190 posts categorized "Book on How to Make Beats"

January 15, 2015

United Beatmakers Guild (UBG): The BeatTips Proposal for a Beatmakers Union

Amid the beat market exchange, a growing number of talented beatmakers, and desperation beat prices, a beatmakers union holds the answer to a more powerful beatmaking community

By AMIR SAID (SA'ID)


In the preface of The BeatTips Manual, I point out that the fundamental purpose of the book (as well the BeatTips network of sites) is to preserve the beatmaking tradition. Moreover, I want to draw more attention to the fact that beatmaking, as a music compositional method, has increasingly become significant around the globe. Thus, in every way possible, I want The BeatTips Manual and BeatTips.com to take the rich heritage and traditions of beatmaking from out of the throws of obscurity, and to bring them front and center into the world of acclaimed musical processes.


In addition to this fundamental purpose, one of my main auxiliary goals for BeatTips is to have it serve as the catalyst for a beatmakers union. For more than twelve years, I’ve worked to help unify and expand the community of beatmakers. And while most beatmakers are steadfastly committed to their art and craft, many do not recognize that beatmaking (hip hop production) is also a powerful trade. Hence, I’ve been committed to raising attention to the artisanship of beatmaking, and I believe the advent of a beatmakers union is not only helpful in this regard, it’s necessary as the craft moves forward.


The Advent of a Beatmakers Union: The BeatTips UBG Proposal

In order to ensure the rights for a rapidly growing number of professional beatmakers, I strongly believe that beatmakers must unionize. The BeatTips proposal for a beatmakers union includes four main points or recommendations:

• I recommend that the name of the union be United Beatmakers Guild (UBG). In my view, beatmaker has always carried a much more significant tone. Beatmakers are the artisans of one of the world’s newest and fastest growing music traditions. As such, beatmaker is a term that’s distinguished from “producer,” which can and often does signifies something altogether different. Further, beatmaker represents a specific form and category of music producer; thus, I find it more befitting (and powerful) that a union bear the name beatmaker. Still, I recognize the ubiquitous nature of the term "producer," therefore, United Producers Guild (UPG) works as well.


• I recommend that UBG focus on three fundamental areas: (1) guaranteed labor contracts with the RIAA, comparable to those held with the American Federation of Musicians (incidentally, beatmakers should also be members of the AFM — beatmakers are indeed musicians, and the AFM should recognize this fact and expand their membership to include beatmakers); (2) a fair compensation system, which includes prompt delivery of payment, fair minimum beat prices, a tiered pricing scheme, and a formal system for assigning proper credits; and (3) standards and best practices — upholding beatmaking/production standards, quality control, and preserving the integrity of the beatmaking craft.


• I recommend that UBG be modeled, in as many ways as possible, on the Screen Actors Guild (SAG).


• I recommend that the majority — if not all — UBG executive leadership posts be held by actual beatmakers (producers). I further recommend that UBG not be lead by beat brokers or owners of similar cottage industry outlets. It is crucial that any beatmakers union not be co-opted by beat placement organizations, beat-broker types or outer-fringe producer managers. This group's argument will be that they have the connections and infrastructure already in place. But if their connections where so strong and infrastructure so undeniably solid, they'd have far more beatmakers (producers) using their services now; they'd also have a lot more influence in the music industry. In truth, they're middle men with minimal power in a world where essentially anyone can contact anyone. Also, this group has been vocal about encouraging non-sample-based beats over sample-based beats. Union leadership should represent beatmakers of both major production styles — sample-based and non-sample-based — and they should not favor one beatmaking style and sound over another regardless of the complexities that may arise from one production style.


• I recommend that membership be restricted to beatmakers/music producers of both major production styles — sample-based and non-sample based. Under no circumstances can anyone who is not, nor has never made beats (produced) be a member of UBG. Persons who are not beatmakers (producers) or have never made beats, for example so-called producer managers, beat brokers, etc. should only be affiliated as independent contractors (if need be), or they could perhaps serve as advisors for limited times (if need be). In some rare cases, proven producer managers could hold pivotal staff administration positions or executive positions if need be.


Understanding What UBG Would Look Like

To have a better understanding of what I envision for UBG, I thought that it would be helpful to share Uh-Oh Beats’ question to me on this matter, along with my detailed response. Here is Uh-Oh’s comments and questions to me in full:

I agree with the union idea. How does one go about entering the union though? Like when I think of a "union," I think of all them old white dudes my dad knows who get together and throw parties and do city work and etc., etc. And to get in the union you have to know someone in the union. Would it be similar to that? And what would be the driving points to get beatmakers to want to join? Because honestly, I would want to join if I was guaranteed $3000 a beat. But honestly, how many beats would I be selling? I’d be happy to get $1000 for a beat, hell to be honest, if someone gave me $500 I’d be amazed and jump all over it. So what’s to say struggling beatmakers with no connections other then the internet, what would be stopping them from going around the union? I think that's the main point of interest we have to look at and address to really make this happen. Because just the other day I sold five beats for $1000, which is the most money I've ever made off my music at one time. (The previous was five beats for $250.

I just find it so hard to sell beats as is, when I'm letting them go for $150 for exclusive and $50 to lease. (Frown upon me all you want lol. I love making beats and it’s that much better getting paid to do something I love. Gotta go cheap if you want to sell ANYTHING with the market so flooded). I can’t imagine honestly asking someone to pay $3000 for one unless their seriously established and working on a serious project.

But the union would also have to have a cap for the amount of members wouldn't it? and serious artists would go to the union for beats. but if there's so many members how would one go about even looking for beats within it?


Before getting into my full response to the concerns and questions raised by Uh-Oh, I have to provide some important context about beat prices themselves. First, the $3,000 price point that Uh-Oh kept referring to in his question comes from an earlier discussion on TBC where I discussed the reality and evolution of beat prices. For years, the legend has been that beatmakers in the 1990s were getting extremely high prices for beats; rumors of $25,000, $50,000, and even $100,000 beat prices were the norm and the sort of thing many budding beatmakers dreamed of obtaining one day. Legend aside, you can be sure that $100,000 for beats weren’t the norm for most beatmakers (producers) in the ‘90s or the early 2000s. As I discuss in more detail in The BeatTips Manual, some undoubtedly did receive upwards of $25,000 — but that was typically for multiple beats.


But the fact is — which labels and recording artists eventually came to realize — $25,000 has always been too much to pay for a beat in the first place. As I write in The BeatTips Manual, “Beatmaking is a new musical phenomenon, as such, the price parameters and ceiling was being set — in real time — in the 1990s. And what was the price parameters and ceiling for beats based on? Well, in many ways, the model for previous music producers. But after while, it became clear that not all beatmakers were actually in the studio with rappers "producing," helping out song ideas, vocal coaching, mixing, etc. As such, beat prices necessarily had to go down. Think about it: If a beat goes to a rapper, without the beatmaker's presence, well, then what you have is a situation were the "building materials" (the beat) are being bought wholesale. That is to say, the beat, without the beatmaker's input, should be less expensive. Add to that mix the fact that the number of able beatmakers grew exponentially over the pass 10 years, and what you get is a dramatic drop in beat prices. In other words, the beat market prices corrected themselves; it was inevitable.”


Second, some have blamed lower beat prices on poor record sales and illegal downloads, but poor music sales and illegal downloads are NOT the major culprit here; they’re not the reason that beat prices have gone down. Poor record sales and illegal downloads merely helped people to see the obvious: beats (not production services) were long overpriced and automatically presumed to be production services in a more traditional sense. Beat prices of $25,000 and above were unreasonable in the first place; it just took a little time for the market to correct itself.


Beat prices actually began to go down more quickly than people realize. By 1994, prices were steadily going down for most acclaimed beatmakers; only a specific few were able to command exorbitant beat prices and fees. Sure, the likes of Dr. Dre, Darkchild, Timbaland, and The Neptunes saw their prices go up; but they didn’t just supply beats, they supplied production services and a highly marketable brand name. But I’m sure they came down off of their prices as they saw their workloads being decreased. Why? It's simple: price point too high, and with no guaranteed hit, there were very few takers willing to absorb the risk or blow to their decreased recording budgets. Many recording artists wised up and started looking elsewhere for new talent, quality production (sometimes even knock-off sounds), and lower prices.


Thus, the true market price range for quality beats has, in reality, always been roughly $3,000-$7,000 per beat (lower obviously for less established names). A product always goes for what the market is willing to bear. While the market was unsure, beat prices were high; once there was more clarity in the market — about the product, about what one was actually getting for their money, about the growing number of qualified beatmakers — the market corrected itself. And consider this fact: In most cases, between 1989-1999, the bigger beat price tags for most acclaimed beatmakers typically covered multiple flat-rate beat deals, usually 3-8 beats (plus in-studio work) or the entire album depending on the beatmaker and the specific rapper or other artist involved. (In my interviews with Marley Marl, DJ Premier, and DJ Toomp, each made this clear about the nature and negotiations of beat prices.)


Here, I’ll provide my full response to the concerns and questions raised by Uh-Oh:

(1) “When I think of a 'union,' I think of all them old white dudes my dad knows who get together and throw parties and do city work and etc.”

There are a number of different unions, but essentially all "worker unions" share two primary goals for its members: fair wages and better labor conditions. The labor union that you're probably most familiar with is in the vein of an auto/trucking union, or city workers union, something along those lines. A musicians union — which is what a beatmakers union would be — is a creative arts-based union. Just like any other union, there are rotating wage concerns and labor situations. A beatmakers union would seek to secure better wages for ALL members as well as better labor conditions. A beatmakers union would guarantee a minimum sell price, the selling floor.


Also, a union would guarantee a top tier payment scale, both based on beatmaker status (name recognition and number of commercial releases) and the magnitude of the project; for instance, big-time major or indie commercial releases, free mixtapes, etc. In terms of UBG, there would be a standard fee, which is union scale. Then there would be a graduated scale fee, or better said, a “veteran's minimum.” The veteran's minimum would be calculated on a beatmakers overall presence/time/significance in the field. Point is, it wouldn't matter simply “how long” some one’s been around. There are many beatmakers who have been around for 15 years, that doesn’t mean that they've had much of an impact on the hip hop/rap and/or beatmaking traditions.


Membership in a creative arts-based union is different than, let's say, the UAW (United Auto Workers). Union membership is NOT fundamentally based on "who you know." Instead, membership is based on your actual professional work. For instance, the Screen Actors Guild (SAG) is a union for professional actors. SAG has feature film, indie film, television commercial contracts, etc. What gets you into SAG is your first SAG sanctioned gig. So let’s say you go to an open audition for an upcoming feature film. Whether you’ve acted before or not, if you get the role, you automatically have to becaome a member of SAG; if you do not join SAG before principle shooting begins, then the producers (the studio) are restricted from using you in the role if it’s a SAG sanctioned feature. Once you’re a member of SAG, you get a notice about the initial SAG entry fee and subsequent dues, which is based on a small percentage of your annual earnings.


Now, the very important thing to understand here about SAG is that they’ve already worked out the “starting point” for all of its members. That is to say, because of SAG, there is a minimum day rate (paid rate per each day) that ALL actors must get, based on the type and size — big budget feature, small budget feature, indie, etc. — of the film. This also includes labor conditions that must be met, for example: personal trailers for principle actors, guaranteed work breaks, guaranteed overtime pay, guaranteed lunch breaks and food, transportation, etc. Before there was an actors union, NONE OF THIS was guaranteed! Movie studios could, and routinely did, pay an actor whatever they wanted. In fact, before SAG, motion picture studios would sign actors to long-term, draconian contracts, loaning the actors out to other studios as they chose.


Further, because SAG has jurisdiction over so many areas, film/television production companies face hefty fines when they use a non-union member for a SAG-sanctioned project. Thus, film/television companies do not mess around with this, they ONLY use SAG members for SAG-sanctioned projects.


(2) “What would be the driving points to get beatmakers to join?”

That's easy: better wages, appropriate labor conditions, and the promise of more work.


(3) As for “getting around the union?”

As with SAG, if a beatmakers union secured the right agreements with major labels (RIAA) and indie labels, jurisdiction would make it impossible for non-union members to get work on those projects sanctioned by the union. Point is: there's a bigger picture here. Of course, there will be selfish people who think that they can (and will) go it alone. But the reality is this: the number of professionally qualified new beatmakers is steadily growing. A beatmakers union is the best way to harness that power and create an environment for more beatmakers to consistently get paid for their work. If done right, every talented beatmaker would join the union, as opportunities outside of UBG would be minimal.


Incidentally, I believe now is the right time to move forward with a beatmakers union, because ALL labels are weakened, particularly in terms of leverage; they know anyone can make and distribute their own music. If a beatmakers union can demonstrate how it can help turn around the larger sales picture, labels will likely make a number of important concessions to a beatmakers union. Bottom line: The labels want (need) to make money. If an exclusive deal with a powerful beatmakers union helps them achieve that goal, they’ll be more than willing to work with UBG.


Keep in mind, in recent years, one of the major problems in hip hop/rap music has been quality control particularly in the area of beats. If a beatmakers union was powerful enough to show labels (big and small) that it was in their strategic advantage to do a deal with UBG, they would. Should the labels ignore such a powerful union, the alternative would mean that they’d have to compete with a united force of individuals who have much more influence over the internet and the streets than they do.


(4) “But the union would also have to have a cap for the amount of members wouldn't it?”

No! There’s no cap on the amount of new projects someone can think of, create, and distribute for commercial purposes. So why would there be a cap on the number of members in a beatmakers union? Again, entry into UBG would be based on a beatmakers contribution to a commercially released project or professional mixtape. This project could be a beatmaker's own commercially released project, even a free mixtape if was distributed to a large enough audience (not a mixtape that was just handed to a handful of friends); such a mixtape would have to have had garnered some widespread level of critical acclaim. But in the union I envision, all of the parameters of entry could not be determined by just one person. The metrics would be simple and automatic, with a streamlined process for registering with UBG.


(5) “If there’s so many members how would one go about even looking for beats within it?”

Each member would be registered with UBG, and labels and individuals could submit beat requests to what I would call the UBG’s “Beat Request Registry.” Each "BR" request would have a number and link to the actual request. ONLY members in good standing (meaning dues paid, no worker complaints, etc.) would have access to the BR filings.


It is my firm belief that a strong and united beatmakers union is the only way to assure decent beat prices and pay parity in the new beat market exchange, a phenomenon I detail in The BeatTips Manual. I’ve been calling for the creation of a union for beatmakers for over ten years now. In that time, the bottom-lines of some of the most well-known beatmakers (producers) have been pinched, and there’s been a tremendous rise in the number of talented beatmakers turning pro with different levels of production placements. Thus, right now is the time for serious strides towards a beatmakers union to be made. UBG can become a reality.

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The BeatTips Manual by Amir Said (Sa'id).
"The most trusted name in beatmaking."

January 09, 2015

Capturing Analog Sound and Essence in a Digital Era

Choosing the right DAW or tracking scheme for your beats

By AMIR SAID (SA'ID)


Mackie VLZ 1604 Analog Mixer(Photo credit: Amir Said)


Recently, a BeatTips reader asked me for advice on choosing a Digital Audio Workstation (DAW). It wasn't the first time...and I'm sure it won't be the last. So during our discussion, there was one key issue that had to be reconciled. Thing is, although he did indeed initially want my help in choosing a DAW, his real concern was about tracking (recording) from his Akai MPC into his computer. Specifically, he wanted to know what sort of compact mixing console he could use in conjunction with a DAW. Since I receive this sort of question all the time, I thought it would be helpful to expand my reply here in this article.


For starters, I informed him that I use Pro Tools. Although Pro Tools is indisputably the "industry standard," it is not, by any means, the only suitable software-based digital recording solution. There are many recording artists (beatmakers included) who prefer to use other alternatives like Logic, or Ableton Live. In my experience (and the experiences of many recording artists that I know), the decision to use Pro Tools, Logic, or Ableton Live really comes down to one thing: the way in which one intends to use the DAW.


Pro Tools, made by Digidesign, is excellent for mixing and editing your beats after you've made them; but some have found Pro Tools to be less agile if you intend to actually "make" your beats using it. However, it's worth pointing out that there are some well-known beatmakers like Statik Selektah who now do make some, if not all, of their beats in Pro Tools. Logic, made by Mac maker Apple, is also ideal for mixing and editing your beats. In some circles, Logic even ranks above Pro Tools, particularly because of its perceived ease of use and flexibility. Also, Logic is "more agreeable" if you intend to do more than mix and edit finished beats, that is to say, if you want to "make" beats using it. Finally, Ableton Live, made by Ableton (Germany), like Pro Tools and Logic, can be used for mixing and editing your beats. However, because it's actually a DAW and sequencer, it's also perhaps the most agreeable and flexible when it comes to actually making beats using the application.


Here, I should note that Pro Tools' dominance in the DAW field is due as much to Digidesign's early lock on the industry as it is to its design and capability. Thus, many Pro Tools users, who are now entrenched with not just the product but the brand as well, typically find it hard to migrate to a new DAW. And, again, Pro Tools is the industry standard, there's no denying that. However, you should be aware that any commercial recording studio worth a dime can easily work from your Logic and/or Ableton Live data files.


And What About the Compact Mixing Console

There are some who prefer to track their music into a mixing console, then from there into their computer. Many beatmakers—myself included—use this approach for various reasons: amplification, custom sound stylization, management of multiple pieces of analog gear, that sort of thing. So when deciding on which compact mixing console to go with, it's important to first ask yourself whether an analog sound matters to you or not. Of course, there is considerable debate surrounding this. On one hand, there's the argument that the analog component creates no noticeable difference in sound and audio quality. Still, others like Dr. Dre, DJ Toomp, and/or DJ Premier will tell you that there is indeed a noticeable difference...a difference that they, in fact, prefer.


Thus, if you're persuaded by the argument that the analog component does make a difference, then I recommend going with a Mackie compact analog mixing console. Mackie's VLZ series mixers come in the 4-, 8-, 12-, 14-, and 16-line input variety. However, you can also go with another solution: a FireWire analog mixer that gives you the mixing, recording, and monitoring capabilities of an analog console while offering the flexibility and convenience of digital. Among the compact FireWire (digital) analog mixing consoles, the standouts are: the Mackie Onyx series (8-, 12-, and 16- line inputs), and the Yamaha n8 or n12 FireWire Digital Mixing Studio (8- and 12- line inputs).


Finally, there's one more solution that works if you can't afford a hardware interface for your DAW, but you still want to track through a compact analog mixing console. You can record your beats from your compact mixing console straight to a CD recorder—that's right, straight to CD! Listen, until I had a DAW, that's exactly what I did. Going straight to CD directly from analog mixer will help you develop a stronger feel for sound and other audio nuances. Moreover, it will also help you build mixing skills as well—mixing skills, I should add, that the average beatmaker today does not have. Having your beats on CD is no disadvantage, anyway. Once you’ve recorded your beats to CD, you can always convert them to MP3 files if you need to email or upload your music. And if it becomes necessary to track your beats into an DAW (like in the case of selling a beat), you can bring your gear to a local recording studio and re-track your beats into whatever DAW they have.


Bottom line

I understand working on a next-to-nothing (or truly nothing) budget. But when it comes to building the setup that's right for you, it should never be about trying to acquire a "quick fix." I spent years building out my setup. I know how hard it can be to want to do something musically but you can't because you lack the right gear or the funding to get it. I've felt the anxiety (and pain in the gut) from wanting to move forward, even though I didn't have the tools that I knew I needed. That's why I empathize with other beatmakers who grapple with this everyday. But what I learned (over time) is that it's always more important to invest in your future overall music goals (in this case, to develop a strong skill for and understanding of beatmaking) than it is to take quick-fix short cuts. The gear will always be available. But the time it takes to really develop your craft waits for no one. And, having squandered away your time fixated on a piece of gear rather than developing your skills, you may find that you have a dope setup, complete with all of the latest bells and whistles, but only to find that you have poor beatmaking skills.

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The BeatTips Manual by Amir Said (Sa'id).
"The most trusted name in beatmaking."

December 13, 2014

Is Creating A Signature Sound Important?

An exclusive excerpt from The BeatTips Manual sheds light on how to make your own sound, and why it’s one of the main way’s to distinguish yourself

By AMIR SAID (SA'ID)


(Photo credit: Amir Said)


Regardless of what approach you ultimately take to make your beats, I can not stress enough the importance of establishing your own sound and style identity. The main reason that so many beatmakers eventually stop and give it all up is because they never develop their own sound and style identity and, subsequently, never establish their own brand of music. Though there are a number of factors that contribute to this, I believe that this phenomenon is mainly attributed to three factors: (1) the lack of thorough practice; (2) the lack of a concrete understanding and appreciation and/or respect for music history in general; and (3) the fact that many beatmakers never really learn how to translate their internal creativity through their production setups. And these days, with so many beatmakers transitioning to a ubiquitous “pop sound,” there’s one overlooked option that can offer just as much success and/or critical acclaim: A signature sound.


Despite what some in the beatmaking community purport, a signature sound is not necessarily a limited sound; on the contrary, it’s the independent and unique sonic force that is consciously created by an individual beatmaker or beatmaking team. Also, more often than not, the signature sounds of beatmakers reflect their commitment to the principle of originality and uniqueness. And whether a signature sound is simple or complex doesn’t really matter. A signature sound is a good thing because it allows a beatmaker to distinguish his (or her) music from others within the beatmaking community.


Signature sounds are also a proven phenomenon within the beatmaking and hip hop/rap traditions. From the earliest b-boy inspired DJs of the ‘70s to the sample wizards of the early/mid-‘90s, and on to the synth/synthetic-sounds-based beat crafters of the late-‘90s/early 2000s, signature sounds have been more prevalent than some beatmakers may like to acknowledge. Unfortunately, however, along with the increasing boom of interest in beatmaking, there also came a new level of seemingly acceptable biting — intentional, shameful duplication. In the past five years or so, biting (sucker style) and blatant style rip-offs have become so widespread that it’s proving to be more difficult to tell one beatmaker apart from another. And with the apparent tightening up of placement opportunities within the recording industry, many beatmakers, who once would have never considered openly biting another beatmaker’s style and sound, have gone over to the darkside. In this light, a signature sound is not only a way for beatmakers to distinguish their beats, it’s also an effective means for protecting against wide-scale biting. Hence, if you’re interested in creating your own signature sound, in the following section, I identify the six areas of beatmaking that are ideal for doing just that.


The Six Areas of Beatmaking That are Ideal for Creating a Signature Sound: Sound Frequencies, Drum Sounds, Drum Programming, Composing, Arranging, and Mixing

Note: Generating your own unique approach in the six areas that I outline below will inevitably lead to your own signature sound. But keep in mind, the process of creating a signature sound involves the deliberate repetition of many of the unique approaches and methods that you employ. That being said, here are some guidelines you might want to follow.


Sound Frequencies

Sound frequencies refers to the sound frequencies (color, tone, and character) of the type of sounds — samples, synthetic-sounds, synths, and sound effects — that a beatmaker chooses. This can be further broken down, for example, what kind of samples? Chops, long breaks (2-bar, 4-bar, 8-bar)? What kind of keyboard sounds? Strings, horns, bass sounds? What kind of synth sounds and patches? Mid, high, low frequencies? Each one of these sub-factors can offer a different path to a great signature sound.


More than any other elements of your beats, the sound frequencies that you choose play the biggest role in determining the overall mood and feel of your music. As such, it’s imperative that you identify and develop a range of sound frequencies that you truly favor; that is, a range of sound frequencies that best allows you to make the musical expressions that you seek. After you identify the range of sound frequencies that you like to work with, be true to them. That is to say, try to be consistent to the sound themes, strategies, and ideas that you value, and try to avoid falling headfirst into trends and/or directions that don’t fit your style and sound objectives and goals.


Drumwork: Drum Sounds and Drum Programming

Crafting custom drum sounds are a surefire way for beatmakers to create a signature sound. Remember, it has often been said that a beatmaker is only as good (or as bad) as his arsenal of drum sounds. Therefore, in order for you to create a signature sound, you must know your drum sounds. Thus, it’s important to learn what each one of your drum sounds can do individually and in tandem. So, develop drum combinations and patterns that fit your overall approach to beatmaking. Also, identify what sounds and frequencies interest you. Finally, try limiting the number and types of kicks that you utilize; re-using the same three to five kicks can go a long way in establishing a signature sound.


The drum framework is perhaps the most important hallmark of a beat. Therefore, if you want to create a signature sound, your drum programming has to be distinct on some level. Drum programming at its best gets the job done. But drum programming at its worst distracts and over compensates. Thus, designing drum programs that defer to efficiency, rather than some obscene level of showmanship, is often not only the best way to go for creating a signature sound, it’s also an excellent concept to observe with your beatmaking in general.


Composing and Arranging

Whatever arrangement scheme you use, always strive to create arrangements that are “steady,” not too busy. Again, hip hop/rap music is mostly predicated upon a strong rhythm, not melody. Therefore, as I note throughout this study, when arranging your elements, make sure that each component makes the overall rhythm tighter, and sonically stronger. Also, when considering changes, think in terms of function before you think of form; that is, consider the function of the change — if it’s needed and why. After you decide that a change is needed, be careful to create changes that compliment the main rhythm of the beat.


Mixing: Customize a Sonic Wall in the Mix

Mixing refers to the approach that beatmakers/producers may take to mixing their beats. This describes the sound dynamics that are achieved before, during, and after the beat is made. It involves things like manipulating the dynamics of each sound, through both non-effects processor techniques like tucking and panning, and effects processor techniques like EQ, compression, reverb, and limiting. Mixing offers a great way for you to create your own unique sonic impression. There are many “standard” mixing principles that can be observed. But the manipulation of these standards can often be the best way to establish your own signature mixing approach. The idea here is to establish and regularly work from your own mix settings. This will go a long way in helping you define your overall sound. For good examples of how the mix can be just as much a part of a beamaker’s style and sound, study RZA, A Tribe Called Quest, Large Professor, Bink, Nottz, and Madlib.

Excerpted fromThe BeatTips Manual: Beatmaking, the Hip Hop/Rap Music Tradition, and the Common Composer by Amir Said (Sa’id). Copyright © 2014 Amir Said. With permission of the publisher, Superchamp Books. All rights reserved.

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The BeatTips Manual by Amir Said (Sa'id).
"The most trusted name in beatmaking."

November 18, 2014

Extended Shelf-Life: Bronze Nazareth's 'School for the Blindman' — One of the Best Rap Albums in Decades

Soulfully Hard and Authentic, Loaded with Dope Beats and Edgy Rhymes, School for the Blindman Confirms that Bronze Nazareth and The Wisemen are in League of their Own

By AMIR SAID (SA'ID)


BeatTips Rating: 5/5

"Roll dice in old piss" —Bronze Nazareth

We often like and celebrate an album because of its power to take us somewhere. The vivid images that it calls up; the memories that it inspires; the emotions that it makes us feel — these are the things that, when present and prominent on an album, take us somewhere.


Hit play on Bronze Nazareth’s enigmatic album School for the Blindman (iHipHop Distribution), and you’re instantly transported to a music world that’s oblivious —thankfully so — to the oversaturated, gutless or otherwise cookie-cutter abstracts that make up most of what we know as mainstream rap music today. But School for the Blindman doesn’t just stand out as an obvious counterpunch to the jingle-filled, 808-dominated rap, it distinguishes itself from all other recent underground offerings as well. In fact, I find School for the Blindman to be one of the best hip hop/rap albums in decades.


Prior to School for the Blindman, the only other hip hop/rap albums that I found that I could listen to straight through with repeat extended plays were lllmatic (Nas) and Supreme Clientele (Ghostface Killah). And like those two classic albums, School for the Blindman also stands out because of it’s stellar, ear-catching production (soul samples & ill drums galore) and concrete rhymes. No beat on School for the Blindman is a mail-in job or simple drum program re-run. Instead, every beat contorts with its own structure and direction.


Truly a “beatmaker’s” beatmaker, Bronze’s production (he produced all but three tracks on the album) illustrates organic drums, well-conceived chops and arrangements, uniquely filtered phrases, and a powerful injection of feeling. As per Bronze’s style and sound, the art of sampling shapes the entire framework of School for the Blindman. And as with his previous efforts, all of the frequencies sampled and flipped make up amazingly hypnotic sonic textures that hold you at attention and demand frequent replays. (Bronze employs a smooth but defiant sampling style that priorities feel over needless complexity; thus the main reason that his beats draw you in.)



As far as the rhymes go, here, too Bronze shines. On “Fresh from the Morgue,” which features one of the dopest sounding hooks ever and a verse from The RZA, Bronze drops this quotable, “I’m so ill bring in the nurses to see him/my bitch purse is bulimic.” This kind of smart, layered slant rhyme is a staple throughout School for the Blindman. But then there’s the deeply personal “The Letter,” where Bronze’s knack for double (even triple) entendre reaches new stylistic and emotional levels: “I was the worst friend, couldn’t see poison through veins/losing you in vain from making tracks/I shoulda stopped the train.” The verse on “The Letter” and other songs on School for the Blindman cement Bronze’s place among the best producer/rappers of all time.


Although this is a Bronze solo joint, as with vintage Wu-Tang — the Wiseman’s direct influence — The Wisemen show up in force. Salute, Phillie, Kevlaar 7, and June Megaladon are present, each adding their distinct voice and flow to the tracks that they appear on. Each member of the Wisemen carries an aggressive but subdued demeanor. To be certain, they represent a street, workman-like ethos. I’m sure that the labor realities (or lack their of) in Detroit has something to do with this. Indeed, The Wisemen offer up an everyday-man familiarity. Plus, for those who have actually spent time in the streets because of the hard draw of life, and not because of a prospective rap career, The Wisemen are especially refreshing. They paint the scenes of daily life in the hood — the highs, lows, and ironies — with confident strokes of well-stated details.


In addition to Wisemen features, School for the Blindman also gets a literal Wu-Tang assist, as Inspectah Deck, Masta Killa, and The RZA all appear. RZA shows up on four joints (3 of them bonus cuts) and is in top form. Other features include Rain The Quiet Storm, L.A.D. aka La The Darkman, and Killah Priest.


Another paramount feature of School for the Blindman is the level of authenticity that it exudes. The feel of the whole album is as hard as it is emotional, as street gutter as it is fine art. Each song brims with confidence and emerges as an exact, creative and sure-guided piece of art. This is because Bronze is deeply conscious musically and politically (peep the Martin and Malcolm messages), and as such, he’s concerned with recapturing feeling, a specific feeling, one from a soulful and more noble time in Black American history.


With this focus as a guide, there are no bells and whistles on School for the Blindman, only rough-stock beats and rhyme darts! Which means that the level of confidence — even, decadence — on School for the Blindman is the kind of natural confidence that only comes from a certainty in one’s self and chosen journey. And that’s just it: Right now, Bronze and the Wisemen collective are in a rap league all of their own. They draw energy from the essence of their squad; they don’t come off as an overworked caricature of guys from the street. Instead, they showcase an honest handle on their station in life and demonstrate that they’re an authentic and earnest crew, not a fastened together boy band masquerading as a rap clique.


When I reviewed The Wisemen’s Children of a Lesser God more than a year ago, I asked, rhetorically, if The Wisemen match or surpass the Wu-Tang Clan? My answer was no, of course. But I submitted then that The Wisemen’s aim and effort to stay true to their pedigree and influences is what allowed (allows) them to create something authentically theirs — something that would stand for others to attempt to emulate, match, or surpass. This, I continued, was the continuum promise of a dope pedigree. But after listening to School for the Blindman, I no longer think that the question of whether The Wisemen match or surpass the Wu-Tang Clan is applicable. Direct Wu-Tang influences aside, Bronze and The Wiseman have successfully navigated a course that now has them in a league all of their own. In today’s rap scene, there are few collectives (if any) that are comparable in style, sound, weight, and consistency to The Wisemen.


BeatTips Rating Breakdown

Favorite Joints

“The Letter”
One of the most moving songs that I’ve heard, any genre! This hard-hitting “letter” to a dead friend, taken to soon by the jaws of drug addiction, is absolutely chilling…and beautiful. Bronze is himself on every track for sure, but on “The Letter,” he travels deeper into his heart and taps into a pain that’s made up of a triple cocktail of loss, confusion, and guilt. The beat (which, by the way gives a clinic on how to pitch up a sample and loop it) holds this sort of smooth rumble to it. So effective is the filtering, the chops, and mix on this joint, it sounds as if the vocal “oooing” — that rides through the better part of the track — is separate and on top of everything. And the drums, which feature a highly tucked, almost muffled kick and a punching snare that features a chorus on every 4th hit, are simply masterful. With three primary sampling elements (as far as I can tell, there could be more) that dissolve into each other, this drum-work scheme sounds even more impressive.

Bronze Nazareth - "The Letter"

Bronze Nazareth - "King of Queens"


“Fresh From The Morgue” ft. The RZA (This joint is multidimensional dope! Soon as the hook drops, you’re rocking along to the song.)
“King of Queens” (Prod. Ernesto LTD)
“4th Down” ft. Salute, Kevlaar 7, Phillie (Pay attention to the sample flip on this joint!)
“Gomorrah” ft. Killah Priest (Prod. by Kevlaar 7)
“Worship” ft. Salute, Phillie, Kevlaar 7 of Wisemen
“The Records We Used to Play”
“Jesus Feet”

Bronze Nazareth feat. Killah Priest - "Gomorrah" (Prod. by Kevlar 7)

Bronze Nazareth feat. RZA - “Fresh From The Morgue”


Sureshot Singles

“4th Down” ft. Salute, Kevlaar 7, Phillie
“Carpet Burns” (bonus song)
“Gomorrah” ft. Killah Priest (Prod. by Kevlaar 7)
Worship Ft. Salute, Phillie, Kevlaar 7 of Wisemen
“King of Queens” (Prod. Ernesto LTD)

Bronze Nazarath feat. Salute, Phillie, and Kevlar 7 of Wisemen - "Worship"

Sleeper Cuts

There are no sleeper cuts on here; all of them will catch your attention on the first listen.


Gripes and Weak Moments

NONE


Final Analysis

What ultimately makes School for the Blindman sore is its very nature — a subdued, soulful — beat send-up with authentic rap voices. You get the feeling that Bronze knew what he wanted this album to be — a “school” where the echoes and retransformations of soul music helps to guide the thoughts and imagery of each listener. Thus, School for the Blindman delivers an effect that is more like a savvy, entertaining documentary, than a CGI-laden action feature film. So much authentic nuance abounds on this album that you almost miss the polish and forget that Shool for the Blindman is, afterall, a feature and not a documentary film, if we stick with the film metaphore.


I’ve always been of the opinion that an album should be examined (critiqued/reviewed) on what it aims to do, what it purports to be. By this metric alone, School for the Blindman gets a BeatTips Rating™ of 5. The album is a classic. Still, what makes it superb is not that it excels in what Bronze set out for it to be, but that it goes beyond. School for the Blindman demonstrates a timeless combination of theme and execution through a collection of beats and rhymes that live up to each other. And when the beat and rhyme fit as if they were born together, there’s no tougher combination. This occurs again and again on School for the Blindman.

Afterword

I’m almost puzzled as to why Bronze Nazareth and the whole Wisemen collective do not receive decent, ongoing coverage by rap music publications and even those music blogs that seem to pride themselves on pushing good music to the front, trends be damned. But the Wisemen represent a continuum essence, something held over from the concept of hip hop/rap music as a quality experience that pulls you in with dope beats and rhymes and authentic nuance. The Wisemen do not fit within or defer to a caricature of “pop cool” that prioritizes smedium t-shirts, skinny jeans, fake fun or emo synth-lines. They are not an outfit of over-hyped misfit angst pushing out contrived adolescence over sub-par beats. The Wisemen are blue collar stars, indicative of Detroit, the city they rep. Moreover, they are students and masters of a specific rap aesthetic, an art style and sound that holds meaning to them (and countless others around the world). Subsequently, they’re little concerned with trend-chasing critics who seem more interested in being the tastemakers of only one, often diluted branch of hip hop/rap music.


So the only reason that I’m even slightly puzzled by the lack of coverage that The Wisemen receive is because of what they represent and offer. Listen, hip hop/rap music is an indefinite music form. This means that there is no time — era, nuance, style, theme — in its vast tradition that can’t be summoned up, celebrated, and mastered. But as long as music publications fail to realize this important fact, unfortunately, The Wisemen (and any groups of similar stock and trade) may get overlooked.


Here, I’m reminded of something I learned as a kid, and something I tell my son: To be true to yourself is a blessing and a burden. Fortunately, Bronze Nazareth and The Wisemen have accepted the burden along with the blessing.


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The BeatTips Manual by Amir Said (Sa'id).
"The most trusted name in beatmaking."

November 06, 2014

BeatTips Interviews Minnesota

A Frequency Runs Through It

By AMIR SAID (SA'ID)


(Photo credit: Amir Said)


Understanding. It’s one of the primary keys to crafting quality beats. Understanding is something South Bronx-bred beatmaker Minnesota has plenty of. He understands why beatmaking (hip hop production) has moved into the forefront. He understands that one of the beatmaker’s most fundamental roles is to provide the right frequency for a rapper to rap to. And, most importantly, he understands the essence of a dope beat and what it takes to become a skilled beatmaker.


Minnesota (or “Minnie” as he’s called by those who know him best) is the rare no-nonsense but jovial type. Bronx born and bread, he witnessed hip hop as a young child in the late 70s, which gives him a perspective not matched by many today. Because he studied the hip hop from its inception in the Bronx to its meteoric rise worldwide, he has an acute understanding of how hip hop culture and rap music mixed from the 70s on into the 200s. A beatmaker (producer) who enjoys discussing the intricacies of the art of beatmaking, Minnesota’s knowledge of the craft runs deep, and he’s also one of the biggest advocates for beatmaking education that I know. While working on an earlier edition of The BeatTips Manual, Minnesota and I got together to do a series of formal interviews. Below, I’ve put together the highlights of those discussions.


BeatTips: When did you realize that you had skills to make it?

Minnesota: Well, production wise, I was always indirectly into music. It was somethin’ that I always loved. So from the second that I picked it up… I bought my first beat machine in 1994. By 1995, I was selling tracks. I was taught by Scratch, the producer of KNS (he did “Déjà Vu” for Lord Tariq and Peter Gunz). I was coming out of the street, getting into music. I got the ASR; well, no, the first thing I got was the EPS 16 by Ensoniq.


BeatTips: 1994? Good Year! So what skill do you think you’ve developed the most since then?

Minnesota: The tide of music is generic right now. So I really had to learn how to dumb-it down. Doin’ music that’s acceptable to masses of people. The music that I usually be doin’ is some Advant Garde shit, music that’s ahead… A lot of times when I do a beat, I don’t like to do it with my ears, I like to do it with my spine. I like the no-brainer—the first 5 seconds of the beat is hittin’ you.


BeatTips: A lot of producers that came out of that mid-‘90s period resisted change.

Minnesota: Not me, ‘cuz see, there’s always my artistic mind and then there’s my hustlin’ mind. There’s always the mind that wants to get a lot of paper [money]. And then there’s always the mind of creating something because it’s some real ill shit. So there’s two minds. I could do something for someone like Mariah Carey, and then I could do something for someone underground… But just being a producer, sometimes you’ll be hard-headed, just wanting to go in one direction. When that happens, you become your own worst enemy.


BeatTips: What’s currently in your setup?

Minnesota: ASR-10


BeatTips: You don’t mess with the MPC?

Minnesota: Nawgh, none of that shit… It’s always the n*gga, it’s never the machine! I will say I lack certain keyboard sounds, the Ensoniq [ASR-10] doesn’t come with all that. There was a time when I was getting ready to get rid of it and I had gone with Tariq to Virginia. And we were in the studio with Pharrell [and Chad, the Neptunes] and I was getting ready to get rid of my machine…And I had gotten to see Timbaland’s setup and Pharrell’s setup, and at the base of their shit was the ASR-10. It’s a machine that might not be modern, but you can really get it off. I’m not close minded. There’s other different shit that I’m going to fuck with. At the time, I just didn’t come across any other machine that I wanted to use… I was never really big on the 1200 [E-Mu SP 1200]. And MPC’s just remind me of updated 1200s. I was really more for the keyboard, ‘cuz I could play by ear… The sounds in the ASR come in layers. I can strip layers, I can take two different sounds and glue ‘em on, you know what I’m sayin’. Tone it, glue it on, pitch it, then I’ll have a different sound.


BeatTips: I remember once when you and I were in the studio and you were telling me about this clap that you had made; you had layered some percussion over it. Is that a stable of your sound? Do you do a lot of layering?

Minnesota: Yeah, I do a lot of layering. Layering and pitching, you know what I’m sayin’. That’s the good thing about the ASR. I mean, I’m not going to say that you can’t do it on other machines, but there’s a certain warm sound that the ASR already comes with. Its got like a raggedy warm sound already. So even if I’m doing a keyboard beat, it sounds a little different then a nigga on an MPC.

Ghostface Killah - "Beat the Clock" (Prod. by Minnesota)


BeatTips: When you sample your drums, how do you do it? Do you sample them dry or do you do all your effects after?

Minnesota: Nawgh, I do everything dry. I don’t know if that’s a downside or not; I just grew up lovin’ warm music. I do all my shit dry. Unless I’m in the studio and I want to go a certain way.


BeatTips: What do you owe your sound to?

Minnesota: I like to do music that hits you right away, music that you feel. That could be a downside, though. ‘Cuz the music that’s out right now is microwave shit. You understand. It comes and it goes! But me, I just like that real, real good shit. I try to give it raw. Even with my keyboard joints… I don’t like to be boxed in as a producer. I can do anything. I can do Reggaeton, I can do R&B. But my forte is spittin’ out the joints that I like, and I’m known for that.


BeatTips: You did the theme song for Def Poetry Jam. Them violins was crazy. Now, for that beat, for something like that, you would think that you had to have a musical background where you were taught how to arrange music traditionally.

Minnesota: Well, what happened with that was there was a sample that couldn’t be cleared. So we had violin players come in and I had to hum it to the best of my ability. I like the beat. But we got close, but far, from the original tune… Even still, it fit so good with what was going on with Def Poetry. But the original sample, they was talking house and swimming pool money to clear it! People like how the final beat came out. But honestly, in my heart I didn’t like it, but that was a paper [money] situation.


BeatTips: Right now, reflectin’ back on your career, what producer or producers had the most influence on you early on? Who took you in early on?

Minnesota: SHOWBIZ!!! From Diggin’ In The Crates. That nigga opened my ears! Back when niggas was just sampling. Showbiz was the one that told me that I was listening to the records all wrong. Like, I would sample 1,2,3,4. He taught me 3 ½, 4 ½, 2 ½; like to catch it so awkward where nobody would be able to figure out what you did. He was the first person that showed me how to chop. And I just took it to Mars. He was on the SP 1200… I can always say that I owe all of that to Showbiz from Diggin’ In The Crates.


BeatTips: So how were you choppin’ before Show put you on?

Minnesota: Musically, it was like, when I got on the machine… you know how some producers are crazy over the megabytes and the gigahertz. I don’t know about none of that shit. I’m not technical AT ALL! My setup is hilarious to producers, when they come to my house, ‘cuz my shit is hooked up to a CD player! Niggas be buggin’ like, “Yo, where’s the studio?” I’m like, ‘Fuck a studio.’ I’m always more for the feeling of the music, or more for the frequency. Niggas be having the biggest studios and THEY BE TRASH!!! It’s never the machine, it’s the nigga. Like, if you put Pharrell on anything, he’s gonna come up with something wicked.


BeatTips: Considering what you just said, for somebody’s that’s never been into producing, how would you recommend they spend $3,000?

Minnesota: Man, let’s not lie: If I wasn’t a ASR nigga, I would’ve been one of the MPC niggas…an MPC something! ‘Cuz that is a hot machine. I’ve pressed on the buttons and I like the way it does drums. You can do like the stutter kicks…You can’t do that on the ASR…


BeatTips: You got joints with the stutter kick. So how do you do that on the ASR?

Minnesota: I gotta slow the shit down. If I got a beat going at 93 beats per minute, I gotta slow the beat down to like 51 and then play in the kicks, and then turn the BPM back up. That’s the downside to the machine. And the ASR doesn’t timestretch. That’s the only other thing that I hate. Other than that, man… But what I would recommend to someone is some kind of MPC. I hate the Triton. I never liked the sounds in it.


BeatTips: Are you into downloading sounds?

Minnesota: Nawgh, but there was this one kid that came by who did that. He used Fruity Loops. On a scale of 1 to 10, I’d give his beats a 6. And he was like, “I dig. I don’t dig like you do. I dig on the computer.” He said he could find records. That’s cool, but there’s just certain things that you’re only going to find on vinyl. Like artifacts. Extinct shit, where you could sample it, put it out, keep your mouth shut, and you don’t have to clear nothing. The thing that I would like to say to all producers is Shsh!… Stop talkin’! ‘Cuz this is our own “intellectual property”. People shouldn’t know about our oil. This is our oil! They know too much about our oil mine. Let’s shut up and we can get away with a lot of shit! If they want to find the sample, let them go look…FOREVER! We tell on ourselves too much… We tell on ourselves too much, musically! Producers: Shut Up. We got the power. You know, these idiots get on the music sometimes and fuck it up. But the producers have always been the ones who have had a burning passion to keep a certain frequency alive. So we control the music, you know what I’m sayin’. A producer shouldn’t be going home like, “I’m a do a street beat.” These people are defining us so much that they’re even fuckin’ with the producers’ mind now. And psychologically, it’s just got a lot to do with controlling our music and everything.


BeatTips: So what do you tell somebody who’s got the skills, but they can’t seem to break in… What’s their next move, how should they approach it?

Minnesota: You know, breaking in is based on politics a lot of time. There’s such a pretentious ethic that goes with the music game. You know, when you’re dope, you’re dope. But it’s like…one name gets you to another! Like when you find that one person. I don’t give a fuck if he’s in the mail room at Sony. He knows somebody, he’s gonna play your music for somebody…Point is, you gotta get with people that truly have a burning desire for your sound, your music. You gotta go with the one-name-gets-you-to-another approach. And that doesn’t mean that you have to be a disloyal person. You kind of gotta go from branch to branch, to kind of move forward… And another thing for producers is get any exposure that you can! Get in front of a camera, ‘cuz we all have a laid back way where we don’t wanna be seen, or we don’t wanna be heard. Now, it’s a different era. It’s about being visible. ‘Cuz you can be trash, but visible and everybody’s gon’ come and get your shit. There is a different game being played. You just gotta have your artistic mind and your business mind, your hustler mind, like in reference to hustling your music. Like if the South is poppin’, you go to the South. Stop runnin’ down to these motherfuckers, tryin’ to shop beats to these idiots. We in New York, but New York is not poppin’ right now, ‘cuz there is such a hateful, pretentious ethic that these black people use on each other. If you go in the South, yeah, you might not get $20,000 a beat, but you might get $6,500 cash, and they buy four of ‘em from you at once!


BeatTips: How would you say that you broke in? A lot people credit 50 Cent for using the Mix Tape movement as a way to break in. But I remember the Money Boss Players’ mix tape movement years before…

Minnesota: Times change, and you can’t be no asshole. 50 provided a climate of somethin’ that really happened with music. There was some real criminal shit going on in Queens; and he’s talented, you can’t take that away from the nigga…We [Money Boss Players] always down-played the street game. We was a small circle, and we was always real rap niggas…The Money Boss Players was me, Lord Tariq, C-Dub, Big Eye, Eddie Cheeba, and Trè Bag… You know what though…See, people look at rap…Like, I love 50 Cent and the G Unit movement. I love Murder, Inc. I love the Dipset…I’m not a hater… I love the Ruff Riders…What happens with our music is…I don’t know if I’m going off but this is something that I really gotta get out…What happens with our music is they can’t push drugs on the black community anymore, like they used to.

When crack came out, it was on every corner. Every 100 feet…Crack was an epidemic. It really hit us. It tore the black community a new asshole. So now, the new drug is thug! The kids don’t wanna’ be the junkie no more. Everybody wants to either be the shooter or the dealer. Now there is a machismo…And it’s creeping into the music…Let me put it to you like this. I like where the South is coming from with theirs. Because hard core is having its time to burn itself out. The South is bringing a playful thing into it… In ’91, ’92, the ganstas in the street was waiting for A Tribe Called Quest and Leaders of the New School to drop… See, music is spiritual government. It’s like a silent government over masses of people. Music can make you go kill someone! I pay attention to frequencies. I’m a producer. I see how certain frequencies hit people and their faces cringe up. You can’t stop music from goin’ in. So the government had to control our community through the music, ‘cuz they can’t push drugs on us! Producers…we provide a frequency to a poet. We’re frequency providers, you know what I mean…


BeatTips: Word… Yo, to you, what’s the difference between a beatmaker and a producer?

Minnesota: Well, everybody’s different…And that always transcends in your music… I don’t know how to explain it but check it out…You listen to Premier, you can hear Brooklyn in his music. You can hear he comes off the cloth of ‘80s in his music. In his frequencies that he picks to put out and sell, you can tell he’s somewhat of an elder, that he’s been around some shit. You can hear that he was some type of street dude in his music. Or you can take the Neptunes, the Virginia sound. You could hear that the Virginians really loved hip hop music. But they have a southern tinge on them…But you can also hear that they loved New York hip hop. We are ALL musicians!!! Even if we’re sampling, we’re just musicians…I don’t like the producer or the beat man shit! What I’m saying is this: I know how to make songs. I’m dope at it. I’m in a song zone, now. I hate just doing beats, now. Almost every joint I do, I hear the song to it…I’m just now getting into the song part of it, ‘cuz I was always trying to sell beats for money… I loved Ghostface on “Beat The Clock”. Big Pun grew up over here with me. And I underestimated him, but he made me see his vision. That’s what I loved about Chris [Big Pun].


BeatTips: Some people have told me that they don’t really get into listening to music. Do you listen to music on a regular basis.

Minnesota: I used too. You gotta understand. The crack babies are doing our music right now! I know I’m ol’ school in a lot of ways. [These new cats] cater to a mind state, a massive mind state. The music game is fucked up because the producers are not A&Rs. You put producers and DJs behind desks, you’ll get doper music; you’ll get a lot more good frequencies. But you know what though, there are a lot of good things resurfacing. Like Little Brother. That sound is a certain sound.


BeatTips: About a year ago, we was buildin’, and you mentioned somethin’ real about what Kanye West brought. Speak on some of that…

Minnesota: Well, if I can say one thing that I always say about him. He evened the playing field! He killt' the machismo… He brought back the ‘nigga, be comfortable with yourself’. I like that shit. He just evened the playing field to where you didn’t have to be just that nigga over there. And you couldn’t discriminate against him because he’s the producer. There’s a different stigma. The public will allow you freedom if you’re the beat man. But if you’re a rapper, it’s like, “nigga you gotta be this way”… Kanye’s music feels good, let’s not even sit there and lie… The first thing you gotta understand… I just want to get to somethin’ about the South. If you’re doing hip hop music, you’re doing Bronx music! That shit, we did that shit. When I was running around playing tag in the Bronx, I was listening to southern music, if that’s what it is, man Batta [Afrika Bambatta] and ‘em with the “Planet Rock”, and they rocked the planet with it. And then it went to Miami, and then it stretched out from there. Miami bass was South Bronx music! If you’re doing rap music, whatever the fuck you do, you’re doing Bronx music! The culture was birthed here. And New York stretched it out, and it went wherever it needed to go. Every sound that was ever featured, they did it hear a long time ago.


BeatTips: How does the business work? How do points work? And Explain how you will have to chase people down for your money.

Minnesota: If you can, I think that everybody should start out with two lawyers. I mean, everybody gets jerked, it’s fucked up… To a beat, there’s always 200%. There’s 100% writer’s and there’s 100% of the frequency [music]… Yeah, it’s fucked up. I have had situations. It’s ugly when it comes to paper…There’s just so much shit…And one more thing. Yo, tell a friend to tell a friend: DO NOT FEEL BAD ABOUT CALLING A MOTHERFUCKER 90 TIMES for your paper, in one day. Because they have a reverse psychology, where they make you feel bad about calling for your money, like you’re a bum. NO!!! You worked for it. Get your lawyer. These people behind the desk might make $60,000.00 a year, and now this record company owes you $50,000.00 off of one hit. GET YOUR MONEY. These jerks… These cock heads…These A&Rs. I don’t know where they get them from…


BeatTips: I hear this a lot: “If you ain’t got it, you ain’t got it.” How do you look at that?

Minnesota: That’s ignorant to say. No one has pristine eyes. Everybody’s got a different story. Your background, where you come from…Your life is gonna’ go the way it’s gonna go…Like me, I know music. There’s no arbitrary time frame, but you gotta be where it’s goin’ on. You can be a half-decent producer, but be around people who are consistently gettin’ some money. You have to be around it… be in contact with the right people!


BeatTips: I write that the equation looks like this: the person + the device = success. What order would you rank the machine…What order do you rank a person’s background… What order do you rank where a person lives…What order would you rank a person’s music introduction?

Minnesota: Motivation, Personality and Talent. Talent don’t mean nothing! I got a ton of it. I should be making somewhere in the lower millions. But my personality. My brutally honest shit is a thorn in the industry. Motivation, I’m 60/40…60% motivation, 40% beware of people!


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The BeatTips Manual by Amir Said (Sa'id).
"The most trusted name in beatmaking."

October 28, 2014

BeatTips Top 30 Beatmakers of All Time

A Top Beatmakers List with a Deeper Meaning and Purpose

By AMIR SAID (SA'ID)


NOTE: If you've already read the disclaimer about the nature of the BeatTips Top 30 Beatmakers of All Time, you can jump down to the rankings and click on the corresponding name for a helpful breakdown of each beatmaker.


Whenever lists of this sort appear, they’re generally presented with little or no serious discussion about the list beforehand. Perhaps that’s fine for pure entertainment purposes. But for readers to get the best learning experience from a review list of this kind, I believe there are a number of things that readers should know up front. Thus, I’d like to offer an important disclaimer about the nature of the BeatTips Top 30 Beatmakers of All Time list and the criteria used to determine which beatmakers were added to it.


The Nature of this List

The BeatTips Top 30 Beatmakers of All Time list is one of the first sub-projects of the BeatTips Art of Beatmaking Education Project (ABEP) that I recently started. The fundamental purpose of the BeatTips ABEP is to help preserve, promote, and expand the beatmaking tradition of hip hop/rap music through a series of specialized projects. In this way, the BeatTips Top 30 Beatmakers of All Time list is meant to serve as a discussion, MusicStudy, and general research portal.


Next, the BeatTips Top 30 Beatmakers of All-Time purposely omits the word “producer”, and here’s why. In the hip hop/rap music and beatmaking traditions, the term “producer” is often synonymously used to describe a beatmaker. But as I point out in my book The BeatTips Manual, this is not always appropriate particularly because the definition of “producer” can be murky: “Hip hop production is the creation of hip hop music. And although this description broadly covers every dimension of hip hop/rap music, the term hip hop production is used most commonly to refer to the making of the hip hop/rap instrumental — the beat. So technically speaking, a beatmaker, one who makes beats, is a hip hop producer; ergo, a beatmaker is a producer.” But “producer” is a loose term that can be used to describe anyone within the process of the final sound of a recording. Simply put, a beatmaker is someone who actually makes beats. A beatmaker can indeed be a producer; in fact, most double as both. (Further, being a beatmaker is not in anyway less noble than being a producer!) However, and this is a critical point, a producer need not be a beatmaker. Hip hop/rap music is littered with people who have “producer” credits, even though they never actually made (or assisted in the making of) any beats. Thus, The BeatTips Top 30 Beatmakers of All Time List only includes beatmakers. Of course, each beatmaker on this list has also rightfully earned the title of producer.


There are four other important things to know about the nature of The BeatTips Top 30 Beatmakers of All Time list. First, the purpose of this list is to educate. Hopefully, new beatmakers will be introduced more appropriately to some prominent beatmakers that they’ve only heard about in passing. And beatmaking veterans will be reminded of just how far the beatmaking tradition has come. In either case, I’d like this list to prompt some serious exploration and reflection from readers. Preserving and expanding hip hop/rap’s beatmaking tradition requires historical examination, present-day review, future speculation, and, at times, constructive (helpful) debate.


Second, this isn't a list to appease anyone that I know personally. I can count a number of beatmakers as friends; and I’ve interviewed many well-known and lesser-known (but quite acclaimed) beatmakers. That aside, I’ve made no effort to show favoritism in the making of this list. My objectivity — and naturally subjectivity — in the making of this list was based on the catalog of work of each beatmaker that I seriously considered.


Third, this is not a list intended to be safe, so as to not offend anyone. Top lists of any kind tend to offend one group or another, so I'm all right with that. And certainly, a top 100 list would have given me enough coverage to include everybody’s favorite. Even a top 50 would have allowed more room for adding all of what many would consider to be the obvious names. Still, a top 30 list presents a challenge, especially when you consider beatmaking’s classic past and its mixed present. I’m not interested in gathering up an easy list of names. Instead, I want readers to seriously think, perhaps even broaden their own thoughts about how, why, and where they rank their favorite beatmakers.


Fourth, The BeatTips Top 30 Beatmakers of All Time is not a "hottest in the game right now" list. I deeply respect longevity, particularly because it requires talent, drive, integrity, and hustle. I'm less interested on shining a light on just this moment in time. In fact, I believe all-time lists offer a better learning (and discovery) experience for readers. This is especially important for new beatmakers who are often less familiar with the names and critical works of earlier times.


The Criteria

When making the BeatTips Top 30 Beatmakers of All-Time list there were many different things that I considered, far too many to mention here. But there are eight main criteria that I used in making this list:


(1) Body of work. Without the work speaking for itself, there could be no serious consideration of any beatmaker who made this list. And while I did not deem it necessary that each beatmaker on the list had a massive catalog, the sheer number of beats (recognized and respected songs) of certain beatmakers could not be ignored. Therefore, a larger body of acclaimed work was appropriately given more preference. Also, special attention was paid to how many songs a beatmaker had within the cannon of hip hop/rap music, as well as whether or not a beatmaker contributed to the career of another pivotal hip hop/rap artist’s career. I should further add that the body of work that I've considered here is hip hop/rap only! Whether a beatmaker could or did produce music outside of the hip hop/rap genre had no bearing on where I ranked them with respect to hip hop/rap music. If I were ranking all-time horror film directors, it would be silly to include the comedic works of those directors as consideration in where they should be ranked. Likewise, neo-soul, drum-n-bass, dub step, etc. has no influence on a hip hop/rap ranking.


(2) Critical acclaim for a clearly distinguishable and/or signature sound. Preference was given (as I believe it should have been), to those beatmakers who either established their own well-recognized signature sound or contributed considerably to one or more of the eight distinct periods of beatmaking (In The BeatTips Manual, I examine and detail all eight periods).


(3) Minimum of at least three critically acclaimed (not just top sellers) songs, albums, collaborative works, etc. within the last 30 years. Part of being a standout in any art medium is recognition within the field. Sometimes this means big hits, other times it means well-respected songs that most skilled beatmakers know of or appreciate for what they are. And note: this particular criteria reflects the reality that some of the best in any given field are overlooked for various reasons. However, this does not diminish their work. Moreover, history is loaded with artists who didn’t get their proper appreciation until late in or well after their careers.


(4) The number of lyrically acclaimed rappers — in their prime — who rapped over their beats, and/or the subsequent “classic” songs created over the last 30 years. This is of particular importance for two reasons. First, it serves as proof as a particular beatmaker’s automatic place in the canon of hip hop/rap music. Second, it demonstrates the popularity and respect of a beatmaker among the best rhymers of their and other times.


(5) Real, not misperceived, impact and influence on other top beatmakers
of all time. Everybody has to be influenced by someone. But who influenced most of the beatmakers on the BeatTips Top 30 Beatmakers of All-Time list? Not surprisingly, many influenced each other.


(6) Real, not misperceived, overall impact (or likely impact) on the beatmaking tradition. In other words, what was their recognizable impact on the beatmaking tradition itself? For instance, what developments, styles, techniques, ideas, etc. did they contribute to the beatmaking tradition?


(7) Longevity. How long was a beatmaker able to maintain his career. For various reasons, some beatmaker’s careers were cut short, while others have continued to blossom since they first began. Thus, longevity wasn’t measured in a sheer number of years, but in terms of body of work within the frame of time a beatmaker made his name. Think of it this way: Jimi Hendrix’s entire body of work is just four years…


(8) Projected influence and impact on future beatmakers. Of course, this is speculation at best. No one can predict the future. Still, we can recognize the lasting contributions made to the beatmaking tradition by certain beatmakers.


One final note about this list: It’s not static. That is to say, the beatmaking tradition is constantly expanding, therefore, this list will necessarily need to be adjusted to account for new production output by beatmakers, as well as new research by myself. Thus, each new year, in September, a new BeatTips Top 30 Beatmakers of All-Time list will be generated.


(Homage to DJ Kool Herc, Grandmaster Flash, and Afrika Bambaataa — the grandfathers of modern beatmaking.)

#30 • Statik Selektah

#29 • Dame Grease

#28 • True Master

#27 • Bink

#26 • The Beatnuts

#25 • DJ Khalil

#24 • Havoc (of Mobb Deep)

#23 • Rick Rubin

#22 • 9th Wonder

#21 • Alchemist

#20 • Buckwild

#19 • Madlib

#18 • Nottz

#17 • Prince Paul

#16 • DJ Paul and Juicy J

#15 • Kev Brown

#14 • Showbiz

#13 • DJ Tomp

#12 • Just Blaze

#11 • The Neptunes

#10 • Q-Tip and Ali Shaheed Muhammad (of A Tribe Called Quest)

#9 • J Dilla

#8 • The Bomb Squad (Hank Shocklee, Eric “Vietnam” Sadler, Keith Shocklee, Chuck D)

#7 • Kanye West

#6 • Dr. Dre

#5 • Large Professor

#4 • Pete Rock

#3 • RZA

#2 • Marley Marl

#1 • DJ Premier


---
The BeatTips Manual by Amir Said (Sa'id).
"The most trusted name in beatmaking."

October 24, 2014

Nottz - “Shine So Brite,” An Illumination of Beatmaking's Impenetrable Force Field

Song Punctuates Beatmaking's Ability to Suspend Hip Hop/Rap Music in Time

By AMIR SAID (SA'ID)


Here's a simple truth: Within the beatmaking tradition (of the broader hip hop/rap music tradition), the more beatmakers who make beats, the more fluid the notions become about what constitutes a dope beat. But hip hop/rap music, perhaps more than any other twentieth-century American popular music form, has the incredible power to reuse, retool, reconceptualize, and recontextualize the very fundamentals that gave rise to its existence. Because of beatmaking, hip hop/rap music's chief compositional process, hip hop/rap is one of the only popular Western music forms that can rotate in new generations of music makers who feature sounds that authentically span any of its pivotal styles and eras.


This means that any serious student of the beatmaking tradition can reproduce any one moment in hip hop/rap's history (particularly its most soulful moments), in the exact style, sound, sonic template, feel, mood, and texture. Thus, for all intents and purposes, hip hop/rap music has an impenetrable force field. One in the form of a legion of beatmakers (now and in the future) whose commitment to hip hop/rap's core musical processes, protects (in effect) against its own demise.


By perpetually reusing and recalibrating beatmaking's most unique processes and methods, in the finest, dare I say truest manner, these beatmakers ascend towards the graces, and sometimes ranks, of beatmaking's most important architects and pioneers. To be certain, these beatmakers that I speak of (both masters and novices) may not always get the recognition from the mainstream — or even the underground — that they deserve. However, all of these beatmakers embrace and enjoy their personal role in helping to preserve the hip hop/rap music and beatmaking traditions. This is why I've always appreciated Nottz and the music that he makes.


Nottz Makes Timeless Hip Hop/Rap Music

It is from the basis of this context that I was compelled to breakdown Nottz' song, "Shine So Brite." Nottz, who's music is by and large both a fine example of and homage to the soulful "boom bap" sound of the hip hop/rap music tradition, is acutely tuned in to the essence of using recorded music in his creative process. And his mastery of the art of sampling (as well as the art of arrangement) is on full display in his song "Shine So Brite."


From the first note, "Shine So Brite" aims to intimidate. The "1" drops, and over the aggressive, mid-pitched guitar sample is a fist-full-of kick that makes the "twang" of guitar strum spring forward like a countdown to a nefarious missile launch. In fact, this is why "Shine So Brite" bounces so hard: the punch of the primary sample phrase lands on the "1," "2," "3," and "4." Over the top of the kick is a truncated crash-cymbal that stalks the full measure, stabbing, in lock step with the chromatic pattern of the primary sample phrase, at the quarter points of each bar.


As for changes, the organ parts that Nottz works in are absolutely stone cold! Eerie and deadly serious, the organ phrases skip over the core rhythm, sounding like Jimmy Smith in a 1960s Harlem rib shack. Then there's the sampled vocal harmonizing, a spiritual musing that directly reinforces the soulful casing and arrangement of the beat. Finally, the "scratch-hook," a fundamental mainstay of hip hop/rap music, is used here in conjunction with Nottz' rapping of a refrain, which is itself doubled-up with a high-pitched vocal rendering of the same refrain. And to round out the hook section, Nottz goes with a very light (barely audible) melody synth line that glides and fades in and out almost without notice.


With "Shine So Brite," Nottz is not taking hip hop/rap "back" to a glory time any less or more than he is helping to take it forward. This is the beauty and real genius of what Nottz is doing with "Shine So Bright." He's tapping directly into the energy and essence of one of beatmaking's (hip hop'/rap's) most notable schools of sounds, staying within its fundamental parameters, and giving it a fresh and entirely respectful interpolation. The result: A timeless sound that engages on its own merits and terms — a sound that both old and new beatmakers can enjoy, study, and appreciate alike.


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

Nottz – “Shine So Bright”

Nottz – “Shine So Bright” (Official music video)

Nottz "Shine So Brite" from Raw Koncept on Vimeo.

---
The BeatTips Manual by Amir Said (Sa'id).
"The most trusted name in beatmaking."

October 09, 2014

BeatTips MusicStudy: Stevie Wonder's Version of "We Can Work It Out" Meatier than Beatles Original

Stevie Wonder Gives Popular Beatles Tune Some More Soul; Adds New Punch and Feel

By AMIR SAID (SA'ID)

Although the art of sampling is usually not a complete reinterpretation of someone's work in the same way that a traditional version is (i.e. in sampling, snippets and phrases are literally extracted, recontextualized, and refashioned into a new musical piece), I still see a link between sampling and the ways in which one musician is inspired to reinterpret the work of another. For me, this point is illuminated even more when you consider that the art of sampling is rooted in the long-held tradition of versioning (in The BeatTips Manual I cover this connection extensively).


Indeed, as a beatmaker, particularly one with a strong affinity for the art of sampling, I appreciate when great musicians do their own versions (covers) of equally impressive musicians. Mostly, I'm engaged by one musician's ability to convert the work of another into their own style, feel, and scope, without losing the core themes and structures of the original. More specifically, I'm impressed when one's version (interpretation) remains respectful to the original and adds new nuance and dimension to it as well. This is the case with Stevie Wonder's remake of The Beatles' hit "We Can Work It Out."


As far as creative license goes, Stevie Wonder takes grand liberty with his version of one of The Beatles' most popular hits. There are numerous instances where rock groups have dipped into the blues/soul well, pulling out tunes and reworking them with "rock pop magic." But with his version of "We Can Work It Out," Stevie Wonder is doing the reverse. He's taking a rock number—in this case, a 1960s folk pop tune—and dipping it back into the blues/soul well. And what emerges in Stevie's version is a song that respects the original, while going beyond, adding an entirely new scope, essence, and vibe.


While Stevie Wonder shadows the basic structural framework of the Beatles' original, there are a number of new dimensions that he adds for his version. Stevie's remake starts with an 3-bar organ intro (a signal that Stevie's signature will be all over this version), then the drums crash in. And while the original actually has a nice rhythmic pattern (albeit tucked low in the mix), the Stevie version amps up the drum scheme, making the drums, as well as the entire piece, sound more "meatier" than the original. The kick and snare drums punch and pounce, springing off of each other, while the hi-hat and tamb shuffle throughout.


For the rest of the arrangement, Stevie Wonder makes two other standout changes. First, he strips out the strings that stream through original. This "tightens up" the groove of "We Can Work It Out," effectively making Stevie's cover edgier while rendering the original almost tranquil in comparison.


Second, Stevie Wonder incorporates a milky bass line that "walks" in deference to the priorities of soul more than it does to rock. This, along with the drums as described earlier, also adds to the urgency and aggressiveness of Stevie's version, which makes the original, folksy as it is, sound much more passive aggressive. Here, I'd be remiss if I didn't also highlight Stevie's harmonica solo at the midway of his version.


Finally, Stevie Wonder's treatment of the vocal arrangement is as impressive (if not more) as everything else in his cover of "We Can Work It Out." Six bars into Stevie's cover, and we hear a voice belch out "Hey!" This "Hey!," an added background vocal element that's non-existent in the original, alternates in pitch, giving Stevie's cover a unique swing nuance not found in the original. And with the rising gospel background vocals turn up in the latter half of Stevie's cover, the tune slides briefly into the Black church music tradition.


Then of course, there's Stevie's lead vocals. A comparison of Paul McCartney's or John Lennon's vocals to Stevie Wonder's is perhaps an unfair or misleading one at best, inasmuch that Stevie Wonder and the two Beatles front men are approaching the song from two different traditions, with two entirely different vocal priorities and styles of vocal inflection. Still, it's worth mentioning that Stevie's soulful reworking of the original—no doubt powerful in its own glory—makes it sound more searing; indeed, converting it into a freedom song/black power amalgamation.


In short, Stevie Wonder's version of "We Can Work It Out" is nothing short of a magnificent transformation. And to a certain degree, you could say that Stevie Wonder "flipped" the Beatles original. Does that mean that Stevie Wonder's version of "We Can Work It" is better than the original? I'm not sure if that's a question worth entertaining. Both The Beatles original and Stevie Wonder's version are great
music works. Each shine in their own regard, and each travel along the paths of their creative priorities and influences.


So a far better question at this point might be what do you think enables any musician to pull off a quality version of a fellow musician's work? Well, I'd say that along with music performance skills as well as a broad based knowledge of music history, various musical processes, and music forms, a fundamental respect and reverence for the musician(s) whose music you rework is key. I think Stevie Wonder covers all of these variables. And that's exactly why his version works so well.

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

Stevie Wonder - "We Can Work It Out"


The Beatles - "We Can Work It Out"

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The BeatTips Manual by Amir Said (Sa'id).
"The most trusted name in beatmaking."

October 06, 2014

To Loop, or Not To Loop Individual Sounds?

Prolonging Sounds May Be the Answer to the Question

By AMIR SAID (SA'ID)


When it comes to modifying individual sounds, there's one common question: Should you loop individual sounds? Here's my take: I rarely loop any individual sounds, hits or stabs, other than maybe a snare that I want to give a roll-effect to. Instead, what I do is, I aim to "prolong" sounds by duplicating (copying) them, and then either splicing them together or layering them (programming them) to play either as: (a) slightly overlapping sounds; or (b) as blended (layered) sounds with different beginning/start and end chop points, and with each sound having a different velocity and/or volume level.


When I make beats, there's two fundamental concepts of arrangement that I may use. For some beats, I try to approach arrangement and structure as closely as possible to how a typical 1970s era groove (soulful rhythm section) would have been arranged. In keeping with that, the only way a sound can be extended and/or looped in a traditional live band setting is through the actual playing and prolonging of the notes (sounds) of particular interest. The other concept of arrangement that I use is more along the lines of a mid-1990s era, up-front drum programming. So for me, when it comes down to it, the looping of individual sounds in beatmaking is actually more about the prolonging of individual sounds, not the looping of them. And, therefore, when I want to prolong or sustain a sound, I opt to use more natural techniques to achieve that effect.


Let me be clear, there isn't anything particularly wrong with looping individual sounds. But I often find that the looping of individual sounds can often sound more artificial. This can make the overall beat sound unbalanced or overly modified, usually devoid of feeling and a nice swing. Also, for me, I've always felt that the looping of an individual sound limits its spacing and "fit" within a beat. That is, once a sound is looped to itself, it's "sound potential" (what the sound could be) is capped and locked into a burdensome loop. In other words, the loop of the individual sound can cause the sound to stand out throughout the beat in a way that does not necessarily compliment the beat.


For example, let’s say you have a saxophone phrase and you want the last quarter of it to repeat. There’s two ways to do this. One way to do it is, you loop the part of the saxophone that you want to repeat. This gives you the sample with its tail end looped to itself. Consider for a moment how that would sound….


Another way to repeat the last quarter of the sax phrase is to duplicate the original sax, then use the two samples — the original and the duplicate — together. What you do is chop the last quarter from the original sax, then chop the duplicate down to ¾ of its duration, essentially leaving only the last quarter of the original saxophone phrase. At this point, you can play the repeat of the last quarter of the sample—wherever you like in the arrangement, not just at the end of the saxophone phrase, because you’re not locked into the looped version of the sample. Note: By using this method and technique, you play (arrange) each sampled phrase in a way that feels more real and less synthetic, artificial, or contrived.


Still, all of this having been said, there are some occasions where looping an individual sound is helpful. For instance, let’s look at that same hypothetical saxophone phrase. What if you didn’t want to use the entire phrase itself; what if you just wanted to use it to make sax sound-stabs? In that case, chopping the sample down to small stabs and looping them can be helpful, depending, of course, on how you intend to use the stabs. For example, you could loop a sax-stab so that it rumbles, then you could combine that rumbling sax-stab with another sound stab. The possibilities for sound-stabs, from everything to texture to variance to vibe to feel, is endless.


Bottom Line
When deciding upon whether or not to loop an individual sound, always consider the overall feel of the beat that you’re working on. In most cases, duplicate an individual sound first, then combine it with it’s original. This will often put you closer to the sound that you’re going for. But if that doesn’t work, sure, you can also loop the part of the sound that you want to repeat (or give off a chorus effect, etc.)


Also, remember that merely looping the end of a phrase does not necessarily give the feel of the phrase repeating naturally. Think of a guitarist repeating the same riff over and over. Now think of that guitarist prolonging one part of the riff before he returns back to the riff’s beginning. Imagine how this human loop sounds; imagine the feel, nothing artificial! Incidentally, this is a great guide to use when thinking about chopping down lengthy phrases or multi-bar measures.


Finally, as beatmakers, we work in a world of electronic music production, wherein we can program EMPIs (Electronic Music Production Instruments) to do things that a human can’t. In some ways, this is an advantage, in some ways, it’s a disadvantage. Either way, we shouldn't deliberately sacrifice a human feel and sensibility just because production technology presents us with endless possibilities.

---
The BeatTips Manual by Amir Said (Sa'id).
"The most trusted name in beatmaking."

October 05, 2014

BeatTips List of Great Records for Drum Sounds, Vol. 6

Record Gems with Open Drum Sounds

By AMIR SAID (SA'ID)

I'm a strong advocate for using custom drum sounds. And although I have no issue with stock drum sounds (I've used stock drums in the past, and I have no problem with using them in the future) I believe that one of the most effective ways of creating your own style and sound is through the use of your own customized drum sounds.

That being said, I will be compiling an ongoing list—the BeatTips List of Great Records for Drum Sounds—of ALL of the records that I (and many others) have found to be great for drum sounds. For each installment or volume of the list, I will try to post at least five songs. Furthermore, this list will also include those songs that I have studied as a guide for drum pattern arrangements. And it is my hope that the songs on this list well help serve as a guide for those who want to tune the drum sounds that they already have to the sounds showcased on this list.

Finally, although some readers will note that there are some obvious choices that should be on this list, please bear with me, as I will be rolling out this list periodically without, necessarily, any preference to the most well-known "break-beats" (this is not a list of break-beat records). In fact, I suspect some songs on this ongoing list will surprise some of you. But after a "full-listen" of the record, you'll see just why it earned a spot. Still as always, I invite discussion. So any and all suggestions, whether well-known or obscure, are certainly welcome.

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

The Bar-Kays - "Humpin'"

Kick and snare at 0:00-0:04 mark. Break at 0:07-0:09 mark. Another break with organ over the top at the 1:11 -1:14 mark.


Bernard "Pretty" Purdie - "Funky Donkey"

You can never go wrong with drummer Bernard "Pretty" Purdie's stuff. Here, on "Funky Donkey" you kick and snares at different tones and velocity as well as heavy, airy reverb. Everything fromm 0:00-0:09 is great.


Rufus Thomas - "Do the Funky Penguin"

Kick, snare, and break from 0:00-0:07 mark; open hi-hat at 0:08.


Ohio Players - "I Want to Be Free"

A classic joint worth listening to in heavy rotation. But for the purposes of drum sounds, check: Crash snare to open the cut, then a drum fill, tom toms: 0:01-0;05; kick, snare, hat at 3:28.


Dennis Coffey - "Scorpio"

0:00-0:02: quick snare and tom fill; 1:08-2:00: kicks, snares, long breaks.

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The BeatTips Manual by Amir Said (Sa'id).
"The most trusted name in beatmaking."

Dedicated to exploring the art of beatmaking in all of its glory.

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  • Top 5 Myths About Sampling and Copyright Law


    "Sampling is piracy."
    WRONG! Piracy describes the wholesale, verbatim copying and distribution of copyrighted works. That is not sampling; that's something entirely different.
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    WRONG! Under existing copyright law, there is no clear, predetermined length (amount in seconds) that is “legally” permissible to sample.
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    "If you use samples on a free mixtape, it’s perfectly O.K."
    WRONG! A free mixtape does NOT permit you to use samples from copyrighted recordings without the permission of the copyright holders.
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    "Sampling is easy; there’s nothing to it. Anyone can do it well."
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