63 posts categorized "Diggin' in the Crates"

September 05, 2014

BeatTips Top 30 Beatmakers of All Time: #26

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, jump to the bottom for the link to the corresponding list number.

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.

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 mention here. But there are 8 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 8 distinct periods of beatmaking.

(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.

Click here to see the breakdown for #26 on the BeatTips Top 30 Beatmakers of All Time list. Note: Each day in September, one number from the top 30 will be revealed, continuing from #30 all the way to #1.

December 10, 2012

Flipping Samples Without Auto-Chop

Why I Prefer Manual Chopping, and Why an Over-Reliance on Auto-Chop Can Dictate a Limited Arrangement Path

By AMIR SAID (SA'ID)

When is a short-cut just a “short-cut”, and when is it just a crutch? I find myself asking this question whenever I think of those beatmakers who believe that auto-chop has always been the primary way for chopping up samples. I also ask myself the auto-chop question whenever I see an online beatmaking video where someone works the auto-chop button, then arrogantly says that they "flipped" a sample. More importantly, I often wonder does process and tradition even matter to some beatmakers, or is it all just about speed? Workflow and final results aside, I still believe that much can be said for process and tradition.

Handcrafting a Japanese sword (dig it: I know beatmaking's not entirely parallel here, but stick with me on this analogy), or making a pair of quality Italian leather shoes. Sure, both the Japanese sword and the Italian leather shoes can be mass produced faster and much cheaper, and sometimes with similar results (or close enough). And even today, I’m certain that many of the traditional Japanese sword craftsmen and the hand-craft Italian shoemakers make some modern-day concessions in their creative processes. But whether it be materials used or a narrowing of the number of steps taken in the process, I doubt any of these concessions ever become a crutch to these artisans. This is because tradition and quality takes precedent over technology in their world. This does not mean that new technology is bad. On the contrary, technology serves at the disposal of the craftsman and his tradition. In other words, technology that helps the process and does not circumvent the role of the creative and experienced mind is good.

In the beatmaking tradition, core concepts of creativity echo and continue to permeate. Still, technology has naturally sped up the beatmaking processes for many beatmakers. And while I certainly believe that this is a good thing (generally speaking), I also believe that there’s one unfortunate side-effect: To some beatmakers, process is no longer a matter of tradition, but instead, it's a matter of speed and simply keeping up with an unsustainable pace of beat distribution.

Prior to auto-chop functionality, sample-based beatmakers relied on the predetermined chop schemes that were imagined in their mind. But for many beatmakers today, auto-chop serves as an artificial mind. And as artificial minds go, it’s worth mentioning that auto-chop does not come with any of the same kind of instinct or intuition exhibited before its advent. Instead of predetermined chop schemes imagined in the mind, many today are satisfied with utilizing the ridiculously long sampling times that modern samplers are equipped with to (1) simply sample larger portions of songs, (2) auto-chop them into 16-32 regions, and (3) come up with a chop and arrangement scheme based more on what auto-chop dictated to them than on their own predetermined chops. While there’s nothing inherently wrong with this method (in fact, it can result in a dope beat), it’s worth noting that such a method requires all but no ear for music, i.e. diggin’ in the crates, and less skill or ingenuity on the part of the beatmaker.

I suspect that most beatmakers with developed ears don’t always use auto-chop like this. For those with developed ears, auto-chop is usually just a short-cut, not a crutch. Still, for others, I fear that auto-chop is increasingly becoming a sort of fools gold. Above, I mentioned that auto-chop often dictates the chop-schemes for some beatmakers. Here’s what I mean by this. Take a 4-bar phrase sample, auto-chopped into 16 regions on an Akai MPC. With the sample perfectly sliced up by auto-chop, you are presented with the sample as it's spread out over 16 drum pads. For many, the creativity begins and ends here, as randomly pressing and holding drum pads until something sounds like a possible arrangement becomes the process. Typically, this process doesn’t include the use of different sample-phrases from other source material or even the same record, as auto-chop dictates chopping schemes that utilize only what was thrown in the slicer—fast and neat. Incidentally, this process/method is one of the root causes for thousands of DJ Premier knock-off and sound-alike beats. But you won't find auto-chop functionality at the core of Premier’s process and method. On the contrary, his style and sound is more the product of a good ear and his unique manual chopping schemes and other individual tweaks and personalized nuances.

So this raises an important question: How does one distinguish the difference between random raps on MPC drum pads, and the predetermined arrangement pattern—a predetermined compositional vision—that usually accompanies a manual chopping skill-set?

In fact, I’m concerned that this auto-chop crutch “process” gives off the illusion that some great level of creativity or imagination is going on. And what happens next is a compound problem: On one hand, a false sense of skill, and on the other hand, an actual skills deficit. This is because when auto-chop is used as a crutch, it lowers the threshold of creativity, and things like understanding sounds, textures, and arrangements cease to be important for some, as auto-chop dictates all of the possibilities, and lulls one into believing that the random drum pad-punching of perfect sample slices will get the job done.

But none of this should surprise anyone. After all, technology has long raised questions about musicianship, musicality, creativity, and imagination. And now it would appear that technology is reshaping what it means to have “skills” in beatmaking, especially in the area of chopping. So where does the skill enter into the equation when it comes to using auto-chop? Is it the source material selection? Is it simply the process of setting the parameters of an automatic 16 to 32-piece/slice/chop—a feet previously only achieved through a beatmaker’s careful selection, good ear, and meticulous manual chopping? I’m not sure where skill begins or ends when this now go-to functionality is used, particularly in the manner I described above. But one thing’s for certain: Auto-chop, and it’s ability to make some beatmakers appear to be doing much more than they actually are, has become more than just a tool for evenly chopping up samples—for some it’s become their main path to creativity.

With the Flip of a Bass Line, You Can Make Something Dope
How I Turned a Snippet of “Don't Tell Me, Tell Her” by the group Odyssey Into a New Song…Without Auto-Chop

I’d heard “Don’t Tell Me, Tell Her” by the group Odyssey plenty of times before. When I was a kid, my father used to play it a lot (along with Earth Wind & Fire and Stevie Wonder). He (we) had the album Hang Together (1980) on vinyl, what else, right? When I grew older, I doubled up on Hang Together after seeing a good condition vinyl copy of it for $12 bucks at one of the record conventions that used to be held at the Roosevelt Hotel, here in New York…In other words, my ears were familiar with this record, especially its textures and tones.

So when I came across “Don’t Tell Me, Tell Her” one day while rearranging my record shelves to make room for new records, I took it for a spin (no pun intended). Soon as I heard the intro, my ear told me what textures would go with it, and what drum sounds would best compliment the core groove and tempo I imagined in my mind. Again, it was my ear—and equally important my sound reference, which has been built up from years of diggin’ in the crates—that immediately told me what bass parts would fit with the bass tone and style of the “Don’t Tell Me, Tell Her” bass line. So I stopped the record, spun it back, and sampled it.

All together, I sampled about 5 seconds of the intro, then I increased the pitch of the snippet by a couple of steps. Next, I further chopped the snippet, then I duplicated the new sample into to two copies of the same sample. One copy (“copy 1”), I left as is; the other (“copy 2”), I fine tuned the pitch (pulled back the pitch just a bit), and faded out the end. I filtered both copies to bring out the sample, but with copy 2, the slightly slower pitched copy, I filtered the bass—beefed it up—even more. Then I layered the copy 2 over the top of copy 1 and ran them through the same channel on my mixing console. This is how I made a fatter sounding bass line that had a dragging feel to it.

Next, I went to work on the drums. Because I understood the source material, I knew what kind of drum framework would go well with it; a simple fK--fS fK fK--fS pattern was all I needed for the base drum pattern. (In chapter 5 of The BeatTips Manual, I cover drum patterns in great depth and detail.) And although the base pattern for this beat is pretty straightforward, there is some complexity, as I used a combination of three different hats and tambourines in a couple different syncopated patterns. The main hat—1/8 notes—is flanked by my custom ride-tambourine hybrid hat, which moves along on the 1/4 notes, making the drum framework shuffle. Then, during the hook (chorus) section, I added another tambourine (lighter sounding and truncated) as ghost notes. I should also mention that for the hook, I altered the base drum pattern, and used a fK---fS----fK-fS---fK---fS pattern.

For the change that leads up to the verse and doubles as the hook section, I used a bass line from a reggae record that I chopped and sped up. I filtered this bass line to match the tone and texture of the bass snippet that grew from the snippet of “Don’t Tell Me, Tell Her.” Clearly, auto-chop couldn’t have helped me here, as I used an entirely different record—from a different genre and period—to match with the style and sound that I was creating. Thus, the point that I want to make here is that it’s important to develop an ear for music and sounds, and blends and textures, and cuts and ruptures. You can’t always just play a record, sample it, then slice it up over 16 drum pads, then do some random playing around without at least some level of intuitive creativity. No! You’re much better off when you have a pretty good idea of how you want to cut the source material, and how you want to blend and match everything into one cohesive arrangement. This is why taking the time to really listen to music outside of hip hop/rap music is an important part of your development, whether you make sample-based beats or non-sample-based beats. But if sampling serves as the diesel of your compositional outlook, then my friend, listening to music outside of hip hop/rap music—regularly—is an absolute must!

Next, I added a sub-change to the primary change, using a bass sound-stab made from another piece/section of the “copy 1” sample that I used for the core groove. Listen at the 0:28-:29 mark. It’s subtle, but it serves the transition back to the core groove well.

Finally, the real test of the beat came when I wrote my lyrics to it and kicked my rhyme over it…

Bottom Line:
Your imagination is better than auto-chop functionality, so use auto-chop to your benefit when it can be helpful, but don’t rely on it as a crutch! Furthermore, developing your ear is critically important. And one of the best ways to do this is by listening to records, not just sampling them as you come across them. Finally, I have to point out that there’s no way that auto-chop could have helped me in the making of the beat below. For one, I was interested in the composite opening phrase itself of “Don’t Tell Me, Tell Her,” not micro-pieces of it. Also, if you notice, I cut one piece of the new sample and made it a stand alone sound stab that gets cut off every time the bass line plays. This chop and arrangement scheme (and other subtle cut-offs that were included in this beat) could have never been thought of had I simply auto-chopped the intro.

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

Odyssey - "Don't Tell Me, Tell Her"

The BeatTips Manual by Sa'id.
"The most trusted name in beatmaking and hip hop/rap music education."

September 24, 2012

BeatTips List of Great Records for Drum Sounds, Vol. 4

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.

Mavis Staple & William Bell – “I Thank You”

Were you looking for some bongos? I mean some funky bongos! with the ill sonic quality? Well, this Mavis Staple & William Bell delivers. Bongos and bongo/tambourine :0 -:10 mark. Open! Also, peep how the tambourine lands on top of the snare. Great lesson for how layering should sound.



The Sylvers – “I Remember”

All right, I'm sure some of you will get drawn in by the intro and other phrases on this joint. So have it—flip it any way that you can. But "remember", I'm sharing this joint primarily for the drum sounds. And the snare at the :08 mark is nice. Would go well in anyone's arsenal. I have it in mine. Of course, I further customized it. P.S., peep the kick and snare pattern, the time and the off-steadiness is a real lesson in drum programming.



Isaac Hayes - Use me

In this fantastic cover of Bill Wither’s “Use Me,” Isaac Hayes takes the original and opens up with a broader arrangement. Present here is a juiced-up brass section, a lively organ, and a wah wah guitar, all are elements missing from Whithers’ original. Although Hayes gives the number his quintessential lounge-funk touch, the basic feel and melody of the original still survives. This re-imagining of Withers’ subdued, acoustic guitar-led soul with heavy electric power rocks and jabs where the originally mostly coasted. Check out the Kick, snare, and mini break at the :29 - :31 mark

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

September 21, 2012

DJ'ing to Build Your Beatmaking Skills, Should You Start with Vinyl or Digital?

If the Roots of Hip Hop/Rap Music Is Your Aim, You're Better Off Starting with Vinyl

BY AMIR SAID (SA'ID)

Youknowmysteeze22, a TBC (The BeatTips Community) member, posed a great question about getting into DJ'ing to help his beatmaking skills, "First DJ set up.". In his comment, he mentioned a debate that he had with a friend regarding whether or not boom bap is dead. He argued, and rightfully so, that "boom bap will never die." Youknowmysteeze22's original question, followed by my extensive reply.

"After reading beat tips it has inspired me to want to learn how to DJ, to get back to the roots of hip hop and help my beatmaking skills. What route do you guys think I should go to get the equipment. Should I go the vinyl route or the digital?" —Youknowmysteeze22


My reply:

Here's the thing. The four main DJ skills that will translate the most to beatmaking are: (1) A knack for diggin' in the crates; (2) the development of a good ear; (3) a deeper knowledge of music history; and (4) timing and beat/rhythm blending/matching skills. Thus, before you make your investigation into DJ'ing, please keep that in mind.

As I state in The BeatTips Manual, a DJ background certainly helps, but it's not necessary. A number of beatmakers get into DJ'ing because they feel like they missed something or because they believe a DJ background will help. That's cool. But more than anything, think about the skills that you hope to extract from learning how to DJ. This way, you'll be sure to pick up the things that will broaden your skills as a music maker.

Now, as far is what route to take? If your aim is the "roots" of hip hop DJ'ing, then *starting off* with digital is not the way to go. To me, it seems counterproductive. If it were just a case of you wanting to play some tunes on a couple of decks like a so-called celebrity DJ (think of a female model on Serato at a Manhattan night club), then maybe that would be the move. But if you've decided that you want to dive into the roots, then at least *start with vinyl. There's nuance involved with vinyl and decks. Plus, there's a mental connection to the tradition and a long list of beatmakers who have some level of DJ'ing skills in their background. That may matter to you (or not). Listen to Diamond D's "Best Kept Secret". Then consider the fact that he started as a DJ. No coincidence...

As far as cost, my DJ mixer (Numark DM 1200) cost me just $120 brand new! You could probably get a cheap Gemini joint (with no EQ on the channels) for $90, maybe $50 used. And I bought two used Technics 1200 turntables in the last several years off of Craigslist. I paid $150 for one and $175 for the other. So total cost for a decent DJ setup could be $425, maybe even less! And you can buy vinyl off line if there are no vinyl stores near you. Last month, I bought a mint condition Hamilton, Joe Frank & Reynolds album for $10. *If I could have found that exact album at a vinyl shop in New York or at a record show, it likely would have cost me at at least $75 for the same condition. And the thing is, you don't need like 500 vinyl records to get going. You can rock with two records (same record) and practice your blends. Then you build your collection as you go.

Truth is, you can always build your DJ rig up slow and cheap. And for vinyl records, you can shop online at Dusty Grooves or Bonanza, and other similar sites.

Bottom line: If you want to go for the "roots" of it all, you know what I mean, if that's what's inspiring you, then do it. You can always switch to a digital setup later. Serato or Serato-like technology isn't going anywhere. Always go in the direction that you're already leaning. That's your gut feeling trying to guide you...

—Sa'id

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The BeatTips Manual by Sa'id.
"The most trusted name in beatmaking and hip hop/rap music education."

August 28, 2012

It's Never *Just* a Loop

Truth Is, Creating a Loop is Only Part of the Equation

By AMIR SAID (SA'ID)

With regards to sampling, no statement is more misguided (and irritating to me) than someone saying, "It's just a loop." Whether sampling and then looping a 2- or 4-bar phrase of music, or piecing together spare-part phrases and sound-stabs, there's much more going on in the total creative process than some beatmakers care to acknowledge—or that some hip hop/rap bloggers even realize.

The gleaming misconception about sampling is that it's easy; that anyone can do it. While it's true that anyone can buy a digital sampler and press record, the notion that anyone can automatically acquire a skill for what goes on before and after they press record on that sampler is ridiculous. Truth is, no matter what any beatmaker samples, no matter how much or how little he or she samples, the total creative process of sampling requires any number of decisions to be made at various levels within the process. And these decisions, prompted by the residue of skill and understanding, are not always easy to make.

The Main Decisions Made Before, During, and After a Sample is Looped

What Should You Sample?

What to sample is obviously (well, perhaps obvious to those who actually make beats) the first decision to be made. And, of course, this decision depends on everything from one's mood to motive (purpose), to their style and sound preference, to their imagination and individual work ethic. For the purpose of this post, I've used the song "Heartbreak Hotel" by The Jacksons.

I chose "Heartbreak Hotel" for a number of reasons. First, it's a well-known hit—with a great groove—by a popular group (certainly a song easy enough for readers to locate online). Many people are familiar with the record; so coming up with a beat and song that references such a hit, while still creating something "new" and appealing, is a bit of challenge. Second, I wanted to choose a vinyl record that could readily be found in used record shops or at online vinyl record stores, or in a relative's basement or attic. Third, "Heartbreak Hotel" has been sampled before, and I wanted to demonstrate the versioning tradition that runs deep in hip hop/rap music's roots by offering up my version. Fourth, because "Heartbreak Hotel" has a dominant drum pattern; and as such, I wanted to show how even a sample with drums can be tailored to your style and sound. (Also, any seasoned beatmaker knows the type of obstacles drums in a sample can present.) Finally, I chose "Heartbreak Hotel" because I'm a big fan of The Jacksons, and this is as good as any reason to thoroughly listen to one of my favorite songs by them (actually, it's one of top 10 favorite songs of all time).

What Section or Part Should You Sample?

Now having settled on the song, what section of the song should I sample? The beginning? The middle? Near the end? Either way, it's gotta be a part of the record where the groove is "open" (well, as much as possible with a record like this). So that being said, it comes down to either the intro, the lead-up, or the bridge. I ruled out the bridge, simply because I heard something before with that part. And the strings intro isn't the part of the song that most people are familiar with.

So I go for the "2nd intro," or what I'm calling the "lead up," as in lead up to the first verse. But exactly where in the lead up? There's approximately 35 seconds between the beginning of the lead up and where Michael Jackson's first verse vocals begin. And within that 35 seconds, there are slight embellishments on the basic groove of the song. Not to mention, at one point in this lead up, we hear one of Michael's signature vocal exclamations. No one wants that in there, right? Wrong! I do. I think it's dope; so I decided that no matter what, it had to be in the phrase that I would sample. (In my "Heartbreak Hotel Remix" below, you'll hear it.) Note: If I was using "Heartbreak Hotel" as source material for a beat for another rapper, I'm not sure what section I would've used. But since I'm rapping on this joint, I know which part of the song will suit my style, delivery, and flow.

So, How Do You Sample It?

Now that I've chosen the section of the record that I want to use, I have to decide how to sample it. Wait, what? You mean there's no one way how to sample a record? That's right! Some beatmakers sample in stereo, some in mono. Some sample wet—that is, with effects—, some sample dry, no effects. Some sample in 24 bit, 16 bit, even 12 bit.

For starters, I always sample in mono. Next, I always sample wet. I never sample any audio without its signal first flowing through my Numark DJ mixer (aside from the EQs on my mixer, a DJ mixer makes me feel linked to the earliest roots of our tradition). My DJ mixer routes into my Mackie mixing console, where I do further EQ'ing, like "beefing up" (making a sound heavier or warmer) the sample. Then I run the signal from there—the DJ Mixer's output on the Mackie—into either (a) My Akai MPC 4000; or (B) my Akai S950. For the sample below, I sampled a portion of "Heartbreak Hotel" into my Akai S950.

What about the pitch question?

Do you sample the audio leaving the pitch as is, or do you turn it up or down? This decision, like others in the creative process, mostly depends on the ultimate beat/song that you envision. For my "Heartbreak Hotel Remix," I turned the pitch up a bit before I sampled it, then I fine-tuned it as I arranged my drums (and note: NO timestretch function was used in the making of this beat/song).

Did somebody say chopping?

Of course, how to chop something is one of the big decisions in the sampling process. But I supposed the more complete a phrase is, the less difficult it is to loop, right? Not always! In fact, depending on what's actually in the phrase, getting it to loop "correctly" (according to your own rhythmic standards), it can be rather difficult finding and fine tuning the best start and end points. (In The BeatTips Manual I discuss looping, as well as composition, in greater detail.)

Here, let's remember that all of these aforementioned creative decisions have been made before the drum arrangement enters the picture. Of course, as those above decisions are being made, one should already be thinking about the ways in which to arrange the drums...

Which Way to Go with the Drums?

Even if one skips most of the aforementioned processes, he or she must still come up with a suitable drum framework. To pull this off takes a decent arsenal of drum sounds, a knack for choosing the right ones, and the ability to arrange those drum sounds into a drum pattern that works effectively with the so-called "loop" sample. So, again, decisions, decisions.

With audio that already has drums in it, you can fall back and let the drums in the sample do the work, only adding in light touches of your own drum sounds. Or you can also add your own drums to completely "mask" (cover up) the drums in the sample. Or you can match your drums with the drums in the sample; but this can be very difficult, especially if you don't posses the right kind of drum sounds.

Now, with a song like "Heartbreak Hotel," who could blame someone for going easy on the drums, that is to say, doing nothing much at all. Well, I never sample anything without a base idea of how I'm going to arrange the drums. Moreover, depending upon the extent of the groove—i.e., the feel and the level of kick and snare drums—that I've sampled and the ultimate groove that I'm going for, I will usually not only mask and match the drums, I'll flank everything with my own signature percussion. And this is exactly what I did with my "Heartbreak Hotel Remix."

*Editor's Notes:
The construction of the sample(s) is only part of the equation. Diggin' for the actual source material is another major part of the equation. Also, never forget the matter of the overall sound design. Here, I'm referring to the "color" of the sample that's achieved through sound modification techniques like filtering and EQ'ing, etc.

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

Sa'id - "Heartbreak Hotel Remix" (Prod. by Sa'id)

Download "Heartbreak Hotel Remix" by Sa'id

The Jacksons - "Heartbreak Hotel"

---
The BeatTips Manual by Sa'id.
"The most trusted name in beatmaking and hip hop/rap music education."

August 22, 2012

BeatTips MusicStudy: Bobby Boyd Congress - "Dig Deep In Your Soul"

Early Funk From Obscure, Little-Known Band

By AMIR SAID (SA'ID)

One of the things that makes digging for "new" music so exhilarating and rewarding is the fact that you never know exactly what you're going to discover. Even if you're searching within a specific genre of music, the sheer number of recordings that may exist is staggering. And when it comes to funk music—particularly early funk, ca. 1965-1974—, the recorded output of music runs deep. A fact that's further made even more impressive when you consider the number obscure and lesser-known early funk bands who made only a few recordings during that time.

Bobby Boyd Congress certainly fits the category of "obscure" and "lesser-known" funk bands. To my knowledge, the only recording of the band is a 1970 self-titled album that they recorded in France. (You ever notice how France has always maintained a deep reference for quality American music, especially musics in the black American music tradition?) Still, I'm convinced that Bobby Boyd Congress, a quintessential New York funk band, made more recordings in or around New York City at the same time. Therefore, I believe (I gotta believe!) that somebody somewhere has something else of this superb funk outfit. And as long as I'm "diggin'," I won't give up trying to find it.

Finally, I'm compelled to mention that several months ago, a music professor (someone whom I hold in great regard) asked me about the relationship between the drum patterns of modern beatmaking and that of those of the early funk music typified here by Bobby Boyd Congress. Specifically, he believed that the relationship was less apparent in beatmaking in the early 1990s. I strongly disagreed. As I pointed out to him (and in my book, The BeatTips Manual, I show the link in greater historical detail), it was precisely the drum patterns of funk songs like Bobby Boyd Congress's "Dig Deep In Your Soul" that pioneering beatmakers like DJ Premier and Pete Rock drew their inspiration from.

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

Bobby Boyd Congress - "Dig Deep In Your Soul"

---
The BeatTips Manual by Sa'id.
"The most trusted name in beatmaking and hip hop/rap music education."

March 31, 2012

BeatTips MusicStudy: Johnny Pate's "Bucktown" and the Drum Lessons of Soul, Funk, and Disco

To Understand Key Elements of the Drums in Soul, Funk, and Disco, It's Important to Be Familiar with those Music Forms

By AMIR SAID (SA'ID)

While many beatmakers might be aware of the connection between soul, funk, and disco to hip hop/rap music, it's not always so clear to see, or better yet to hear, exactly how soul/funk set the foundation for hip hop/rap music and beatmaking. Well, within the overall rhythmic influences of these musics, lies the most glaring connection: the drums.

Below I've included Johnny Pate's "Bucktown (Main Theme)," a song from the 1975 action ("blaxpoitation") flick Bucktown. I chose this song because it straddles soul, funk, and disco all at once; a sound that, in 1975, sat as a unique mix of the three forms right before the complete onslaught of disco. For our purposes here, with this song what you want to focus your attention on is the drum framework; you can hear the drums best between the 0:17 - 0:49 marks. Notice what it sounds like? If it were just the drums, wouldn't most describe it as a hip hop/rap drum beat? And therein lies the point...

Which brings me to this: I receive a number of emails and private messages in The BeatTips Community (TBC) from people concerned about making their drums "funky", "funkier", or "more soulful". Invariably, I always ask, "Well, are you listening to any funk or soul?" In every case that I've replied back with this question, the answer reply has always been the same..."No." Further, in every case, the answer have also included this, "I want my drums to sound like..." DJ Premier, Pete Rock, J Dilla...and so on.

Imagine wanting to talk (sound) like a supreme court justice or a successful corporate lawyer without ever studying jurisprudence (law theory, philosophy, etc.). Although the art of beatmaking and making music in general is altogether a different practice and culture, I find it just as ludicrous to want to make "funky" or "soulful" drums without ever studying or listening to funk or soul music.

When someone says that they want to make drums that sound like some of beatmaking's most notable pioneers, I get it. For many, it's just a reference point for the style and sound that they like; it's the zone in which they'd like to work from. Understandable. But what's usually lost in this oft-repeated statement is the fact that all of beatmaking's notable pioneers studied and listened to funk, soul, and disco. Though each pioneer ultimately emerged with their own unique style and sound (of course, they are all collectively representative of the same fundamental understanding), they did not arrive without clear guides from funk, soul, and disco drum arrangements.

But beatmaking pioneers notwithstanding, it's misleading to believe that one can understand how to inject soul music's influence into their beats, or make something funkier, or add a disco backbeat, while being completely unfamiliar with soul, funk, or disco. (How can one know to include key elements and stylings of musics that they've never listened to before?) Such a prospect is so fundamentally flawed that it can produce a false sense of musical understanding— something that can certainly disrupt the development of any beatmaker.

And while some beatmakers can perhaps clone a DJ Premier or Pete Rock drum pattern, this type of mimicry does not serve as a substitute for the original thing! For one, obviously mimicked styles stand as clear and unabashed cheap knock-offs of someone else, just mere shells of ideas without the essence or subtle nuances of the original creators. But worse, this form of mimicry mostly exists devoid of the caliber of knowledge, understanding, and general music appreciation that produced the original benchmarks.

This is why I believe that it's important that beatmakers not lose a sense of the fundamental connection that hip hop/rap music and the art of beatmaking has with the soul, funk, and disco music forms, especially when it comes to the drums in hip hop/rap music. With a strong sense of this connection, your production repertoire—no matter how varied, whether you're sample-based or not—will always retain its link to hip hop/rap's foundational elements. But without a sense of this connection, your production repertoire runs the risk of losing this crucial link.

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

---
The BeatTips Manual by Sa'id.
"The most trusted name in beatmaking and hip hop/rap music education."

March 24, 2012

BeatTips MusicStudy: DJ Premier and Bumpy Knuckles are "Inspired" to Be Dope

As DJ Premier and Bumpy Knuckles Prepare to Release their Heavily Anticipated Album Kolexxxion, Here's a Closer Look at One of their Recent Gems

By AMIR SAID (SA'ID)

Feeling, more than anything else, is what draws me into a piece of music. Beats and lyrics can do many things, but if they don't have feeling, they're missing something crucial. Over the years, there's only been about a handful of beatsmiths and rhymers that consistently offer feeling in their music. Among those, DJ Premier and Bumpy Knuckles (AKA Freddie Foxxx) have always stood at the head of the class. And by all indications of their pre-album EP and pre-drops of songs from their album Kolexxxion (due for release this upcoming Monday, March 26th), Kolexxxion will not only be smoldering with feeling, it's poised to be one of the strongest releases in recent years.

In honor of the forthcoming release of Kolexxxion, I wanted to do a MusicStudy of one of the pre-album EP (Stoodiotyme) cuts, "Inspired By Fire". After the MusicStudy, I've also included the Bumpy Knuckes f. Nas "Turn up the Mic" DJ Premier remix that was just leaked.
Here's the MusicStudy...

DJ Premier is at his best with these type of beats. Here, as he's done so well in the past, he captures the urgency that’s embedded in street-level rap music. Working from a formula of converting beauty to gritty back to beauty, he masterfully takes a beautiful string passage and converts its harmonic, sonically warm quality into a rhythmic chamber that echoes sinisterly every time it repeats. Keep in mind, no two beatmakers loop sounds the exact same way; listen closely to how the main sampled phrase lands with the start of the drum measure. That looping style and sense of timing is a staple of all of Preem's beats.

And with such a complete composite execution of the arrangement of the samples (and cut-offs), you almost miss the raw perfectness of the mellow bass EQ on the samples, and, of course, the drums. The drums feature a hi-hat in sprinkling mode, almost like it’s chiming in back and forth. And the snare sounds like a rock rain dropping on a glass surface. Please understand: You can not emulate this sound with quantizing or some other plug-in or similar effect or some one-size-fit all stock sound; this sound is customized and part of Premier’s whole style, rhythm, repertoire, and sound.

The next thing that struck me about "Inspired by Fire" was the swing of the beat. The Swing on this joint is severe, it moves along with a shuffle and pull feel. Each time the snare lands, it draws you in even more. This is especially worth pointing out because Premier doesn't rely on any special quantize effects or the like for the sense of swing that all of his beats contain. Premier's sense of timing and, subsequently, swing, comes from his training and understanding as a DJ—mixing, blending, cutting records together, etc. (In The BeatTips Manual, I extensively discuss how DJ'ing fostered the art of beatmaking.)

Incidentally, this is just one reason that I always champion the DJ and the legacy of the art of DJ'ing. A background in DJ'ing gives a beatmaker, particularly a sample-based beatmaker, a tremendous advantage in every area of the art of beatmaking. But even if you have no experience as a DJ, you can still improve your timing by closely listening to records with multiple rhythms like early funk, soul, British ska, etc. Either way, keep in mind that an over reliance on timing correction and similar effects will make your music sound quite mechanical and forced, less natural and devoid of a strong sense of swing.

As for the rhyme on "Inspired by Fire"...
Here's what you get with every Bumpy Knuckles rhyme: Straight talk and skill. Bumpy's wordplay is never obscure, he always aims to be understood. Sure, it's "stick-up-kid-smooth", but it's never hallow machismo. Every line is a sure-shot piece of who he really is. That's the refreshing thing about any verse that Bumpy spits.

Furthermore, Bumpy's rhymes are always non-pretentious; and he's not concerned with punchlines for punchlines sake. He doesn't try to represent anything he doesn't have a solid, real-life understanding of. Plus, Bumpy rolls through each verse, never looking backwards or gawking at the power of the previous line. Instead, he treats each line as a reference to his life and hard-earn career status. He’s been there before, and like any professional knows, with every solid achievement, you act like you been there before—no need for overstatements... Again, this is another refreshing quality about a Bumpy Knuckles rhyme. And this especially important now, a time where many contemporary rappers pause and stare at their own punch lines...

Finally, there's the flow. It's actually a well-skilled, clever mish-mash of mutiple flows and wordplay, tempered with a late ‘80s survivor's confidence and Bumpy’s own unique method of suspending the speed of his delivery. And we're not just talking street smart but broad intelligence:
“…pen a career like Dunbar/one bar, grown man tone/nobody does it alone/”
Trust your ability to not trust/But should never fall victim to not trustin'/...
That's a Jewel.

—Sa'id

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

DJ Premier & Bumpy Knuckles - "Inspired By Fire"


Bumpy Knuckles feat. Nas - "Turn Up the Mic" (DJ Premier Remix), from the DJ Premier & Bumpy Knuckles album Kolexxxion

---
The BeatTips Manual by Sa'id.
"The most trusted name in beatmaking and hip hop/rap music education."

October 11, 2011

BeatTips MusicStudy: Bobby Boyd Congress - "Dig Deep In Your Soul"

Early Funk From Obscure, Little-Known Band

By AMIR SAID (SA'ID)

One of the things that makes digging for "new" music so exhilarating and rewarding is the fact that you never know exactly what you're going to discover. Even if you're searching within a specific genre of music, the sheer number of recordings that may exist is staggering. And when it comes to funk music—particularly early funk, ca. 1965-1974—, the recorded output of music runs deep. A fact that's further made even more impressive when you consider the number obscure and lesser-known early funk bands who made only a few recordings during that time.

Bobby Boyd Congress certainly fits the category of "obscure" and "lesser-known" funk bands. To my knowledge, the only recording of the band is a 1970 self-titled album that they recorded in France. (You ever notice how France has always maintained a deep reference for quality American music, especially musics in the black American music tradition?) Still, I'm convinced that Bobby Boyd Congress, a quintessential New York funk band, made more recordings in or around New York City at the same time. Therefore, I believe (I gotta believe!) that somebody somewhere has something else of this superb funk outfit. And as long as I'm "diggin'," I won't give up trying to find it.

Finally, I'm compelled to mention that several months ago, a music professor (someone whom I hold in great regard) asked me about the relationship between the drum patterns of modern beatmaking and that of those of the early funk music typified here by Bobby Boyd Congress. Specifically, he believed that the relationship was less apparent in beatmaking in the early 1990s. I strongly disagreed. As I pointed out to him (and in my book, The BeatTips Manual, I show the link in greater historical detail), it was precisely the drum patterns of funk songs like Bobby Boyd Congress's "Dig Deep In Your Soul" that pioneering beatmakers like DJ Premier and Pete Rock drew their inspiration from.

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

Bobby Boyd Congress - "Dig Deep In Your Soul"

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

August 22, 2011

Things to Remember when Diggin' in the Crates

The BeatTips Community (TBC) Thread of the Day: Diggin Tips

By SIGMUNDFRED, BRANDONF42088, SMELLYPANTS, and AMIR SAID (SA'ID)

Diggin' in the crates can be an arduous task, to say the least. But without some kind of "system" or approach, diggin' can be down right intimidating. Recently, TBC member sigmundfred started a thread for diggin' tips, so here in this article I wanted to share some of the replies as well as my own.

From TBC Member Sigmundfred:

"I'm just new to the diggin'...
and want to know some basics tips to choose record wisely (all type of music, classical include)...
hahaha right now, it's often the chick on the cover who guide me ... LOL...
nah... the year, the disc compagny, the persons who work on the project, etc...

Other question, do you listen to all the record you bough entirely or do you skip to severals points of each song and let luck be your master?"

From TBC Member BrandonF42088:

"First of all I must state than I am not an master digger by any means. I am however able to find records with samples I like that have the certain tones and moods I want.

Things that I look for when I am digging for records are like you said, the year it was recorded (I usually go for records for the 60-70s but have found some ill cuts from the 80s as well other decades*) , the record label, the people that are playing on the record and who produced the record. I also will buy a record if I like the cover if its for a decent price. To be honest you never know what you will find until you listen to the record and I find lots of little gems in records I had low expectations for.

*I know DJ Premier has flipped some really ill samples from the 1910s. Just some food for thought.

When I dig I go to a few spots: the chain stores (Amoeba, Rasputin, & Streetlight) I usually rock the dollar bins and buy anything that looks good from the 60s and 70s I have found lots of good records in the dollar bins and in fact some of my favorite beats I have made are from dollar bin records.

When I want to buy rare records and originals I go to a few local spots around my area. I keep a ongoing list on my phone when I go digging in certain spots so I sometimes know exactly what I am looking for. I have had the most success on finding what I want on ebay. I have also found private dealers on soulstrut.com forums that have annual auctions where you can bid on tons of rare records from their collection. I must give warning that buying records on ebay can be a dangerous expensive habit. When I buy expensive records I check the data bases: Popsike, GEMM, and Music Stack to make sure I don't spend too much.

Always check the record you are buying before you buy it in a store to make sure it isn't totally scratched up or even broken. Also beware of warped records because they will sound bad and pitched up an down the needle goes over the warped area which will sound weird and not something you generally would want to sample."

From TBC Member Smellypants:

"I have never sold records back to a record store, nothing wrong with that, but I've gone back to records I've deemed useless before and found like a dope drum break, groove or even just one shots etc.

I think the more you dig and make beats the more your ear develops, it allows you to hear things you might have previously overlooked, and as ones chopping skills improve your more likely to use a sample that you might have considered too challenging before.

I'm no master digger either but I have never ever had a problem finding ill records and ill samples, and I frequently dig in thrift stores, to start off keep your eyes open for the record label, artist, year pressed and even album cover, if you start to get into the whole digging thing you'll find good stuff, do research online, listen to music on youtube, some people have entire channels dedicated to listing drum breaks and such, it may seem overwhelming at first but digging is a win win for me, I think you can extract value from almost any record so don't worry about it too much just get ya hands dirty, you'll make distinctions as you go."


Here's my reply:

As for what to look for? Absolutely you want to check:
The Front and Back Album Cover

The album cover is obviously the first thing that you see and the first "clue" that draws you in. I've seen some horrible, crazy looking LP covers for albums that have had MASSIVE gems (from phrases to drum sounds) on them. However, I've also seen some exquisite cover designs that yielded equally valuable music. And I've also seen some really great looking album covers with less than stellar source material. Ha, but generally speaking, in my years of diggin' for records, I've found that you can't go wrong with any cover with a beautiful lady from the 1970s on it, or a pic of drums (and bongos), or a mean looking group in a field of grass or some other scene like that.

Next, no matter what's on the front cover, the back cover is crucial!!! This is where you'll find musician, producer, engineer, and studio credits. Who performed on the recordings is just as important of a clue as who produced and engineered them, as well as where they were recorded. It's worth getting familiar with the popular music producers and song writers of the 60s and 70s. Also, regardless to where your musical sensibilities lie, get familiar with the regional and global sounds. This way, when you're not familiar with any of the names of the performers, you'll be able to get a sense of the feel and direction of the album based on where the music was recorded. This is particularly important for soloist without their own band, because the musicians performing will likely be drawn from a pool of local session musicians. And there was a distinct difference between session musicians around the country. (For example, between the 1960s and 1970s, a distinct style and sound can be heard in New York and the North East; Chicago/Detroit; the South East: Alabama, Louisiana, Tennessee, Georgia, Mississippi; the South West: Texas; and the West: Southern California and Northern California.)

The Label

Of course the label is an important indicator as the album cover; even more so when you're trying to determine to the sound and scope of music and the style and tonal quality as well. I great reference point is to check for the household names like Atlantic (went major in '67), Motown, Curtom, Buddah, Salsoul, CTI, Stax, Blue Note, ATCO (a subsidiary of Atlantic specializing in soul), V.L.P., Columbia, etc. Each label had a specific kind of artist roster, and each label used its own unique production and recording "system". Thus, getting to know the labels and their corresponding output goes a long way, when you're diggin'. But be careful not to just get stuck looking for the "known" labels, because in the '60s and '70s (lesser in the '80s), there were lots of smaller indie labels (with "one-off" recordings and the like) to go along with the household names.

After You Get the Records Back to the Lab

After you've gathered your records and you're back at the lab and the REAL diggin' begins, the number one thing to remember is PATIENCE!!! I always recommend giving every record that you get at least one full listen. This can be painstakingly slow, especially if you're early into diggin', but trust me, patience in this regard pays off big time for two reasons: (1) you will undoubtedly be able to catch gems that you would have otherwise missed; and (2) regardless of what you actually find, you are doing MusicStudy—listening to and learning more about music; in particular, you're learning new musical patterns and textures that go into your individual musical well of ideas.

One more thing about given each album a full listen: PLAN your listening sessions. For example, literally take each album one song at a time. Look at the song length of the album and listen throughout the duration. You can stop while you're listening, especially if something immediately moves you to create a beat. But remember EXACTLY where you left off, and do not check the next song on the album until you've listened fully to the previous song. On most albums of the late 1960s through mid-1970s, there are usually 4 to 5 songs on each side (remember, 8 songs qualified for an album then). So if you plan to treat each song equally, your listening sessions will be less daunting... Also, keep this in mind: A full listen of an album allows you to get familiar with the music direction of the LP. This is helpful not only because it will guide how you listen (screen, survey) the album, it will also help you learn more about how to create consistent music themes of your own.

Aside from Patience, It's Important to Keep an Open Mind.

With each new record, you never know exactly what you're going to get. Sure, certain clues (such as the aforementioned album cover and performance credits) will give you an idea about what to expect, but what you expect and what's actually on the record doesn't always pan out. This is one reason to have an open mind: to accept the record on its own musical terms before you sample it.

Another reason that it's important to keep an open mind before listening to your records deals with your mood and intent. Let's say that you're in a grungy, hard core mood, and you're looking for bass parts and "dark" sounds. What happens when you drop the needle on the record and you hear a bunch of harps and bright strings? An open mind let's you shift your mood and intent and go where the source material takes you. Now, I'm not saying that you have to abandon your mood or your creative intentions. I'm pointing out how helpful an open mind can be, especially when you've already got your mind made up about what you're going to do sounds that you've yet to hear. When I first started out diggin' for records, I would bypass a lot of good source material, just because it didn't fit my predetermined ideas. What I later learned was to let the music "talk to me." Instead of trying to dictate to the record what it had to be, I learned how to see/hear what it could be. This was a turning point for me, not only because it broadened and strengthen my sampling approach, but also because it led me to listen to music much more closely and carefully. And this helped me to understand the different ways that certain types of arrangements and sounds could be manipulated to fit my style and sound. Further, it also helped me to learn how to better craft riffs and phrases using a keyboard (live instrumentation)...which I then, of course, sample. (In The BeatTips Manual, I discuss composition in great detail.)

—Sa'id

*Click here to read the full "Diggin' Tips" TBC Thread

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

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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