BeatTips Tutorial: Making Arrangement "Changes" in Beatmaking

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

By AMIR SAID (SA'ID)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BeatTips Tutorials: Creating a Section Contrast

An Example of How to Build a Section Contrast

By AMIR SAID (SA'ID)

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

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

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

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

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

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

The music below is presented here for the purpose of scholarship

Sa'id - "Listen Up" (instrumental)

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

Making the Task of Coming Up with Changes Less Daunting

By AMIR SAID (SA'ID)

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

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

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

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

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

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

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

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

BeatTips Readers Poll™: When You Make Your Beats, Do You Start with the Drum Sounds or Non-Drum Sounds?

For Many Beatmakers, Getting the Beat Started with the Drum Sounds or Non-Drum Sounds is Part of a Creative System

By AMIR SAID (SA'ID)

For this BeatTips Readers Poll™, the aim is to see how everyone else likes to start their beats: Drum sounds first, or non-drum sounds first, or sometimes drum sounds first, sometimes non-drum sounds first? Interested to see if there will be a consensus. Feel free to post comments.

Drums. Every beatmaker knows their importance, but each one of us takes a slightly different approach to how we cook 'em. And even before we get into the finer details of flipping our drums and locking in our drum programming, we all have a preference for when we start work on the drums.

My default approach is to start with non-drum sounds. A major part of my creative system is seeing the music in my head without the drums. I've gone through great lengths to customize my drum sounds, so much so that when I pull sounds from my drum sound library (to match), they're the right ones—95% of the time—for what I'm trying to do musically. Therefore, when I'm making a beat, I like gather the riffs and non-drum tones first, before I assemble the drum arrangement.

Still, there are sometimes I'll start with drum sounds to get a beat going. But this depends on the mood that I'm in and the direction that I want to go in expressing that mood, or if I'm making a sample-based joint or a non-sample-based one. More often than not, when I'm making a non-sample-based beat (which I play outlive on my Fantom, then ultimately sample), I start with the drums. This is particularly helpful for me, because it establishes a rhythm and vibe guide for me to follow.

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

BeatTips Tutorial: Modifying the ADSR Sound Envelope Pattern

Changing the ADSR Settings to Get the Most Out of Your Sounds

By AMIR SAID (SA'ID)

After you’ve chosen your samples/sounds and chopped them (established their start and end points, etc.), there is another series of modifications that you can perform to enhance and customize the character of your samples/sounds: Tweaking the ADSR sound envelope pattern. But to effectively modify the sound envelope pattern of a sample/sound and, subsequently, unleash even more flavor from your samples/sounds, it’s important to understand just what sound envelope refers to.

Every sound (dynamic tone) has three components: attack, sustain, and decay. Taken together these three components (parts or dimensions) are known as the sound envelope. (I should also point out that I like to extend the definition of sound envelope to mean: the entire span—from start to go—of a sound.) With regards to synthesis techniques—synthesizers/samplers—there is a fourth component, release; taken together these four components are known as the ADSR envelope. When you modify or remove any one or a combination of these ADSR components, the sound’s properties change, rendering an array of different effects. Thus, it’s important to understand what each component within the ASDR envelope represents, if you’re to modify them in ways that best serve your beats’ arrangements.

Attack Defined
Refers to the time/distance between a sound initiated—first struck or pressed, via a pad strike or a key pressed, etc.—and when it reaches it peak, the highest level/intensity of a sound. A sound’s attack can be fast or slow. This means that the closer the attack of a sound is to its peak, the faster its attack. Conversely, the further away the attack of a sound is from its peak, the slower its attack. Further note that sounds with a fast attack reach their sustain level quickly; while sounds with a slow attack take longer to reach their sustain level. For example, a sound like a kick or snare has a fast attack; while a sound like a multi-toned sample phrase has a slow attack. In fact, a sampled phrase without drum sounds (particularly kicks and snares) at its start point has a slower attack than a sampled phrase that does have drum sounds at its start point. As such, sampled phrases without drums at their start points often tolerate adjustments of the attack value very well, often producing interesting results, depending, of course, on the sound of the sample and the overall scope of the beat that you’re working on.

Decay Defined
Decay (or “decay time”) refers to the time it takes for a sound to fall from its attack level to its sustained level. “Rate of decay” describes how gradual a sound decays.

Sustain Defined
Sustain refers to the span of a sound that’s audible just after or nearest a sound’s peak (the highest level of a sound). In other words, sustain is what I like to call the “plateau level” of a sound; it’s the level where a sound assumes and maintains its steadiest level or main intensity. Although the sustain actually represents a slight drop off in level from the peak of a sound, it is the “meatiest” (steadiest, most sustained) part of a sound. So for instance, think of a 2-bar sample. The sustain is the level that is reached and maintained the longest during the duration of the sample.

Release Defined
Release refers to the time it takes for the sustain level of a sound to diminish to silence. In other words, it’s the rate at which a sound fades to silence after it’s played.

Modifying the ADSR Envelope

Modification of the ADSR settings not only affect the tone quality of a sound, it also affects how sounds “sit” with each other within a beat’s arrangement. This is an important point to consider with any sound, but when it comes to sample arrangements, it’s even more critical. Why? Because the more instruments/sounds within a sample, the more dynamic tones it will contain. And the more dynamic tones that exist, the more potential for customization/stylization.

Modifying the Attack
Because my style and sound calls for a lot of blending and rupturing of samples/sounds, attack is the most critical ADSR setting that I use. Hence, whenever I modify the ADSR settings on my Akai MPC 4000 or Akai S950, I always begin with the attack, using a method I call “pinching the attack”. “Pinching the attack” of the sample is the process of setting the attack value so that the very front end of the sample is “ruptured” or “cut” into a beat’s arrangement. Because I use the common technique of assigning multiple sampled phrases to various drum pads, I prefer to have more stylistic control over the ways in which the samples I use sound and move within and throughout an arrangement. By “pinching the attack,” I can make samples/sounds “spring”, “rupture”, or “fade” into my beats’ arrangements. For me this is important, because I like to protect the spaces of the samples/sounds that I use. By that I mean, I make arrangements wherein the harsh parts do not drown out or slam the subtle and smooth parts.

Something to Keep in Mind
In addition to the definition of attack that I offered above, I also think of attack in the sense that it controls the value of “fade” at the beginning of a sound. Therefore, the higher the attack value (up from 0), the less presence (force, impact) that the head (front part) of a sound makes.

Effective Uses for “Pinching the Attack”

“Pinching the Attack” is a great method to use when the start point/front end of a sample has a harsh beginning, like a kick drum beneath the non-drum sounds. In a case like this (which is common, because you can’t remove kicks from a sample that contains them), an increase of the attack value can affect the sample in a way that allows it to represent its tonal essence, without having it’s kick slamming with your own kicks and snares.

Now, some might say, ‘Why not just chop (truncate) more of the head of the sample?’ Well, I could do that (whenever suitable, I do). But if I were to simply to chop further into the start point, removing the part of the sample that has the kick in it, I lose part of the character of the sample’s beginning. “Pinching the Attack” allows me to retain the character of the sample (or as much as substantially possible), while “neutralizing” the disrupting kick. Modifying the attack level to the needed value (it’s different for each beat) allows me to hear exactly how much of the unwanted dynamic (in this case, the kick in the sample), fits with my beat’s design.

“Pinching the Attack” is also a great method to use when you want to create the effect of multiple samples/sounds spliced together. Remember, I also think of attack in the sense that it controls the value of “fade” at the beginning of a sound. Therefore, the higher the attack value (up from 0), the less presence (force, impact) that the head (front part) of a sound makes. Just as this understanding allows me to slam sounds together or rupture and cut them into an arrangement, it also allows me to create spliced effects as well.

Modifying the Sustain

Modifying the sustain value allows you to affect how long you want the sustain—the main intensity of a sound—to carry on. Normally, I make very little adjustments to the sustain setting. In fact, I modify the sustain only when I want to do a quick fade of the tail (back end) of a sample/sound or when I want to fade the tail of one sample/sound out so that another sample/sound can be faded in or spliced.

Modifying the Decay

In conjunction with the sustain modification as described above, I often tweak the decay when I want a sample/sound to fade out of a beat’s arrangement.

Modifying the Release
I modify the release to help prevent a sample/sound with harsh tones (i.e. kicks, snares, peak points of bass parts, etc.) from slamming or distorting the drum pattern of the beat I’m composing. In other words, I always modify the release along with the sustain in ways that make the beat’s elements mesh together and sound smoother.

Special Note

All of the modifications that I’ve described in this tutorial are circumstantial ADSR modifications that I make of samples/sounds that are already part of an arrangement. Although these tweaks can be performed on stand-alone samples/sounds (that is to say, sounds that are not yet incorporated into an arrangement), keep in mind that those samples/sounds will not sound “the same” as is, in their default state. For instance, you can increase the attack on a kick drum within a drum pattern, so as to decrease is punch/impact within a particular beat. But chances are, that kick drum, as a stand-alone sound with the tweaked attack, will sound thin and not much like a kick at all. This is why it’s always important to know the default properties of your samples/sounds as well as the particular types of customizations—ADSR modifications—that work for your style and sound.

Furthermore, I should point out that I view the processes that I’ve described in this tutorial as an extension of the chopping process in beatmaking. (For a more comprehensive discussion on chopping, check out The BeatTips Manual, chapter 7.) Also, you should keep in mind that different sample/sound spans (scopes) work best with different ADSR modifications. For instance, sound-stabs, 1-bar, 2-bar, and 4-bar sampled phrases will undoubtedly require different ADSR tweaks, depending, of course, on the drum patterns being used and the style and feel of the beat you’re composing.

Tutorial Music Example

The music example that I’ve included in this tutorial is a beat that I made called “Soulful.”
For “Soulful,” I “pinched the attack” to make the sample spring and rupture. I set the attack at 11 (which is a lot), the decay at (0); the sustain at 75, and the release at 30. Note: at the 0:30 mark, I solo the primary samples so you can clearly hear how I’ve cut, ruptured, and faded them.

P.S., I left open the drum pattern that I made, so feel free to sample the kick, snare, and hi-hat—all custom drum sounds!

The music below is presented here for the purpose of scholarship

“Soulful” produced by Sa’id

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

BeatTips DSS Beatmaking Exercise

Sequencing and Structure Exercise is a Steady Beat Block Neutralizer

By AMIR SAID (SA'ID)

To increase my understanding of arrangement in beatmaking, over the years I've come up with and practiced many different exercises. In this article, I want to focus on one specific arrangement exercise that I do that involves the development of core sequences. DSS (Duplicate Sequence Structures), the name I gave to this exercise, basically deals with duplication and experimentation of sequences. But for me, the aim of this exercise is to better understand how to build 8-bar (or longer) structures. Why 8-bar structures you might ask? Well, for me it's simple. When creating "songs" in the Song Mode of my MPC, I prefer to deal with 8-bar sequence blocks rather than 2- or 4-bar sequence blocks, particularly because it allows me to better manage any random changes I might want to add to the final beat.

Before I continue, I should note that I have in the past (and sometimes still do) literally write down the schedule of exercises for any given practice session. Nothing major, though; for instance, whenever I wanted to practice DSS exercises, I would simply write a note to myself like: "DSS, 1hr." This way, whenever I was due to practice for the day (week), I wouldn't sit down just to make a beat. Instead, I'd set a practice plan of action, then I'd naturally segue into actually making (completing) at least one new beat (or more).

All right, on with my DSS exercise...
step 1

I began with a 2-bar sequence of music. Something fairly simple, just a drum framework and some non-drum elements. Please note: Whether I'm practicing with a sampled-based or synthetic-sounds-based beat doesn't matter, because I practice this exercise universally.

Step 2

Having settled upon a 2-bar sequence, I'll duplicate it to give me 4-bars of music. Then, I copy that 4-bar sequence into three "unused" new sequences on my Akai MPC (4000 or 60), essentially setting up three separate beat start or rather "shell beats," all with the same 4-bar structure.

Step 3

I duplicate each 4-bar structure, giving me three "shell beats" (just sparse rhythms) of 8-bars each.

Step 4

I work on each "shell beat," one at a time. For the first "shell beat," I'll add in one new musical element. This could be anything, an elongated sound stab; a brief keyboard phrase; a sample of a break of some sort; truly whatever I'm feeling at the moment. But here's the key: No matter what add-on element I elect to go with, I add a modified version of that very same element to each "shell beat."

Step 5

I make modifications to the drum frameworks of the "shell beats." Usually, I leave the drumwork of the first "shell beat" as is, but I always change (in some way) the drum framework of the 2nd and 3rd "shell beats," making modifications that better match up with the added elements.

Step 6

I build each 8-bar "shell beat" out to "developed beats," and I audit each beat to see which one has the tightest, gut-moving feeling. Usually, what happens? I end up using one of the "developed beats" for the verse section (the main part of the song), and I use another "developed beat" as the hook section (the featured part of the song). If the left out "developed beat" is decent, I'll strip it down to 4-bars, and use parts of it as an intro, bridge, or extra change that I add to the final beat.

Final thoughts

Using this exercise, I'm able to better capture the core groove that suits my style and sound. Also, this exercise really helps my timing, and it sharpens my overall understanding of and approach to creating drum frameworks. Finally, I should note that my DSS exercise has always come in handy on those occasions where I used to have beat block.

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

BeatTips Jewel Dropin': "Section Contrast" Further Defined

An Effective Concept and Approach for Adding Change and Depth to Your Beats

By AMIR SAID (SA'ID)

Recently, a TBC member asked me about the "Section Contrast" BeatTip on page 129 of The BeatTips Manual. I answered over in TBC, but I thought it would be beneficial to post my complete reply hear at BeatTips.com as well.
(Shouts out to Newman...)

Re: "Section Contrast" on page 129 of The BeatTips Manual

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

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

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

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

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

The music below is presented here for the purpose of scholarship

Sa'id - "Listen Up" (instrumental)

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

Using Your Drum Sounds to Improve Your Compositional Workflow

Knowing Your Drum Sounds Makes for a More Efficient Compositional Workflow

By AMIR SAID (SA'ID)

Compositional workflow, the collective processes, methods, and time it takes a beatmaker—using his or her specific production setup—to create a beat, can be improved in a number of different ways. Depending on the individual EMPI (Electronic Music Production Instrument), the steps within most beatmaking processes can be condensed. Likewise, the various methods of achieving particular production goals can be realized, retooled, and/or retranslated in ways that bring about desired results faster and more efficiently. Even the reshuffling of one’s production environment can improve workflow. (Do not under estimate the power of a comfortable chair and/or a good view.) But among the countless ways to improve compositional workflow, often the most overlooked way can be found in the area of drum sounds and drum sound modification.

Most beatmakers—myself included—take pride in crafting their drum sounds (even though there are some who lean heavy on pre-set drum sounds with little to no customization). And for those beatmakers who see their drums as a major component of their overall production identity, individualized drum sound customization is key. But that being said, the processes of drum sound customization can impede workflow, whenever they are overly applied during the making of a beat. This is why simply knowing your drum sounds is a great way to improve compositional workflow.

Check it out… Whenever I’m making a beat, I choose my drum sounds quickly, because I know them. I know their texture; I know their color; I know what types of sounds they’ll go well with; I know how they’ll render in the final mix. So for me, selecting the right drums for the right style and sound of beat that I'm working on at the moment doesn’t involve a prolonged scroll through my drum library.

And although I may make a couple of modifications to a drum sound during the process of making a beat, those tweaks are minimum, if at all. Again: I know my sounds; so I reach for the sounds that I think may fit with the current arrangement that I’m working on. I do not, however, embark upon some sort of drum-tweaking journey that can shift my focus from the beat—the entire arrangement—, to just drum sounds. Moreover, I do not allow my workflow to be disrupted by a prolonged search of a drum sound library (yet another reason why I like to keep my drum sound library tight with a reasonable number of sounds). In other words, when I’m composing a beat, I’m leery of shifting too far away from composer to drum sound technician, or anything else for that matter.

Compositional workflow determines your ability to harness your creative moments in real time. Therefore, the longer your compositional workflow is disrupted, that is to say, the longer the act of composing is left on hold—in this case, by drum craft or “tech” work—the more you defeat your ability to harness your creative moments. This is why it's just as important to look for ways that improve your compositional workflow as it is to guard against anything that can inhibit it.

Now, technically speaking, any tweak of a drum sound during the creation of a beat makes you a “drum sound technician,” which, in effect, disrupts your compositional workflow. But to what degree? During the “live vibe/feel” of making a beat, should the arrangement and scope of the beat be placed on hold, until you tweak drum sounds to perfection? Or should drum sounds be in deference to the overall arrangement, with little to no consideration of their fit within the arrangement? What I mean here is, should it not be more important to find what fits from a well-known personal arsenal of drum sounds than it is to spend too much time making major tweaks to a drum sound, in a stand-alone context outside of the beat at hand? I certainly believe there is a time for major tweaks—customization—of drum sounds, in a stand-alone context. This is why it’s important to set aside time for beatmaking sessions solely for the purpose of going through new drum sounds and modifying them to specific taste.

But implementing extensive drum sound modifications and/or a prolonged drum sound selection process during the composition phase of making a beat can disrupt your flow of ideas, and severely limit your ability bring about the beat you envisioned. Simply knowing your drum sounds (particularly a core set of sounds) can improve your compositional workflow and cut down considerably the amount of time it takes you to complete a beat from start to finish.

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

BeatTips MusicStudy: Snoop Dogg and Pharrell - "Beautiful;" Well Constructed Arrangement

Non-Sampled Beat with Well-Thought Out Arrangement; Rhythm Track Flanked by Unique Percussion Scheme Serves up Warmth in Typically Cold Style

By AMIR SAID (SA'ID)

When The Neptunes (Pharrell and Chad) first burst on the scene with Noreaga's "Superthug" (1998), it was clear that they would soon be a production force to be reckoned with. Using the non-samples featured style as their base creative beatmaking approach, The Neptunes carved out a new sound; and in the process they created an alternative lane for other budding beatmakers to follow.

Unfortunately, far too many beatmakers moved into this lane with Neptune knock-off tracks rather than original interpretations of the sound that The Neptunes created. Indeed, within four years of Nore's "Superthug," the level of Neptune "biters" was so widespread that some began openly questioning the genius and contribution of The Neptunes themselves. Enter January, 2003. Snoop Dogg and Pharrell drop "Beautiful, one of the most well-arranged beats I've heard.

To understand how Pharrell might have come up with the guitar arrangement for "Beautiful," all you need do is listen to The RZA's work on Liquid Swords,' or perhaps even the beatwork of True Master—Pharrell no doubt studied them both during his prime developmental years. Although Pharrell doesn't use sampled sound-stabs to construct the core guitar-based groove of "Beautiful," his use of a shuffling, semi-closed hi-hat and tambourine—which spread throughout the composition like a multi-layered shaker—shades the otherwise brightness of the first generational (non-sampled, module/keyboard/live) guitar sound. And with the shine of the brightness dimmed by his creative use of percussion, Pharrell is able to work in organ bridge phrases that bookend every fourth bar. It should also be pointed out that these organ riffs, which are subtle and relaxed, are used more to sure up the rhythm and groove of the beat than they are to firm up the main melody—itself a secondary product to the rhythm in the "Beautiful" beat..

For the drumwork, Pharrell is intent on letting us know that this beat comes from the stratosphere of The Neptunes. Therefore, he uses their trademark stomp-kick as the most forceful percussive element in the track. Often in most beats, it's the snare that gets the top billing while the kick co-stars. But with "Beautiful," Pharrell reverses the roles, giving full priority to the appropriately placed stomp-kick while opting for a short-truncated snare that's barely more than a snap.

Far as the rhyme goes, lyricism takes a vacation...literally. But then "Beautiful" isn't the sort of song that you even want to hear a complex rhyme scheme on. The beatwork invites a straight-forward rhyme, and Snoop delivers something that's steady and not too hard to follow. And because of the strength of the chorus—sung surprisingly well by Pharrell—any ambitious rhyme structure and/or theme would only have distracted, not enhanced, the well thought out arrangement of the instrumental.

"Beautiful," perhaps more than any other song from either Pharrell or Chad, proved that although a beatmaster's style could be bit and copied, more seasoned beatmasters are able to rework their sound into something even more unique.

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

Snoop Dogg feat. Pharrell - "Beautiful"

Snoop Dogg feat. Pharrell - "Beautiful" (Official music video)

BeatTips MusicStudy: The Band's "King Harvest" Gives Lesson in Groove

The Melody Talks, But the Groove Tells It Like It Is

By AMIR SAID (SA'ID)

When it comes to music, there is little more truthful than the groove. If you listen to it, open it up, and unpack what's going on, you'll always find just what the song's feel and sound is all about. This is one of the reasons that I'm always drawn to the groove of any song. No matter the melody, for me, it's the groove(s) that ultimately either makes it or breaks a song.

One of my favorite grooves of all time is the one found on the song "King Harvest," by the group The Band. Powered by the flawlessly funky drum-work of Levon Helm, "King Harvest" moves with a rhythmic focus that is as much funk as it is southern rock; as much Woodstock jam session as it is Memphis blues rock. Robbie Robertson's guitar work whines and twangs, spilling out a funky blues that moves between laid-back cool and jam-solo bravado. The keys are a split duty affair. Richard Manuel, who also does lead vocal work, plays a steady, but artfully understated piano. And Garth Hudson handles the organ, making it bake, roll, and moan at the various "frenzy" points in the number. Finally, Rick Danko makes everything warmer with his fat, but deliberately soft bass playing. (I learned a lot about arranging bass parts listening to this song.)

Of the various things worth studying in "King Harvest," pay attention to the instrumental "cool-down" that takes place at the arrival of the chorus. Next, pay careful attention to how the band glides from the chorus, right back into the groove. Incredible. Also, be sure to study the little jam session warm-up just before that rip off the main number.

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

The Band - "King Harvest," from The Band in Woodstock

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