars will be quite effective. If you need more, just duplicate the changes you created and take out or add an additional element to it; you can even program drops (track solos and mutes) here as well.

(4) Where should you add the changes in at?

Typically, for embellishments, it's a good idea to work them in the chorus (the hook) and near the beginning of the second verse—the second pass (the second installment of 8-, 12-, or 16-bars) of the main groove. But there aren't any hard rules; you can work in changes wherever you like. Just be mindful of whether or not a rapper will be able to effectively rhyme over these changes.

(5) How many times should you add these changes?

Generally, if you add your changes in too much, that is to say, on every pass (8-, 12-, 16-bars), the beat may sound cluttered, overworked, or too complicated. But again, this is a guide. And even though there aren't any hard rules that you have to subscribe to, do bear in mind that too many changes can disrupt continuity and undermine the feel of a beat.

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The BeatTips Manual by Sa'id.
"The most trusted source for information on beatmaking and hip hop/rap music education."

When and How to Use Time Stretch or Pitch Shifting

Clarity on Oft-Misunderstood Timing Concepts

By CASTRO BEATS and AMIR SAID (SA'ID)

In a TBC (The BeatTips Community) thread about drums, core TBC member Castro Beats offered up a great breakdown of the differences between Time Stretch and Pitch Shifting. Below is Castro's post, followed by my reply.
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I personally use Time Stretch when I'm doing Post production work (sound FX for movies) because it helps keep timing/pitch, but that's the only time I really use time stretch/elastic audio. My "time stretching" is typically done on the MPC by Up pitching or down pitching whatever I have on the pads to meet a certain length or just change the sound. The only difference is that this isn't really time stretching because it speeds up or slows down what you pitch. In Pro Tools/Cubase nowadays they have things like elastic audio, so you can create warp points (just like Recycle/Ableton) and it is able to adjust the loop to the tempo you set without changing the pitch. Depending on how far you go up or down with the tempo, the loop you're stretching could sound right or real choppy. You might apply the elastic audio rhythm to a track in pro tools and be very pleased, till you pull the tempo down far enough that the kick happens then a second later the hi-hat etc.

Now that that's explained, (I did so so everyone can understand what the difference is between time stretch and pitch shifting), Recycle has a similar but different style of time stretch. It's more of "expanding the tails of your slices" then time stretching, because when you throw a sample in Recycle and create slice point and put it into a program like Reason, it uses the now longer tails to compensate for tempo adjustments. It doesn't change the pitch it just helps match for timing in the event that you do alter the tempo. I only use that for two reasons, 1) corrective 2) the extended tail sound is cool. I personally want to hear the pitch alter the speed of the sample in most cases, not necessarily keep it at it's original tempo. The flip side of the time stretch is that it works the other way too. Instead of stretching the tails, you can make the slices super tight by shortening the decay and turning the stretch to 0%. If you play the whole loop it will sound choppy, but the individual hits will sound on point.

The way the MPC pitch shifts is great because if you have ever tried to do this in pro tools, you know that you can only go so far or do it so much before the sound is now destroyed and riddled with artifacts. The MPC and programs like SoundHack do some of the illest pitch shifting handsdown, and that is how I handle my drums to fit. I have used elastic audio/warp point features before for samples and other things, but it's more in moderation then anything else. I don't like the idea of the tempo controlling the sample/sound like Patch Phrases. That is a really good feature, the Patch Phrasing on the MPC, but it's only really useful when using the whole loop, something I don't typically do. On the MPC I can pitch something down by -36 and be able to use it without it syncing to tempo. As far as making it sound unnatural, yes and no. If you timestretch then you can get it to sound like that same loop is being played at a slower/faster tempo. Which up to a certain point will sound very natural. But when you pitch shift, things can be slightly bigger/smaller hit depending on +/- pitch. If you do it excessively it can become a whole new sound which is something I totally support doing. I feel that Pitch Shifting should be applied to slices, and time stretching to loops. If you're looking for natural you might as well sample an actual drum kit. Since I actually mic'd up a drum kit and did that, I can tell first hand that while those "real" drum sounds are great, specifically the smaller percussion (tambs, hats etc), it can become real "Eagles" sounding. Not much character, but definitely it's own sound.

In short, there is a huge difference in time stretching and pitch shifting. I like to pitch shift for creative purposes, and time stretch for corrective purposes. At present I am good enough at chopping samples that time stretching is just a "dusty tool" in the toolbox as I find slicing/pitch shifting more effective for what I am doing.
—Castro Beats
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Here's my reply

Castro,

Excellent breakdown! Bravo!!!
I particularly like your explanation for when, how, and why you use pitch shift and time stretch: "...pitch shift for creative purposes, and time stretch for corrective purposes;" and "Pitch Shifting should be applied to slices, and time stretching to loops."

I certainly see the advantages to this approach. I'm sure that you probably even have found some ways to use time stretch creatively as well...
For me, I've practically never used time stretch on loops. I have, however, used it on various sounds that I wanted to elongate and sustain, but that's about it.

One reason that I try to avoid time stretch, and instead rely more on tempo, is because of control. Part of my approach—especially when it comes to sequencing and arranging—is to try and *control* all of the musical elements that I use, in a way that encourages me to rely on my DJ background. Time stretch is certainly a great tool, and you're are absolutely right, as far as correction goes, it can smooth out sound flaws and time issues.

When I went through my experimental phase with time stretch, I learned how to drag faster tempos and push (shuffle) slower tempos. However, I also soon figured out how to do the exact same thing, by doing things like modifying the tempo; re-recording certain sections of the drum framework with timing correct turned off; inserting elongated sound-stabs where the timing wasn't quite right, etc.

Thing is, I never want my drums to sound perfect, I just want them to move and feel the way I envision. Also, I should mention that at the time when I was experimenting with time stretch, I didn't know if I was on the right course or not. I just knew that I didn't like relying on time stretch as some others did. Then I spoke to DJ Premier about it, and he told me the instances in which he liked to used time stretch. Since I was already using it similar to how he described his use of it, I continued my move away from it, as my drum frameworks had already taken on the sort of swing and shuffle that I like. Even still, if I'm making a beat and I believe that time-stretching something will be useful, I won't hesitate to rock with it.

—Sa'id

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The BeatTips Manual by Sa'id.
"The most trusted source for information on beatmaking and hip hop/rap music education."

BeatTips.com Beat Battle, January 2012 Winner Announced

Upright Edges Out Uhohbeats in Tightly Contested Battle

By AMIR SAID (SA'ID)

The winner: Upright - "Bear Fruit"

Here's the January, 2012 BeatTips.com Beat Battle breakdown. You can also read it in TBC at: Winner of the January 2012 BeatTips.com Beat Battle Is...
And you can hear all of the beats for January 2012's battle here: BeatTips.com Beat Battle, January 2012

Upright - "Bear Fruit"

One of the most sinister, all-around dope beats that I’ve ever heard… It’s dark, eery, rambunctious, and hypnotic. It’s mysterious and yet hauntingly familiar. This beat makes a powerful statement…

The first thing that hit me about this masterfully crafted beat was the swing. On my first listen, of course I heard the bass part (I address that below), but it was the swing of this joint that grabbed me. Not only could I feel the swing, I could hear it. It tumbled and shuffled along with an emphatic, menacing, decadent arrogance (and, man, how hip hop is that?); I felt like it was taunting me and daring me to try to rhyme to it… Excellent room for various rap styles.

And dig the arrangement of this joint:
Two slow-dragging harmony lines that feature a progression that dissolves more than anything else; combined with warped, wavy, wobbling bass stabs—absolutely fantastic! Then the drumwork is flawless, no missteps whatsoever. Each sound—from the silhouette-heavy hi-hat to the tuck-punch snare to the straight forward and clear kick—is a spot-on match for the feel created by the aforementioned harmony chords and bass part arrangement. The tom fill, which is totally unexpected, works as a magnetic change that keeps the listener—more importantly, the lyricist—on his or her toes. I dig the use of toms in any capacity, and Upright’s choice to let their velocity speak rather than tuck them in the mix demonstrates his deep understanding of a drum element many beatmakers often get wrong. Finally, the placement and limited occurrence of the open hi-hat shows great discipline on your part. As I listened to and studied this beat, I wondered if you at first had the open hi-hat running more regularly throughout. If you did, your removal of it exemplifies another important quality of a master beatmaker—knowing how to revise, i.e. knowing what to remove and where and when to remove it.

One more thing: That “Something terrible has happened” vocal sample at the :41 mark is just a beautiful touch.

2nd Place:
Uhohbeats - "Lost in My Own Mind"

First impressions: All around good feeling soulful beat with extraordinarily tight construction. Uhoh, this level of construction has become a staple feature of your beats. I should add that with this beat, your understanding of how to flip and merge different parts of the primary source material has greatly improved (and note, your skill with this was already on an advanced level before).

This beat conveys a sure-minded composition. In that I mean, you fully committed to the direction that you wanted to go in. There are no wasted parts or changes that don’t belong. Instead, everything works; every element flows (effortlessly) with the next. The drums are sick (as usual). The salt-n-pepper shaker hi-hat pattern is perfect—it’s velvet hardcore brush taps give the framework a dope shuffle. Then, on the main breakdown, the hi-hat pattern switches up to a sparse staccato pattern—brilliant programming!

This beat battled it out for first place—for four days straight! It’s a perfect beat in every way…. Just as I did with Upright’s beat, I considered everything from which rappers would sound dope on it, to what feeling it conveyed, to the nature of the composition; I even considered what type of episode of the shows “Entourage” and “Californication” this beat would serve as a perfect ending for! In the end, it came down to feeling. One beat was smooth, sharp, and deadly; the other was raw, sharp, and deadly. In other words, they were both sharp and deadly, but the raw slightly edged out the smooth.

3rd Place:
BrandonF42088 - "RobinJonez"

This is slick-funk, 2am, slow-roast shit. (Damn if it didn’t taunt me into rhymin’.) So subtle, so smooth. I really dig this soulful, spine-crawling type of beatwork. It offers great space for dope lyrical word play and inspired flow. Another thing that I really like about this beat is that you immediately get it; you immediately knod your head to it; it sticks with you.

SPECIAL AWARDS
Segundo Award for Consistency and Contribution

DC - "Gorge"
Your beats have their own distinct sound, style, and quality to them. And with this beat, you demonstrate how to be creative while staying squarely in your own zone. I dig the drums, especially the heavy rolls. And the change at the :57 mark gave this joint a dimension of urgency.

I get the feeling that you’ve moved into a creative space where you deliberately make beats that can be used both as stand-alone instrumentals and for rappers. No doubt this is due to your burgeoning success on the licensing market. Only thing that I would caution is that as you do gain more success in licensing, do not forget about making joints specifically for cats to rap to. Your arsenal is deep and always polished; I’d hate to see your sound lose some of its hunger and rawness.

The DJ Pas Rhyme Award for the Beat that Made Me Write a Rhyme to It (All New Award!)

DJ Pas – “Light Pas"

Immediately drew me in. Halfway through my first listen, I stopped the beat, began it again, and started writing a rhyme to it. I dig the break; I dig the simplicity of it; I dig how the drums trail the sample, how they’re not locked completely on top. That style is reminiscent of Marley Marl’s early drumwork.

Because I was so inspired to immediately write a rhyme to this joint, I had to create a new award and name it in your honor.

Get Paid With Heart Award for the #1 Crossover Joint that Still Pays Homage to the Beatmaking Craft
There’s a tie: between Castro Beats – “Daggers” and Influence1210 – “Getting It Together”

Castro Beats - "Daggers"

Castro, you’re quite the methodicalist. I hear a focused experimentation in all of your beats. This is good because even with all of your experimentation, there are always signs that you know where you’re trying to go with a particular beat. On this beat, there are a collage of different things happening. In a fundamental way, this beat puts you in the mind of a Hank Shocklee and the Bomb Squad beat. Only your construction here works in some of today’s synth themes; and it does so in a way that gives this beat a decadent balance. This beat is certainly not for a weak lyricist or a rapper with a shallow voice. It’s imposing and the balance of sounds gives it a weight that only the most self-assured and lyrically agile rapper could handle. (Ay, yo, wait a minute. I should rock on this beat, come to think of it…)

Influence1210 – “Getting It Together”
Superb!
Influence1210, your musicality is immediately and absolutely apparent. In fact, this is a brilliant piece of work; I was immensely impressed. However, this joint doesn’t fall squarely in the hip hop/rap side of things. Could someone rap over it? Certainly. But it has a more “urban dance/pop” feel to it. Is that a bad thing? Absolutely not. Like I said, this beat is superb. For its design and scope, it’s everything it should be. But for me, it even goes beyond that because it doesn’t just mimic an urban dance tune, it delivers a unique punch and feel, something that certainly pays homage to the art of beatmaking.

TBC Most Improved Award
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Honorable Mentions:

SC-Beatz – “The Street Tip”
Again SC you return with a beat that showcases your usual shine and polish. However, the transition at the :56 mark takes this beat to new heights of SC-Beatz-craftsmanship. To be certain, this is more of an orchestral style composition. But it doesn’t have the clunkiness or coldness that you often find with that style.

One thing I should point out is that this beat is so grand that it would be better served for a film score. As a beat to rhyme to? Not so much.

Krazyfingaz – “Asylum”
Solid. This was some gothic, netherworld shit with a boom-bap underpinning. This beat has a lot of angst to it, which is good because it gives it an edge. The drums keep the sound scope together.

Greenmonstermuzik – “If You See Me”
Nice flip of a well-known classic song. The embellishments are dope; drums dope; and the bounce on this joint is crazy. Ghostface would destroy this beat!

Jtnonefive – “Crazy”
This beat displays a RZA, Wu-Tang Clan influence. The framework locks in from go! Get a rapper on with a devastating flow and you’ll have an ill song.

NOTES.

Jerz-E-Ric – “By Any Means”

This beat has a stadium-level weight to it, a sound and feel that would serve well even a less experienced MC. Decent, polished construction from start to finish. But two notes that I want to make: (1) This beat sounds “safe”, it’s like a run of the mill “beat battle” beat, the kind you regularly hear on the live beat battle and beat showcase circuits. Not necessarily any flaws, but on the other hand, there aren’t any chances being taken here, which ultimately leaves the beat less interesting and soulless. (For comparison, check Castro’s beat. It’s interesting, it’s pushing towards its own uniqueness.) And (2) Although this beat does stand on its own merits, particularly with the inclusion of the guitar work, it exemplifies the Just Blaze-bread “big drums” style and sound.

Mike Millz (The Beatsmith) – “Midnight Madness”
Nice mood and sound scope. This joint is laid back, too laid back. It has no “teeth” to it. The kick is dramatically understated; if it had been more forceful or even louder in the mix, the entire beat would have presented differently. Also, the snare sounds like it wants to be opened up and let out.

MelloKid – “ K echo”
Straight forward boom bap. The Bass part is one event/note too many. Stay out of your own way with one too many bass-stabs. The drums are on point, but let the drum framework and the main sample work for you.

Chazz Sweet – “Indian Girl”
The sitar pokes out at you too much, if you’re considering this beat for a rapper. But for background in a movie, for example an establishing shot for a locale switch, sure, this beat works great. Also, the overall structure of this beat echoes a Dr. Dre/Mike Elizondo number. But their production always has a very tight rhythm to it, and it never carries needless embellishments.

Your synth work (chords) are very much on point! As a beat for a film score, “Indian Girl” is excellent as is. But as a beat for a rhyme, the sitar is not needed; in fact, it doesn’t help at all.

(With regard to the sitar “poking out”, listen to 2 Legit Productions beat, “Long Haul”. Notice how subdued the guitar is.)

The Beat Pharmacy – “Valley of Centuries”
Drums are dope, nice sound to them. Overall, the beat is decent (transitions are excellent), but it doesn’t grab you. And like several other beats in this battle, this joint might be better suited for a film/television score. If you already haven’t, you should look into licensing.

Donproductionsbeatz – “Nightmare”
First impression: It sounds like a “beat battle” beat—the kind you routinely hear now in on the live beat battle circuit. In particular, I hear the bright, “big drums” trend that’s beginning to dominate the live beat showcase circuit.

There’s room enough for a rapper to do something with this joint. But it comes off as if the idea of a rapper on it was a second thought to you. Also, even though this beat is fairly decent, it appears that you’ve either lost or abandoned the soulful quality that used to figure into your beats. Don P, that’s not a good thing... In fact, this beat sounds labored, not so much natural and distinctly original, more like an attempt at an well-established template. Although you’re able to pull it off to a commendable degree (I’m sure there will be those who dig this joint), it sounds more manufactured than created.

Final thoughts.

This was by far the hardest BeatTips.com Beat Battle to judge… The celebration of the art of beatmaking was so much in effect that it was difficult for me to pick one clear winner. In previous battles, contention for the top spot typically came down to a choice of two. But in this battle, on my initial passes through everyone’s beats, there were at least five beats in contention for the top spot. (The range of beats was incredibly encouraging to hear!) This is a major testament to the level and quality of our community. I’m convinced that in the near future, our battle will be the most important and sought after online.

Finally, I want to welcome all of the new members to TBC! Our ranks are growing, we’re getting stronger, and our collective voice is going to make a difference…watch!

One more note: The BeatTips.com Beat Battle is for BeatTips.com subscribers and TBC members only. If you have not subscribed to BeatTips.com, please do so before the next battle begins. You can subscribe to BeatTips.com by clicking on the “Get email updates” button near the top right, just beneath the menu bar. TBC members who are not subscribed to BeatTips.com will not be able to participate in future BeatTips.com Beat Battles.

The February BeatTips.com Beat Battle will begin on Friday, February 17, 2012!!!

Congratulations to Upright
Upright email me at: [email]beattips@gmail.com[/email], include your full name and complete address for where you’d like your book delivered. Also, include a pic so I can feature you on the home page of BeatTips.com, and a phone number to where you can be reached at for your interview feature.

—Sa'id

Different Ways to Humanize Your Drums in Beatmaking

Maintaining a "Real Drummer” Feel in a Programming Environment

By AMIR SAID (SA'ID)

Drums in hip hop/rap music are, more often than not, out in front. That is to say, they are typically arranged and recorded as a feature of the song, and placed prominently in the mix. But while most beatmakers grasp this common theme in beatmaking, many execute the practice in a way that makes their drums sound less human and more artificial.

Because most beats are a blend of various drum sounds from any number of sound sources (vinyl records, drum sound packs, .wav files, etc.), I've always believed that much of the value and weight of a beat depends on the "human touch" of the drums. Even though we operate in a programming environment using a palette of sampled and synthetic drum sounds, we can still humanize our drums and maintain some level of a "real drummer" feel. Below are two of the methods that I use to humanize my drums and give them that real feel.

Simple Drum Frameworks
The easiest and perhaps most effective way to humanize your drums and maintain a more "real drummer" feel is to use more simplified, straight-forward drum frameworks. Overly complex or busy drum patterns not only undermine the feel, texture, and scope of a beat, they also create distractions for rappers. Simplified drum frameworks and solid, non-distracting drum patterns are in league with a "real drummer" feel because such frameworks and patterns correlate with the physical limitations of a human drummer.

Still, I never overlook the fact that beatmaking, despite some of its live characteristics, is a programmable medium. And such, there are drum frameworks (specifically, sub-patterns) that can be created in beatmaking that can not be matched by a human drummer in a traditional setting. But even those drum patterns that go beyond human limitations can still be made to have a more humanized touch and a "real drummer" feel. In fact, my most complex drum schemes are really just combinations of smaller, simplified drum patterns arranged in a straight-forward scheme.

Velocity/Pedal

I rarely make a beat without manipulating the velocity level of my drum sounds. Although I may initially program/record my drums at the full velocity level, I always go back and randomly decrease the levels of each drum sound (kick, snare, hat). Note: I typically keep variation of the velocity level of my kicks to a minimum, but for my snares and especially my hats, I tend to explore variation of the velocity level. In fact, sometimes after I've created a drum pattern, I'll replay the snare and hats part with the velocity "full level" (Akai MPC 4000) off. This assures that the velocity levels will be random, and, therefore, more humanized.

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The BeatTips Manual by Sa'id.
"The most trusted source for information on beatmaking and hip hop/rap music education."

BeatTips Tutorials: Creating a Section Contrast

An Example of How to Build a Section Contrast

By AMIR SAID (SA'ID)

I was asked by a BeatTips reader to give an example of how a "section contrast" (something I describe on page 129 in The BeatTips Manual) is done. Below is my answer.

What I discuss in that part of my book is how changes or "switch-ups" of sections (e.g. verse section, chorus section, etc.) can be created to show change, even though they're still quite similar. These changes can be subtle and brief, or they can be quite noticeable and prolonged. In either case, a section contrast takes place when a section contrasts with another section but still moves with a similar movement, keeping the "color" and fullness of the section in tact while the "brightness" adjusts. In other words, even though a change actually takes place, everything sounds fluid like one balanced composite.

I've included a beat of mine to give you an example of how this works. In the beat below, the main section is built around a three-note violin riff—this riff is the heart of the entire track; I designed everything in deference to this riff. Then there's an alternating three-note bass part or bass line. And there's an electric guitar stab that lands on the "4", the "8", the "12", the "16", and so on (NOTICE: the clap is always on the "2", the "4", etc. But the guitar stab lands on every other clap).

After the main section, at the 0:20, I slip in a drum fill (a minor change in and of itself) to announce a change, but not to pull too far away. This change, which is a guitar riff that's 3/4's of a bar long, is used to show a contrast to what was already established in the main section—but notice that even though it's a change, it moves with a similar feel with what has already been established. Think of adjusting the contrast on a photo, how just the right value of contrast gives the right balance to the entire image. Using this analogy, I see changes in a beat as degrees of brightness and color. Therefore, I'm always concerned with how to distinguish sounds and sections from one another while maintaining continuity. And often, it is the adjustment of "contrast", that is to say, the level and type of change, that I focus on to make the color of one section less or more brighter.

This "section contrast" concept is not only my own way of approaching the "color" and feel of of a beat, it's also my way of looking at how and when changes should (or shouldn't) be added, and to what degree changes should be built out. Thus, for me, this concept plays a big role in how I compose my beats. And it applies to when I'm making a sample-based beat, just as much as it does when I'm making a synthetic-sounds-based (i.e. live instrumentation with synthetic sounds) beat.

*Beat Note: I played the violin, bass violin, and guitar parts on my Roland Fantom S88 keyboard workstation. Then I sampled everything—each phrase and riff separately—into my Akai MPC 4000. Then I used the MPC 4000 for my drums as well as to sequence everything. Thus, even though this is a *live instrumentation* joint, I still used the sampling approach and aesthetic to achieve the sound and feel that I wanted.

The music below is presented here for the purpose of scholarship

Sa'id - "Listen Up" (instrumental)

BeatTips MusicStudy: Elvis Helped Me Become a Better Beatmaker

Homage to Black American Music Tradition: Part of the Secret to Elvis' Success

By AMIR SAID (SA'ID)

For the better part of the last 15 years, I've encountered people who either adore Elvis or hate him. This has always struck me as an odd scheme of understanding. I mean, how and why can one individual cause so much polarization? Of course, you never hear anyone say (publicly at least) that they hate The Beatles. And at last count, Michael Jackson's album, Thriller, still seems to draw favorable consensus. So what is it about Elvis that causes such disdain, especially among purveyors of hip hop/rap music?

Maybe it's because Chuck D declared him a racist two decades ago; remember the Public Enemy song "Fight the Power," where he Chuck D rhymes: "Elvis was a hero to most/But he never meant shit to me you see Straight up racist that sucker was
Simple and plain..." Or perhaps the disdain for Elvis by some in hip hop/rap stems from the misperception of Elvis as some sort of "culture vulture," who stole his sound from black American musicians in the Mississippi Delta. Wrong! That's a bogus argument even on the face of it. Less one forgets (or doesn't know), Elvis is from the Mississippi Delta. Therefore, he has as much a native claim to any and all musical developments that occurred there as anyone else who was born and raised in the region. Moreover, it's been widely reported that the teenage Elvis spent considerable amounts of time taking in the blues scene of Memphis' Beale Street. Add to that the fact that he grew up listening to the regional radio stations like Memphis' WDIA, the nation's first radio station to feature an all-black format and on-air staff (1949). (Stations like WDIA played what was then known as "race records.") So by all serious accounts, it's rather obvious what Elvis' early musical influences were: blues, gospel, rhythm and blues, and rockabilly—all components of the Black American music tradition. Moreover, these early musical influences from the Black American Music Tradition were largely a part of Elvis' success.

Thus, when hip hop/rap aficionados (or any other groups) reject Elvis, they are actually rejecting a musical icon who earned his stripes through the serious study of the musical tradition that laid the foundation for all American popular music in the twentieth century. Moreover, those who reject Elvis's musical validity, also, in effect, turn their backs on the musical scholarship that he provides. For less we forget: Every musical artist is a gateway to others...and the more critically acclaimed the artist is, the more enriched the gateway is.

By listening to and studying Elvis, I was prompted to listen to and study Big Joe Turner, the iconic bluesman who helped create the template for rock and roll (rock n' roll). Perhaps I would have studied Big Joe Turner even if I didn't take a more serious look at Elvis. But listening to Elvis' earlier work prompted me to A/B his style with Big Joe Turner. MusicStudy of this nature has been and is incredibly important to understanding of all music, not just hip hop/rap music.

Certainly Elvis doesn't need any marketing help; you don't get much higher than him in the scheme of American pop culture. And there's certainly not doubt that his career benefited tremendously from the fact that he was white; many of the Black artists that influenced him could never access the platform that he was afforded. But Elvis, who I at one time refused to listen to (for whatever reasons), does represent the complexity and beauty of how music traditions and cultures can, at times, transcend negative racial attitudes. But all of this aside, 'What can his music teach or do for me,' I once asked myself. Well, it taught me a lot and it did more for me than I could have imagined. Ironically, or perhaps not, through an honest study of Elvis, I discovered Sister Rosetta Tharpe; became more interested in Big Joe Turner and B.B. King; and I meticulously traced the business roots of rock n' roll.

Bottom line:
If you're going to contribute to any music tradition or culture, if you're going to go after a career in music, the more musical understanding that you can draw from, the more enriched your music will be, and, subsequently, the better your chances at having a career in music.

The music and videos below are presented here for the purpose of scholarship.

Elvis Presley - "Shake, Rattle and Roll" (Elvis' first televised appearance.)
Note. "Shake, Rattle and Roll" was originally recorded by the bluesman, Big Joe Turner.

Big Joe Turner - "Shake, Rattle and Roll"
The original recording of "Shake, Rattle and Roll."

Elvis Presley - "Heartbreak Hotel"
The song below is unmistakably blues.

Sister Rosetta Tharpe - "Didn't Rain"
Sister Rosetta Tharpe had a seminal influence on Elvis.

Elvis Presley - "A Little Less Conversation"
Although it's from Elvis' later catalog, it's my favorite Elvis recording. If you know Mack Davis (singer-songwriter), you can hear him in the lyrics. Also, peep the drumwork at the intro of the song!

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The BeatTips Manual by Sa'id.
"The most trusted source for information on beatmaking and hip hop/rap music education."

Frame it the Right Way; Aim for A Career in Music

Opening Up Music-Related Opportunities by Broadening Your Scope

By AMIR SAID (SA'ID)

Many beatmakers (producers) put themselves in a trap. For most, the goal is to have a music career rather than a career in music. What’s the difference? you say. Isn’t that the same thing? Isn’t that just semantics? Well, no, it’s not the same thing; and it isn’t just semantics. Once you unpack the philosophical approaches that lies beneath the framing of each of these phrases, you notice that there are glaring differences.

As a framing, “music career” usually evokes the understanding of the traditional recording artist/label dichotomy and music industry architecture. Indeed, for most people, this is the idea that “music career” triggers. So as it follows, a music career is typically understood as a vocation that is squarely rooted in, and otherwise connected to, the parameters of the music industry. Therefore, a music career is something that is inevitably measured by or against, for better or worse, the metrics of the major label system hierarchy and the mainstream infrastructures that secure its place in both commerce and popular culture. And although the music industry as a whole contains a number of distinguished areas of concentration (production, songwriting, performance, licensing, publishing, etc.), to have a music career commonly implies that one’s livelihood is inextricably tied to the music industry.

A “music career” embodies a philosophical approach that fundamentally sees the music industry as both the chief means (if not the only means) of employment and as the primary arbiter of success. This deference to the music industry is warranted, given the scope of what a music career implies. But such deference can be detrimental inasmuch as it often curbs how many recording artists/musicians think about their possible career opportunities. When recording artists/musicians limit the scope of their career opportunities to those traditionally found within the music industry, they cut off a world of other industries that could use their musical talents. Similarly, when beatmakers narrow their idea of a music career to landing placements on a rapper’s album, they shrink the modes by which they can earn a living off of their music-related talents.

A Career in Music Signals Something Broader

As a framing, “A career in music” implies much more than the traditional recording artist/label dichotomy and music industry architecture. It embodies a philosophical approach that fundamentally sees one’s musical talents, not the music industry, as the guide for opportunity and the chief metric for success. Moreover, “a career in music” signals to me something broader, something less restrictive and hierarchical. While the “music career” framing seems to imply something singular, something that’s attached to the music industry and its sub-industries (e.g. session work, tour support, etc.), “a career in music” conveys something much more multi-dimensional and spacious.

“A career in music” works as an umbrella framework that’s not deferential to any one spectrum; for instance, it treats the traditional recording artist/label dichotomy and music industry architecture as one dimension. And so, there’s infinite room for a league of other music-related dimensions as well. Further, as a framing, “a career in music” leads recording artists/musicians to expand their ideas about how they can earn a living from their music-related talents. And, inevitably, it opens up new possibilities for them; at the same time, it removes a dependence upon the music industry architecture.

What Does this Mean for Beatmakers?

This idea of using the framing, “career in music”, is just as important to beatmakers as any other musician—perhaps even more. Far too many beatmakers look at beat placement with romantic eyes; they see it as the single “big break” that can make their career. As such, these beatmakers focus all of their attention on getting their beats into the hands—or email inboxes—of any rapper, or other vocalist, or A&R, or so-called music industry “insider” that they can. At the same time, they ignore or choose not to explore (for whatever reason) other ways to earn a living from their music-related talents.

Is this singular strategy wrong? Not necessarily, depends on the situation and the people involved. Each person brings their own advantages—know-how, expertise, and connections—to the table. However, if this is the only strategy that a beatmaker has, then I believe that the odds of them having a sustainable career in music are extremely low. Still, can one placement trigger a “music career”? Of course. But that’s more long-shot exception than it is the norm. So is it reasonable or practical to follow such a course? And the truth is, even with a number of acclaimed placements, a beatmaker can still be on the short end of a music career. (In The BeatTips Manual I cover this in more detail.)

Thus, if this “one-shot” placement strategy describes the approach and course that you’ve been taking, I strongly urge you to stop and transition to a more diverse way of thinking about your music-related talents. You are the commodity, not your beats. Beats are an extension of your music ability, but they should not be considered the extent of your music capability.

Now, here I am in no way suggesting that beats hold little weight or that they’re inferior to other recorded music compositions. Of course I’m not making that suggestion; beats have their own distinct value, both in terms of their art and in their financial value. What I am saying is that in addition to the traditional use and scope of beats, that is to say, for use by a rapper (or other vocalist), you have to think broader and more deeply about the new uses and commercial scopes for your beats and your music-related talents.

Bottom Line:

How you frame your goals are just as important as the goals themselves. So goes your framing, so goes your thinking…so goes your opportunities and actions!

For many beatmakers, transitioning forward from the “one-shot” placement strategy will depend on how committed they are to seriously studying the art of beatmaking and music in general. To be certain, the only way to unlock new possibilities for your music-related talents is to be aware of their existence in the first place. If your equation is: “make a beat + shop it + get placement = music career,” then you need to learn new math.

In addition to helping beatmakers better understand our art and craft, my goal is to encourage and help beatmakers think in terms of having a career in music rather than having a music career. To that end, below I’ve listed some music-related opportunities that you can create for yourself that you may not have thought of before. There are more opportunities to be sure, but the list below will hopefully get you started in how to think them up.

Museum projects
Museums of all kinds put on new exhibitions each year. Most try to involve local artists and creatives whenever they can. Investigate! Visit local museums and come up with music ideas that you can pitch to them. Is it a long shot? Perhaps. But then again, you’re not competing against millions of other people shopping their beats for the exact same slot on an album or a free mixtape!

Art Galleries
Like museums, art galleries rely on their ability to put on new and interesting shows. I’ve been to a number of art shows in New York. Some have had non-descript DJs; some have had the radio playing; some have had iPod playlists running; etc. Never have I seen one show with a mix of beats that were crafted exclusively for an artist’s work. I suspect that this market will blossom in the future, especially as upstart galleries continue to vie for attention.

Film Schools
I’ve seen some pretty decent student films that were undermined by shitty music. Believe me, there’s a market there. Maybe not the most lucrative one, but you can get the experience of using your beats in new ways, not to mention the valuable experience of working with an artist from another medium. (Note. Visual art has always influenced my music and writing.) Offer your services to film school students. Better, see about getting your name onto a film school’s registry of services.

Performance Poets and Other Spoken Word Artists
Service those artists that are “rappers” outside of the traditional hip hop sense.

Web Designers and Developers
Web designers are interested in customized audio solutions for their clients that want music prompts and such. Seek out web designers and offer your freelance services. Create your own market in this area, and try to form partnerships.

Sneaker Stores and Hip Boutiques
Sneaker stores and hip boutiques are art galleries. Well, to some at least. But seriously, these are places that thrive on an edgy, “hip” vibe. Capitalize off of this and pitch stores on custom beat tapes. At worst, you play a hand in setting the mood of the place for eager shoppers. At best, your music is an ad for you work. And don’t forget, it’s also an official placement.

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The BeatTips Manual by Sa'id.
"The most trusted source for information on beatmaking and hip hop/rap music education."

Three Things That Can Help You Create "Changes" in Your Beats

Making the Task of Coming Up with Changes Less Daunting

By AMIR SAID (SA'ID)

Ever make a beat that seems like it’s missing something? I mean, the core track is dope; everything is tight and looping correctly, but after 4- to 8- bars, it just seems, well, too redundant? Although redundancy is a good thing in some cases and for certain styles of beats; and although the crux of all hip hop/rap beats is repetition (specifically, frameworks based upon continuously looped riffs/grooves), some beats just work better with effective changes.

In beatmaking, "changes" (an embellishment, breakdown, switch-up, etc.) vary in sound and complexity. They can be as simple as added percussion, something like a mini-phrase of bongo-hits overlaid during the vocals; or they can be as complex as an entirely new arrangement of sounds and textures, something like dual lines of melody and countermelody played out with a synthesizer.

For many beatmakers, coming up with effective changes (changes that really fit) isn’t necessarily an easy part of the beatmaking music process. On one hand, you have to consider the style and sound of beat that you’re making. For instance, to make changes in sample-based beats, many beatmakers simply sample, chop, and insert different parts/pieces of the same source material (sample). In many cases, this approach is all that it takes to come up with an effective change or two. Still, there are those times when the same source material doesn’t have any more pieces that fit with the beat at hand. Therefore, in cases like these, it can be a bit of a task coming up with changes that work. And while there are some who believe that creating changes for non-sampled based beats is a much easier challenge, the truth is, even with non-sampled based beats, creating effecting changes can be rather difficult.

Difficulty aside, however, there are three things that can help you—a great deal or at least make the task less daunting—with your approach to creating (adding) changes to your beats: (1) knowing if a change or changes are actually needed; (2) knowing which types of changes typically work well with which types of beats; and (3) having a good understanding of mood, i.e. the moods that specific sounds and certain categories of sounds invoke and tend to convey.

First, it should always be remembered that some beats simply do not need a change. For example, if beat is made up of a 4-bar pattern, chances are, that complete pattern—from start to finish—is not monotonous. And, therefore, it may be able to do without any significant change. Perhaps a few drops (mutes) and solos at various points of the beat can be all the change that’s needed.

Second, it’s important to gauge which type of changes usually work well with which types of beats. For instance, does the beat need a breakdown, or a bridge, or an intro, or a stacked synth phrase, or just a simple riff pitched up or down? In either case, a change should relate to the basic style, scope, and structure of the beat at hand. Which means everything from style, sound, form, and tempo must be considered, before incorporating changes. For example, When working with a sample-based beat, particularly a mid-tempo one (93-96 BPM), I prefer to incorporate changes that feature samples, not synths. In fact, if I can help it all, I avoid blending samples and synths. However, when I do add synth sounds to a sample-based beat, I sample the actual synth sounds/phrases, then I match their sound and feel to style and sound of the beat. On the flip side, when I’m working on a synthetic-sounds based (non-sample-based) beat, I take more leisure with the samples that I incorporate. The reason being? Because non-sampled based beats tend to absorb—or perhaps feature—samples more effectively than sample-based beats absorb synth sounds. Most of the time, I find that synths either stick out like an obnoxious blemish, or they betray the sample style and feel of a beat.

Finally, having a good understanding of mood, i.e. the moods that specific sounds and certain categories of sounds tend to invoke and convey, is the third thing that can help you with your approach to creating (adding) changes to your beats. A big part of coming up with an effective change is being in tune with the core mood and feel of a beat. When you know the moods that particular sounds invoke and convey, you’re better equipped to create those changes that work well within the framework of the core structure, form, style, and sound of your beat.
(For more information about moods and sounds, read: "Creating Your Own Moods/Sounds Chart")

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The BeatTips Manual by Sa'id.
"The most trusted source for information on beatmaking and hip hop/rap music education."

BeatTips Beat Breakdown: Creating an Arrangement from Your Composite Idea

Using Your Composite Idea as a Guide to Capture the Specific Essence and Feel You Envision

By AMIR SAID (SA'ID)

Five years ago, my father died. He was the first person to introduce me to music; and because of his interest in "hi-fidelity" stereo systems, premium speakers, and recording equipment, I suppose you could say he was also the first person to introduce me to the wonderful world of audio recording. (Well, maybe that's a stretch...) But his love for music aside, he's also responsible for producing some, let's say, rather turbulent times when I was a kid. So the other day when I began work on a new beat, I was playing back some of these times in my head; and it helped me to come up with a composite idea.

I like to use the term composite idea to refer to the complete picture (or framework, or blueprint) that I get in my head for a song. It's like a photographic snapshot that I both see and hear. Perhaps you could say that it's little more than intuition. But regardless, for me it's a special moment in my creative process. So I like to dignify that moment by giving it a name.

So for the song "I Remember My Dad" (included in this post below for study), the composite idea that I had was for a beat with some sort of challenging overall pitch/tempo scheme, something that could audibly parallel the real shifts in happiness, anger, and disappointment that my father provoked when I was a kid. And, because above all, he really was a kind-hearted, no-nonsense sort of man, I wanted the framework of the beat to convey this conflict in honor. I wanted a sound that not only expressed his tragedy, but a sound that also authentically reflected both the good and bad of those times, and how they filter through to help shape who I am today.

With this in mind, I immediately thought about sampling some strings. So I went through a couple of albums that I have with female jazz vocalists. (There are some terrific string arrangements to be found with female jazz vocalists.) Among the records I listened to, I didn't find anything that quite fit my composite idea. But by listening to those records, I did get a clearer picture of it! And with a sharper focus, I stuck with the female vocalist theme, and shifted my diggin' search from jazz to soul, where I found exactly what I needed to begin the foundation of my composite idea.

There was this really uplifting choir & harps section on this one record. By itself, it was light. But I knew that after I sampled it, I could add weight (bass, boom, dirt, etc.), as well as some "color" to it. This way I could make it sound haunting and robust. Of course, part of boosting it up came before I even sampled it, when I adjusted the EQs on my mixing board (where I have my DJ mixer routed to, before it hits the inputs of any of my samplers).

Having sampled this choir & harps spare-part phrase (I discuss compositional phrases in The BeatTips Manual) via my Akai MPC 4000, I chopped it (manually) to spec. Then, I filtered it using my MPC's high-pass filter. Once I had the feel and the sound cold locked, I duplicated the sample and created two versions of it, one at the original pitch level that I sampled it at, and the other several pitch levels down. So now I had, C&H pitch 1 and C&H pitch 2.

With the two choir & harps phrases, C&H pitch 1 and C&H pitch 2, I created a 2-bar sequence with C&H pitch 1 starting the first bar and C&H pitch 2 at the opening of the second bar. Together, this 2-bar sequence made up a "break" (in The BeatTips Manual I explain this concept of the break in greater detail).

At this point, half of my composite idea was already set. What I needed to do now was to work in the right drum framework. In keeping with the theme of contradiction (or contrast), I wanted to build a drum pattern that was solid enough to rock on its own; I didn't want anything soft or deferential to the choir & harps sound. Also, I wanted to use hi-hats and rides in a way that helped to push and shuffle the beat along as I rhymed to it. Note: I only used 1 hi-hat and one ride, BUT I used them in at least four different ways, from different velocity and duration settings on the hi-hat/open hat to the elongated and truncated ride hits.

After I created the drum pattern on my MPC, I recorded it into Pro Tools. In Pro Tools, I quickly added some reverb and light EQ to each of the drum sounds, then I sampled the pattern—not the individual drum hits—back into my MPC. Once back inside my MPC, I assigned the entire drum pattern to one drum pad. This is what I used as the drum framework—a drum break created and customized by me. Note: This didn't take long at all, because I only recorded about two bars worth of the drum pattern into Pro Tools. Back inside the MPC, I chopped it down and looped it. Now, the framework was nearly complete!

But I still wanted to add in some stylistic changes.... First, I sampled a vocal part (from the same record as the Choir & Harps) that had some bass behind it. I did this on purpose, because I knew that I was going to turn it into an elongated sound-stab that could play and rise up at certain parts of the verse section of the arrangement. Once I sampled it, I chopped it down. I wanted to make it rise and to sound somewhat brighter, so I filtered it with the MPC's notch filter and turned up the volume on it.
(I should point out that when I had the entire beat tracked into Pro Tools, I had to slap a limiter on this sound-stab so that it didn't rise too much.)

Next, I sampled a piano & guitar riff, which I chopped down and filtered with my MPC's high-pass filter; I had to cut a lot of the original treble to make it much warmer, and to make it blend with the fade of the choir & harps sample.

Finally, I worked in my customized floor tom. Here's where knowing your sounds really comes into play. I used my floor tom, at two different pitch levels, not as percussive elements but mostly as bass support for the choir & harps sample. When you hear the song below, listen carefully to how I arranged the floor toms; you will notice that the timbre of the floor toms work like a bass when pitched, arranged, and combined with fade of the choir & harps sample. Because I know my floor tom sound, I know what it's capable of and how it can be used like a bass-stab.

When I was finished with the beat, my composite idea was realized; and the only thing then left for me to do was to write and record the rhyme composite that I had....

The music below is presented here for the purpose of scholarship.

Sa'id - "I Remember My Dad" (Prod. by Sa'id)

Download "I Remember My Dad" by Sa'id

Sa'id - "I Remember My Dad" beat breakdown

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The BeatTips Manual by Sa'id.
"The most trusted source for information on beatmaking and hip hop/rap music education."