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."

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)

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."

In Beatmaking, Matching Improvisation With Prepared Elements Is Key

Understanding the Relationship Between Impromptu and Scripted Elements of Beatmaking

By AMIR SAID (SA'ID)

The ways in which each beatmaker scopes out or plots a new beat may vary, but for the most part, we all improvise until something strikes us. And when it does, that's when we get busy! Thus, I’ve always maintained that one of the biggest keys to high quality beatmaking is understanding the relationship between the improvisation and prepared—scripted—elements of beatmaking. Each beatmaker's own unique understanding of this relationship is one of the main factors that determines not only the processes and methods that each chooses but also the frame of workflow and, ultimately, the dimension of creativity that each can access.

Although the relationship between the improvisation and prepared (scripted) aspects of beatmaking shares a number of common characteristics in both sample-based and synthetic-sounds-based (e.g. keyboard beat/live instrumentation) styles, there are certain realities and key differences in how this relationship manifests itself in both compositional styles.

For beatmakers working from the sample-based compositional style, improvisation is actually not a choice but a necessity. Sampling is as much about one's penchant for rare musical discovery as it is about one's ability to transform—reconceptualize, recontextualize, and transgress—that discovery. This means that sample-based beatmakers must rely on their ability to adjust to—improvise off of—whatever the source material presents to them. So in this way, sample-based beatmakers are limited by the source material that they discover; but on the other hand, they are liberated by the relative unpredictability of that very same source material. And one of the biggest keys to unlocking this unpredictability is improvisation.

And although the most often preferred source material of sample-based beatmakers comes from sound recordings made between the late 1960s and mid-1970s, there is the strong sense among sample-based beatmakers of reacting and connecting with the "known unknown." That is to say, that even though sample-based beatmakers who favor this specific source material may know, per se, what sort of sounds, textures, and musical constructions to expect, they do not actually know how these elements will coalesce and manifest themselves on a given recording. Which means that their improvisational skills are put to test each time they work with new source material.

But while sampling offers a unique sense of "knowing the unknown," the same type of
connection does not exist in the synthetic-sounds-based compositional style. For beatmakers working from the synthetic-sounds-based style, improvisation is also a necessity, but not to the same degree as it is in the sample-based style. In both compositional styles of beatmaking, improvisation is used as a creative process that compliments the elements that a beatmaker already knows. And herein lies the major difference in the way in which improvisation works in both styles.

In the synthetic-sounds-based style, improvisation takes on a different context, especially for traditionally trained musicians, because of the nature of the "known" elements is based on raw notes rather than samples. In other words, preexisting knowledge of notes (both in terms of tonal quality and mood conveyance), as well as chords, common chord progressions, and the like, sort of presents traditionally trained musicians with prepared—scripted—material from which to improvise upon.

But isn't the source material (pre-existing recordings) that sample-based beatmakers use also prepared—scripted—material? Well, yes, it is prepared inasmuch as it has already been arranged and recorded. But to a sample-based beatmaker, what the source material (e.g. a vinyl record) holds can only be determined by the beatmaker's willingness to actually listen to the source material. From there, he or she improvises using pieces of the source material’s framework along with other sounds from his or her sound libraries. Although, I should add that the prospects of such improvisation is also governed by each beatmaker’s arrangement and programming skills.

By contrast, non-sample-based beatmakers, particularly those who possess a decent knowledge of note architecture (music theory), aren’t necessarily locked to the process of having to mine source material for the basis of their beats. Where musicians who sample are required—by the very nature of the sample-based compositional style itself—to actually listen to any recording that they would potentially like to sample, non-sampling musicians do not have to adhere to a similar obligation. For instance, non-sample-based beatmakers are not, necessarily, required to listen to what a chord in the key of A or D sounds like every time they want to compose something in the key of A or D. Presumably, they already know what an A or D note sounds like. It's already "known" to them (much like a sampler's stored sounds are "known" to them); and therefore, in beatmaking, this connection exists as a prepared element from which they can repeatedly draw upon and improvise, albeit within the rules of music theory.

Thus, an understanding of the relationship between impromptu and scripted elements of beatmaking will open up the ways in which improvisation can be utilized, in the sample-based compositional style as well as the synthetic-sounds-compositional styles. Furthermore, having a firm understanding of this relationship improves your creativity, workflow, efficiency, and overall quality, as it helps you to build a keener grasp of what works and what doesn't within your particular style and sound.

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

Analog Sensibilities, Digital Realities: What Can the Right Signal Flow Do for Your Sound?

The Advantages of Hybrid Tracking and Mixing

By PETE MARRIOTT, BRANDONF42088, and AMIR SAID (SA'ID)

Signal flow is an important part of beatmaking. Yet not all beatmakers invest much thought into the signal chains that they use. Below is a discussion between two BeatTips Community (TBC) members and myself about this particular analog sensibility/digital reality issue.

Pete Marriott

I'm not sure hybrid is the right term but hell I'm using it anyway to describe my practice of using analog gear like my Tascam M-2600 MKII console to track and mix my sounds to and from the computer. I know my mixing desk is not a Neve, API, Harrison, MCI or SSL but I love the sound I get from it because I know how to make it work for me.

I went back to my analog roots because I needed to return to the kind of workflow that makes sense to me. I didn't grow up behind a DAW system, it was something that I progressed to from my early days of cutting tape on a block with a razor blade to do my edits. It was hands on and much easier on my eyes because they weren't glued to a computer screen all day long. I needed to twist knobs and slide faders and push mute and solo buttons and insert patch cables again because clicking the mouse became mundane and it gave me a case of carpel tunnel.

But this not a "I hate digital" post because that is not true at all. I love the power of what I can do in a DAW. I just needed to have a strong sense of what I grew up on and the current technology so I came up with what I call the Hybrid solution to my problem. I don't know if I'm alone in taking this route but it would surely be nice to know if I'm in good company.

BrandonF42088

My signal flow for making beats:

Technics 1200--->Vestax PMC 07--->SoundCraft Folio Rac Pac mixer--->MPC 2000xl/S900/EPS-16--->SoundCraft Folio Rac Pac (post fader direct outputs)--->Digi 003R--->Pro Tools---> From here depending on the track I will bounce out a internal layback and sample rate convert.

Then open it in a new session 44.1K 24bit atempt to master the track add dither and bounce out a 44.1K 16bit PCM file.

I sometimes go out of the digi 003 into a cassette tape recorder and record to a cassette then fromt he tape recorder go back into my mixer then to a stereo track in pro tools and bounce out from there.

I eventually want to get a pro 2 or 4 track reel to reel tape machine and a pro cd burner (these are high on my music production grocery list.)

Sa'id

Pete, Brandon,

You are certainly not alone. Many beatmakers (and other music-makers) use a signal flow similar to the one you describe here. Like the both of you, I certainly appreciate the power and flexibility that a DAW offers. I use Pro Tools, and I can not stress how much it has helped to streamline my recording process, not to mention the fact that it makes it possible for me to record everything from my home studio.

Before I began using Pro Tools, I was locked into a time consuming and rather expansive studio routine. In order to get my beats/songs on to "tape" or to even secure a better quality CD mix, I would have to book studio time, then lug my gear in. In some cases, I was able to rent my setup, which at the time was an Akai MPC 60 II and an Akai S950. But more often than not, I simply brought my MPC and S950 in with me. And while bringing my gear in was one problem, having a reference mix for the engineer was yet another.

In order to get a reference mix in my home studio, I'd have to record my beats straight to CD (and before that to *cassette*). But after DAWs like Pro Tools became more accessible—and more affordable—, I cautiously invested, and soon embraced them as a viable alternative to my old "studio routine." (I suspect in this regard, I'm certainly not alone.)

Today I can't imagine trying to do what I do without Pro Tools, or a comparable DAW. If not for the sheer savings in both time and cost, I've embraced DAWs because of the level of control it grants me over my recording process. And while you might *lose* some of the sonic essence (not noticeable to the average listener) when recording into a computer as opposed to let's say analog tape, I have found—just as you have, and others like DJ Toomp—that I can maintain and simulate that sonic quality (specifically the "umph" and warmth) by tracking through my analog Mackie 32/8 mixing console.

I route all of my gear (external samplers, keyboard, DJ mixer—which absorbs my turntable, CD player, and cassette deck) into my Mackie console. From my Mackie console, I track directly into my Digidesign Digi 002 rackmount interface, which of course, then goes into my computer (Mac G5).

This hybrid approach (I too refer to it that way) allows me to combine and utilize techniques from both the analog and digital realms. In particular, this approach gives me the added advantage of being able to instantly reference the sound that initially comes through my console with the new reality of how Pro Tools "captures" it. In this way, I'm able to mix "in the box" (inside of Pro Tools), in a way that matches—as close as possible—the sonic essence that I'm able to produce through my analog console.

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

Creating Your Own Customized Drum Signature, Part 1

Matching Up Certain Sounds and Keeping Them Together

By AMIR SAID (SA'ID)

There is perhaps no better way to add continuity to your beats—while at the same time distinguish your sound—than having your on custom drum signature. Just like a typical overall "signature sound," a custom drum signature is your own personal drum sound. Various beatmakers have custom drum signatures. Think of DJ Premier, Pete Rock, Nottz, The RZA, 9th Wonder, The Neptunes, and so on.... But how do you create your own custom drum signature (sound)?

Building your own custom drum signature starts with a core set of drum sounds. So how do you get a "core set" of sounds, you ask? Well, the best way (perhaps the only way) that you can develop a core set of drum sounds is through an "audition" process of the drum sounds that you already have. Thing is, whenever you select any drum sound for one beat, you are essentially "auditioning" it for future beatworks. Remember, each beat that you make (good or bad) acts as a reference for another. Thus, using this understanding as the foundation for auditioninh drum sounds, I'll break down how I developed (and continue to develop) my core drum sounds and, subsequently, my own drum signature.

Strip the Beat

First thing that I did was I "stripped" down five of my most favorite beats to just their drum framework, no non-drum sounds at all. Each of these beats I made with a mid-range tempo of 94 to 97bpm. Next, I listened to each beat to determine if there were any discernible patterns. Having noticed specific sonic and texture consistencies between the sounds in each drum framework, I then examined the "value settings" for each drum sound (one by one) that I've used.

Here, I should point out that although I use an Akai MPC 4000 and an Akai MPC 60 II, the vast majority (90%) of my core drum sounds were sampled and modified in my Akai S950 sampler. Therefore, I must spend a brief moment discussing the main "page" in the Akai S950 in which I modify sounds. In "PAGE 08" inside of the Akai S950, each sound—once assigned to a program—can be modified in four ways: (1) Loudness; (2) Filter; (3) Transpose (pitch); and (4) Fine Pitch. (Note: Most contemporary samplers—both hardware and software—have multiple filter options and even effects. Still, in most cases involving drum sounds, I prefer the sure-short simplicity of the Akai S950.) For each drum sound that I use, I wrote down the values of "PAGE 08" on a yellow posted note and/or a yellow legal pad. For example:

This allowed me to objectively examine the settings for each sound, which in turn helped me determine the typical settings that I tended to use for each type of sound, e.g. kick, snare, and hi-hat. Thus, by writing down my tendencies, I was better able to modify those drum sounds that I was drawn to.

Having found a clear scope of the characteristics that drew me to a particular drum sound, I then auditioned those sounds with each other—pattern after pattern—to see which sounds "fit" together and which sounds fit with everything. Here, it's worth remembering that Sounds do not play alone; therefore, the true test of a drum sound is how well it plays with and off of other sounds in the drum framework (and the entire beat for that matter). Therefore, auditioning drums sounds together rather than alone better helps you identify those drums in your arsenal that are "sure-shot" and those that are better used as "featured players."

After many drum sound audition practice sessions, I was able to identify roughly 15 "sure shot" (go-to dependable) drum sounds and about another 20 "feature players" (auxiliary drum sounds) that could be used for special beats and mitigating circumstances, i.e. matching beat styles. As of today, my 15 "sure-shot" sounds are composed of 4 kicks; 4 snares; 4 hi-hats; 1 crash; 1 tambourine, and 1 ride cymbal. From just these 15 drum sounds, I create the drum frameworks for the bulk of my beats. I should note, however, that although I always use at least one of my core drum sounds (especially my infamous "Hat X"), I routinely use slightly modified versions (e.g. slower pitch) of my core drum sounds. I should also point out that, I have another set of 15 "2nd-tier" drum sounds that I use for specific types of beats or for certain layering effects.

*For customizing drum sounds that I sampled and modified in my Akai MPC 4000, the process is similar, in terms of writing down tendencies on a yellow posted note. However, the Akai MPC 4000 has a more extensive filtering editing section than the Akai S950, which leaves room for an expanded area of exploration. That being said though, I often work to match the sounds from my MPC 4000 to those made in my S950, the only difference being the level of brightness and perhaps reverb.

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

Don’t Market Your Beats Like a Pack of Cheap Steak Knives

If We Don't Respect the Trade Value of the Beatmaking Tradition, Who Will?

By AMIR SAID (SA'ID)

Despite what some outside (and, unfortunately, inside) the beatmaking tradition may think, “beats” are music. Of course, as an often one-man orchestrated, instrumental composite, beats are indeed a unique kind of music; but music they are still the same. Yet in recent years, a growing number of beatmakers (producers) have been given over to treating beats as less than music, marketing them in a cheap, cheesy manner and peddling them as gadgets rather than music.

Certainly you’ve seen adds online like, “Beats for Sale;” “Buy Hot Beats Now;” “Buy Two Beats, Get One Free;” etc., etc. I cringe when I see these type of adds and promotions. I’m insulted by the “As Seen on T.V.” marketing approach that many are using to peddle, yes peddle, their beats. I dislike seeing the dignity of any music tradition being undermined by such practices; but it disheartens me seeing the beatmaking tradition being brought down by the intentional devaluing of those beatmakers (producers) who push beats for sale as if they were anything but music.

Look, I understand that there is a business component to making beats. Since hip hop/rap music leaped into the world of commerce more than 30 years ago, the making of hip hop/rap music has been a desired commodity worth paying for. And because beats are the chief instrumental bedrock for rappers (and increasingly vocalists from other genres), I can completely understand why. But it’s the demeaning approach that I can't stand to watch. Whether it’s the “As Seen on TV” approach or the standard “$50” (or lower) Beat Sale platform, it doesn’t matter; both approaches devalue the work and ingenuity that goes into developing a serious skill for beatmaking, one of contemporary music’s most dominant composition processes. Both approaches demean the tradition built up by beatmaking’s pioneers and most respected practitioners. Both approaches effectively bring beatmaking down to a third class music citizenry, where beats are thought of as a dime-a-dozen rather than skillfully crafted individual works of art.

Unfortunately, some may simply be too far gone to understand that whatever short-term financial gain they may be making is dwarfed by the likelihood that they are losing sustainable respect and support at the very same time. No sustainable music career can be built by a delusional beatmaker/producer who pushes his product with little consideration for trade value. I recognize that I don’t have much say in what they do. But in writing this piece, I can reach BeatTips readers—music makers who take a more serious approach to their music, in terms of creativity as well as business….

Hip hop/rap music enjoys a global audience, so there’s literally 10s of millions of people who are interested in hearing an individualized take on the music that they love. To gain even a sliver of 1/1000th of a half-percent of this grand audience, you will have to earn their ear. How do you do this? Well, there’s no surefire way for any one music maker. But I ultimately believe that for beatmakers, in specific, it comes down to quality music (yes, I know that’s subjective) that skilled rappers (and other vocalists) and other parties want to use. And, of course, this depends on some degree of marketing yourself and your music—which is part of the overall point that I’m making: If you devalue yourself as a discount peddler of beats, why would you expect for anyone else to see you differently?

There are better courses take, if music truly is how you’d like to earn a living. For instance, forming a rap group, something that I’ve long been a strong advocate for, has greater potential for sustainability than blindly selling beats at $10-$50 a pop, or spamming Twitter feeds with “Hot Beat Sales”. Building genuine, solid relationships with people who share your enthusiasm for the same style and sounds of hip hop/rap music bodes much better than “As Seen on T.V.” infomercial tactics that most people dismiss anyway. Also, offering up a well-designed and well-executed beat tape, that doubles as both a release that can be reviewed and audition for prospective beat buyers, is much more noble and potentially rewarding in my view. And I'm sure there's any number of other unique (more respectful) ways to gain an audience for quality beats. Everyone's limited only by their own imagination and drive.

But either way, I get it. Seriously, I get it…. There are lots of people who want to make money off of their beats; they want to make a name for themselves so that they can make more money off of their beats. I knowledge that. I do. I understand that people have to eat; people have to make money how ever they can. Cool. I find nothing wrong with the fundamental premise of selling beats—of course I don't! It’s the “discount-beat” and the low-grade marketing approaches (that too many have drafted) that concern me. Forget that the widespread devaluing of beats (through cheesy marketing and near-sited, quick-cash mechanisms like $10 beat sales/leasing) reflects poorly on those beatmakers who take those paths; what does it say about the beatmaking tradition as a whole? Further, is the small promise of money (or lack their of) causing some in the beatmaking community to see beats as something that is less than music? Something to be pushed with less consideration than a hot pretzel in Times Square?

Remember, this isn’t the same thing as someone taking a gig in a tiny after-hours night club for small pay, or someone forgoing payment to land a placement with a talented indie rapper. No, this is intentional cheesy marketing and deep discounting! While such approaches and hard-sale methods often work for gadgets sold on TV, when applied to beats—music—they carry the stench of desperation and needless compromise. Of course, this is not to say that there aren’t some beatmakers that are making dope beats at discount prices. I’ve surveyed thousands of “$10” and “$50” beats that sounded great. In those cases, my main gripe is that those beats would have been better used for free in the hands of capable rappers, or on a free beat tape—not sold off at bargain basement prices to likely never be heard of again, or worse: leased out to too many incapable rappers.

In other words, it’s also a trade issue. The beatmaking community—as a whole—is responsible for setting and maintaining our trade value. When we lower that floor, why should we expect others to raise it? So here’s the main jewel: If you market your beats like a pack of cheap steak knives on a late-night infomercial, you might grab a few dollars here and there, but don’t expect to earn much respect for your music…or any sustainable money from it either.

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