33 posts categorized "Programming Kicks"

July 19, 2011

BeatTips MusicStudy: Sa'id - "Before We Started Fightin'"

Getting to the Rhythm, So I Can Get to the Rhyme

By AMIR SAID (SA'ID)

"As a beatmaker, rhythm is fundamental to any structure I compose. As a rapper, rhythm is vital!" —Sa'id

A couple of weeks before I made and recorded "Before We Started Fightin'," I had been experimenting with extended bar structures. That is to say, rather than doubling up 1-, 2-, and 4-bar schemes, I was exploring the use of 8- and 12-bar frameworks. Throughout this exploration, I learned a number of different things. I learned new ways to anchor my beats with lightly syncopated drum patterns; I learned more about blending separate sampled pieces into single cohesive riffs; I learned more about why certain changes work better at specific points within a sequence, depending, of course, on the number of bars in the sequence; and I learned how "double time" tempos of longer bar structures could be manipulated in ways that allowed me to avoid timing correct (quantizing).

So it was the "double time"/bar structure manipulation discovery that had the most impact on how I made "Before We Started Fightin'." As a rhymer, I like to push past the typical AB AB AB AB rhyme scheme, and come up with new rhyme paths. So as a beatmaker, my focus is always on capturing the sort of rhythms that will allow me to create the vocal syncopation that best matches the idea, topic, or subject matter that I'm rhymin' about. Moreover, I don't see my vocalization as something separate from the mix; instead, I like to view my rhymes as just another instrument in the mix. (I will be writing more about that in an upcoming article.)

So when I came up with the idea—a semi-autobiographical story about a guy who realizes (almost too late) that his girl has just double-crossed him—, I wanted a beat structure that was aggressive, but not overpowering. I wanted something that would rumble in the beginning, then taper off at the end of the sequence. I also wanted something that didn't easily fit into 4/4. After re-arranging what was initially a *12-bar* sample, I chopped off 3 bars (shaving the tail of the main sample), and started experimenting with a 9-bar sequence, adding a lone snare on "the one" (rather than a kick) with a piece of silence, right before the main sample starts. Then I added in a hi-hat that I played straight through, live, with no timing correct. After that, I color everything with random low-velocity kicks. I had also added another guitar sample, but it distracted me when I was writing my rhyme; so I stripped it from the beat, and added one more hi-hat, and I was done.

For the mix, I EQ'd the bass in a way that turned up the rumble that I wanted. In contrast, I peeled back the highs to temper the vinyl static and to allow my vocals to come through stronger without using any compression. I tucked the hi-hats and kicks in the mix, so that they blended more with the main sample.

The music below is presented here for the purpose of scholarship

Sa'id - "Before We Started Fightin'" (prod. by Sa'id)

Download Sa'id - "Before We Started Fightin''

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

July 06, 2011

BeatTips MusicStudy: Traffic's "Glad" Taught Me How To Shuffle

Lessons From One Of Progressive Rock's Most Engaging Bands

By AMIR SAID (SA'ID)

Beatmaking, the chief compositional method of hip hop/rap music, allows for one to pull from a wide variety of musical forms (and sources) for instruction. For instance, progressive rock has always been a mainstay influence in my style and approach. And no other progressive rock band—other than Led Zeppelin of course—has had a direct hand in how I construct drum frameworks, and subsequently, my sense of time, more than the group Traffic.

Here, in their song "Glad," listen to the percussion hats that strike with suspenseful urgency on the quarter notes. And see if you can make out where the kick "hits" on the up-tempo sections of the overall arrangement. Then around the 5:00 mark, the arrangement dives into a slow, milky smooth bluesy-funk jam session that drummer Jim Capaldie laces delicately, with the sense and craftsmanship of a cat burglar. Indeed, there have been few songs that have shown me how to incorporate—and more importantly, account for—the "shuffle" element in music, while at the same time helped me improve my sense of timing.

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

Traffic - "Glad" (from the John Barleycorn Must Die album)

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

June 28, 2011

5th Seal Vlog #7

Brooklyn Beatsmith 5th Seal Drops His Latest Beat Vlog

For vlog #7, 5th Seal raids the infamous (and well-tread) dig spot A-1 Records in New York City (and runs into one of the greatest ever on the beats). As per his other installments, he offers a glimpse of the making of one of his beat gems. 5th Seal is a friend, so I'm happy that he's gaining a new level recognition.

The video below is presented here for the purpose of scholarship

5th Seal Vlog #7

5th Seal Vlog #7 from 5th Seal on Vimeo.

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

June 22, 2011

BeatTips "Setups in Action": Akai MPC 1000, Fantom Xa, and Propellerhead Recycle

Profile of Pat King's Hybrid (Hardware/Software) Setup

By PATRICK KING

Complete Setup:
Akai MPC 1000, Roland Fantom Xa, M-Audio BX5 monitors, (2) Technics SL-1200MK2 turntables, Vestax PCV-002 mixer, Vestax Handytrax turntable (Portable), Sony MDR-7506 headphones, iMac G5 PPC (Tiger OS 10.4.11, 1.8 GHz, 2 gigs of RAM), Digidesign Mbox with Pro Tools, Waves plug-ins, Propellerhead Recycle 2.1, Record collection.

Signal flow:
MPC stereo out to TRS inputs on the M-Audio BX5 monitors. I keep Auralex MoPads on stands beneath the speakers in order to decouple them from the surface it rests. I use the Roland Fantom Xa mainly for sounds like bass, or melodic strings to layer on tracks in the MPC. Whenever I want to use the Fantom Xa, I route the Fantom’s output A mix into the MPC record in. This gives me standard audio quality (44.1KHz, 16-bit). When I’m not sampling from the Fantom, the way that I audition (listen to) sounds through is that I listen through my headphones. As for my Vestax DJ mixer, when I want to get a vinyl record sample into my computer for editing, I go from the turntable to DJ mixer. I route from the L/R record output of my Vestex DJ mixer to the Mbox source 1&2 line inputs, then I record sample on to a stereo audio track.

Though my production setup consists of several pieces of hardware and software, the main unit and sequencer that I use is the Akai MPC 1000. I transfer drum sounds and samples, (that I usually edit on the computer), to the MPC through a USB connection. I store everything on a 1GB compact flash card.

Method & Process:
When I get new vinyl records I start off by sitting down and listening to them on one of the turntables through the Vestax DJ mixer, with everything set to zero, no EQ frequencies accentuated initially. The minute I hear something that catches my attention I make a note of it on paper. I write down things like the instruments I want to use and what part of the song its located at, then continue listening for more parts to assemble a new arrangement. If the sample is complex I record it into Pro Tools and (bounce it to disk). What I mean by “complex” is that to me, it’s a sample that has a lot of nuances. In order to control those nuances I use Recycle to chop them up and manipulate those sample more precisely, then I export the results a WAV. files to the MPC.

For me, the advantages to editing on the computer rather than on the MPC is that it's less time consuming, and that increases productivity. But I can see how it could be the reverse for someone who does edit on the MPC, especially older MPC models, like the MPC 60 II or even the 2000. Another reason that I like to edit on the computer rather than the MPC is because I like seeing the waveform of the sample on a 17-inch screen, versus the small screen on the MPC. To me, its easier to work with and break down. If its a simple sample like a one bar drum break, I just record into the MPC; maybe use the slice feature and some filters. I should point out that the MPC is not limited in editing capabilities, it’s just not as efficient as a computer is in my production process.

Sequencing, Tracking and Rough Mixing: The first track of the sequence I start off with is usually the sample, then the drums, then the bass, I just continue to build sequences and tracks until the beat is complete. When I finish all of my sequences, its time to get them into the DAW (Digital Audio Workstation). First off, I disconnect the MPC stereo out from the speakers inputs. I use the Mbox source 1&2 line inputs and connect to the MPC stereo out. I connect the line outputs on the Mbox to the speakers. I then record into Pro Tools, two tracks at a time. I can then control the dynamics of each track. Depending on what I want to achieve, I use different Waves plug-in's. Before I finish the session I record a 2-channel stereo track of the entire beat to Pro Tools from the MPC. When I'm mixing I use headphones to get closer to an accurate mix. Stereo imaging is essential, it’s is how the audio image is placed and meshed during mixing for the listener's ears. After I sequence my drums I leave the kick and snare centered, add some reverb to the snare for depth and pan the hi hat to the left to give off that feel that a real drummer is in that position on the stage. The contrast between mono and stereo instruments is important to understand. Panning and balancing the levels allows room for all of the instruments to breath and have their own space in the mix.

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

June 10, 2011

Why Vinyl Reissues Are a Good Thing

Vinyl Reissues Offer True Value in More Ways than One

This past Wednesday, I spent a brief part of the afternoon diggin’ through vinyl records at a shop over on St. Marks Place, down in the East Village. Although it was a scorching hot pre-summer New York City day, I never did take the opportunity to actually enter the store and get a blast of their air conditioning inside. Instead, I stayed outside in front of the store, diggin' through their “tease” crates of soul, latin funk, and jazz.

Sitting atop several long tables, these crates were loaded with a number of gems, many of which I already have, and a few I'd never been able to get my hand on in the past. Also, in there were two albums that stood out above all the others: Donny Hathaway's Everything Is Everything and Donny Hathaway.

Arguably Hathaway's greatest album and certainly one of my all-time favorites, Everything Is Everything is a masterful piece of soul music that stings your heart and tugs at your body. Self-dubbed as one of my personal "must-haves," I spent nearly five years (more than a decade ago) trying to land a copy of Everything Is Everything. Previously, I'd been able to hold on to several borrowed copies of this LP. Unfortunately, this was one of those albums that people always remembered to ask me to return.

When I obtained my own copy of Everything Is Everything (for $100!), I remember vowing to never lend it out to anyone. It was an original print, near mint copy with one of the cleanest covers (less-worn) I'd ever seen. And I wasn't about to risk losing this gem; it wasn't easy for me to get, and therefore, I maintained, I'd make sure that it would be difficult for me to ever let go. Well, after a couple of moves and a series of vinyl collection re-locations, my copies of Everything Is Everything and Donny Hathaway turned up missing.

It would take another couple of years before I was able to replace both albums. Moreover, it cost me $65 for another copy of Everything Is Everything, and $59 for another copy of Donny Hathaway, neither of which were anywhere near the condition of the one that I had before. So imagine the reverse sticker-shock I felt when I came across a sealed copy of Everything Is Everything and Donny Hathaway, sitting right there in an old milk crate, sandwiched between two sealed copies of Gil Scott-Heron's Pieces of a Man. All four records, $12 each! Goldmine! I thought. Then it hit me: These albums were reissues...

To some (particularly die-hard purist diggers/collectors), reissues might hold little to no appeal. And there are some sample-based beatmakers who will claim that using reissued vinyl is not quite the same thing as using the "real deal," that is to say, vinyl pressed on or near the recording's original release date. To be fair, that's not entirely untrue.

Part of the appeal of original print vinyl is its oldness—it's dusty, scratchy nature. Furthermore, there's the matter of the recording used for the reissue. Does the reissue contain the original master recording—with all of its mixed glory—, or does it use a remastered version? The particular sound that a reissued vinyl record possesses is important to me. I'm not interested in vinyl that carries a remastered version of the original work. But despite some minor misgivings of using reissued vinyl, I see reissued vinyl—and here, I'm specifically referring to "exact reproduction" reissued vinyl, not the re-mastered stuff—as a good (if not great) thing, for a number of reasons.

First, reissued vinyl gives beatmakers (new and old) the chance to have access to wonderful, era-defining recordings in the vinyl format. And although other audio formats (CD, MP3, .WAV) can indeed serve the purposes of sampling, there can be no denying that working with vinyl presents an entirely different feel and aesthetic.

Second, vinyl reissues (sometimes the only option if you're searching for a vinyl recording) offers beatmakers a lesson in sound quality and the audio nuance of recordings from more than 30 years ago—before the digital takeover. By being able to hear the differences in recordings, the tones, colors, and overall sonic impressions, you can extract a number of different musical ideas and sonic frameworks to apply to the sound design of your own beats.

Third, vinyl reissues, by virtue of their format, extend the connection between beatmakers and vinyl, and like sampling itself, they can help reconnect beatmakers to the DJing component of beatmaking. There are a growing number of beatmakers who are interested in working with vinyl, but because of the often difficult nature of obtaining vinyl (i.e., a sparse number of used vinyl records stores around the world), they are not able to get their hands on any. Vinyl reissues addresses this interest (demand) and makes a whole host of great recordings available in the vinyl format, both online and even at some stores that carry new CDs and other related merchandise.

Finally, vinyl reissues help decrease the vinyl record accessibility gap that exists today. No doubt vinyl reissues provide a means for many beatmakers to access vinyl records that they would not otherwise be able to. Moreover, most vinyl reissues are reasonably priced and available online. With increased accessibility comes the potential for scores of music makers to discover (or rediscover) quality music styles and sounds that have, unfortunately, been forgotten.

Bottom Line

Exact reproduction reissued vinyl is a win/win, and I expect even more recordings to be reissued on vinyl. And although the journey of getting *new* vinyl has long been an arduous one (more so now because the availability of used vinyl records is thin), the emergence of reissues of classic works (especially from a number of the most formidable recording artists of soul, funk, and jazz) is making this journey for beat diggers much more agreeable.

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

June 02, 2011

BeatTips MusicStudy: Gladys Knight & The Pips - "No One Could Love You More"

Steady Swing-Beat Anchors this Little-Known Gladys Knight & The Pips Gem

By AMIR SAID (SA'ID)

One of the greatest benefits of being a beatmaker (particularly one that scours through scores of old records) is discovering "new" musical gems by some of the titans of recorded music. Such is the case with the wonderfully arranged "No One Could Love You More" by Gladys Knight & The Pips.

Driven by a swinging backbeat that places emphasis on the traditional "2" rather than the "1," (a beat emphasis pioneered by James Brown and his funk sound, first introduced in 1965), "No One Could Love You More" features a groove that churns and turns over as the song progresses in all of its repetitive glory. Look inside the hood of the groove, and you will find that it's flanked by several engaging musical components. First of course, there's the classic Motown tambourine dropping in on the "1;" then there's a light, pitter-patting, syncopated snare pattern that oozes with old rent-party celebratory charm; and finally, there's a silky 4-note bass line that rumbles, glides and "walks," as it ascends every two bars, before returning to the bass line's core pitch.

Recorded ca. 1971 and released by Motown the following year in 1972, one might say that "No One Could Love You More" was overlooked. Buried deep in the album as song number 10, the last track on the entire album, perhaps it was thrown on to the LP as a bonus—considering the fact that plenty of albums during the same era routinely carried just 7 or 8 tracks. "No One Could Love You More" was never released as a single, and this proved to be one blunder that foreshadowed Motown's inability to retain Gladys Knight & The Pips.

But whether "No One Could Love You More" was intended for obscurity or not, no doubt a casualty of Motown's—and the music industry's—hit-first ethos, its drawing power is absolutely undeniable. Here, before their explosively popular albums Neither One of Us and the Curtis Mayfield produced Claudine, Gladys Knight & The Pips are in top form. The naturalness of family harmony is here; The Pips' incredibly nuanced vocal stylings are here; and of course, Gladys Knight's piercing, beautifully raspy voice is here, breathing a heart-torn life into every lyric as only she can. Having discovered "No One Could Love You More" much later than some of their other music, I can't help but wonder how much of my musical understanding could have (would have) benefited, had I "found" Gladys Knight & The Pips' "No One Could Love You More" much sooner.

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

Gladys Knight & The Pips - "No One Could Love You More" (1971)

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

April 17, 2011

BeatTips MusicStudy: Royal Flush - "Ice Downed Medallion" Prod. by EZ Elpee

Hungry Beatwork and Rhyme; Appreciated More in Middle of a Storm

By AMIR SAID (SA'ID)

"Motion picture/analyze your world Flush'll hit ya..." That's the emphatic declaration that Royal Flush makes to open the New York hood classic, "Iced Downed Medallion" from his debut album, Ghetto Millionaire (1997). Speaking from the rapper/lyricist part of me, I've always considered Royal Flush to be one of the illest lyricists in rap. Cut from the same Queens lyricst bloodline that bled inside of areas like Corona, Queensbridge, Lefrack City, and Astoria Projects, Flush was a street-respected M.C., circa 1996-98. Unfortunately, however, Flush never rose to the level of notoriety that I felt he deserved.

Thing is, Royal Flush came on the scene—with the right skills—at the wrong time. It was 1997/98, right in the eye of Diddy's (formerly known as Puff) storm. This was when Puff was throwin' shit in the New York rap game with the shiny-suit, bubble gum-rap mystique. (Note. Puff's reign would eventually help lead to the undermining of New York's hip hop/rap structure—a near fatal blow that New York has yet to recover from.) The years in rap 1997/98 would also serve to mark the beginning of Jay-Z and Hot 97s (New York's #1 hip hop/rap radio station) meteoric connection to the top. Had Royal Flush come on the scene just two or three years earlier, he would have missed what I like to call the New York Kill Zone of '97/98, and in all likelihood, he would have gained as much (perhaps more) shine as Mobb Deep, AC, or O.C.

Speaking from the beatmaker (producer) part of me, "Iced Down Medallion" was one of the most aggressively programmed beats I've heard. Produced by EZ Elpee, the beat utilized a straight-forward, two-bar loop of a 70s music phrase (I don't name sample sources that I'm not sure about their cleared status) with the bass frequency of the phrase filtered milk-smooth, and the high (mid/treble) levels left just as warm and even when let out. For the drum framework, Elpee went with a standard double-kick snare pattern. Wisely, he tucks the kick while exploding the snare with a handful of reverb. And the hat, which is truncated (no prolonged sustain), is a shaker that he politely sprinkles over all measures. It is further worth noting that because of how the bass frequency of the sample is filtered so fat and warmly, the kick—which is actually truncated short—sounds so much more rounder and booming every time it lands on the one, and as it sets up the two.

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

Royal Flush - "Iced Down Medallion"

Royal Flush - "Iced Down Medallion" (Official music video)

April 04, 2011

Boog Brown Passes My MC Lyte Test

Amid Questions Surrounding the State of “Female Rappers,” Boog Brown Impresses…Without the Hype

By AMIR SAID (SA'ID)

Discussions about "female rappers" carry little weight with me, because I rate the rapper and their rhyme, not their gender. However, when pressed about my list of top female rappers, I always began with MC Lyte. For me, MC Lyte—in her prime—sits comfortably in the 1st tier of great lyricists, regardless of gender. But as far as any list that excludes male rappers, I rate MC Lyte #1. Therefore, before I can rate any female rapper that has appeared after MC Lyte, I first have to hold them up to what I call the "MC Lyte Test."

The MC Lyte Test (a test that could equally be used for male rappers as well) is a set of parameters that I use to rate any female rapper. These parameters include: style, delivery and flow, word mastery, sound, feel, non-contrived attitude, and raw edginess.

Since MC Lyte graced the mic in 1988, various female rappers have emerged with respectable skills. In fact, there have been a number of female rappers that many music critics and fans alike have lauded with great acclaim. But political correctness aside, since MC Lyte's prime, there's only been two female rappers who have passed my MC Lyte test, and a couple more who had the potential to, but never did.

Well, now I'm compelled to let it be known that Boog Brown passes my MC Lyte Test.
Like MC Lyte, Boog Brown understands the rhythm of words. She molds them, folds them, blends them, caresses them, and snaps them. Equally comfortable with straight and slant rhyme, Boog Brown chooses words for their full value, not for the brevity of writing rhymes. Moreover, she doesn’t rely on gimmicky deliveries or overly wordy rhyme schemes and phrasings. Such rhyme tricks have impressed (mesmerized) some, but I’ve always found those sort of rhyme gimmicks to be cliché and boring. I dig rhymes straight up. Gimmickry, particularly the borrowed and oft-used type, is usually less engaging, if not outright whack. Straight forward inflection/intonation, especially when it's delivered with believable—non-contrived—attitude, is dope.

What also impresses me about Boog Brown is her delivery and flow. It's agile and multi-directional, not grounded and predictable (listen to "Masterplan" produced by Apollo Brown). Moreover, she utilizes superb breath control; you never hear her take extreme gulps of oxygen or stumble over her pauses, both marks of a complex lyricist with just as much style as substance.

On "Understanding" (also produced by Apollo), Boog Brown shows off how she presses go, then drops a string of well-measured lines of dense poetry that regularly come together to give insider looks at various snap shots of life. And in the tradition of the most advanced lyricism, she drives by each bar of her lyrics without glancing at its effect, without giving a glimpse of uncertainty or exhaustion. Such confidence echos the pedigree of all dope complex lyricists, male or female.

Then there's Boog Brown's sound. It's effortless, smooth, and genuine. Even when she's romantic (check out “Hey Love”), her sound and feel is in tact, not compromised. And while many female rappers fall pray to a lack of expression in their rhymes (perhaps a side-effect of a male-dominated tradition), Boog Brown strikes through with a clarity and feel that never sounds forced. Rhyming, in its highest degree, is an art wherein words are made to grab, dance, punch, rock, and shock, all with style, and no sense of effort on the part of the rhymer. Once you can “hear” the effort—the forced flow, the superficial borrowed style, the clumsy lyrics—the magic of rapping ceases to exist. And this is where Boog Brown excels. She doesn’t fall into the “Look at me, I’m a female M.C. mantra.” Instead, she soars on her own lyrical terms, without the benefit (or detriment) of “female M.C.” charity praise.

What's Next for Boog Brown

Although Apollo Brown’s beats have certainly served Boog Brown well, most of the beats off of their stellar Brown Study album carry a similar texture and form, and they usually move in the same “mid”/mid-tempo range. That’s no knock against Apollo Brown—that sound is dope. In fact, he’s mastered that sound and feel; it compliments the drum frameworks that he favors for most of his beats. I'd just like to hear Boog Brown on a couple of slightly uptempo joints, or some beats with a different type of swing to them. To Apollo's credit, the “U.P.S.” beat, I think his latest release with Boog Brown and a joint I really dig, finds him using a bit more “bounce” in the beat. Promising signal for what's to come from the the Boog Brown/Apollo Brown enterprise.

Still, the thought of Boog Brown branching out and incorporating beatwork (and different production nuances) from other perennial beatsmiths (I’d really like to see her paired up with Statik Selektah, DJ Premier, The Alchemist, or Kevlaar 7), is something I can’t help but consider. Currently, Boog Brown is sitting on the cusp of league MVP-caliber talent. But I believe if she maneuvers right—that is to say, split the wig open of the hype machine by matching her rhyme skills with other key beatmakers—she could be looking at a hall of fame career.

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

Boog Brown "UPs" [prod. Apollo Brown]

Boog Brown – “Hey Love”

Boog Brown & Apollo Brown – “Masterplan”

MC Lyte - "Paper Thin"

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

March 26, 2011

BeatTips MusicStudy: Roc Marciano, "Game of Death;" Pete Rock on the Beat

Tough Strings, Solid Drums, Jabbing Bass-Stabs, and Punch-You-in-the-Face Rhymes

By AMIR SAID (SA'ID)

Been following Roc Marciano's development for a while now. He's reached that rhyme confidence level that many rappers fall well short of. Here on one of Pete Rock's more sinister beatworks, Roc Marciano is all bravado, no filler or un-useful slang. Each line of poetry flows effortlessly with each meter of the beat. Dope.

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

Roc Marciano - Game of Death (Prod. Pete Rock)

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

March 24, 2011

Beatmakers and Trade Secrets

Shop-Talk Elevates the Beatmaking Art Form and Tradition

By AMIR SAID (SA'ID)

Musicians have long shared tricks of their trade amongst each other. It's a tradition as old as popular music itself. However, for some reason, many beatmakers (producers) pride themselves upon keeping a vale of secrecy over their beatmaking methods. What gives?

I could speculate about the cultural undertones of this, but that's not what this piece is about. On the contrary, this article is about why the notion of secrecy (specifically among some well-known beatmakers {*producers*}) in beatmaking is ridiculous. As I told a fellow beatmaker the other day, "there are NO secrets between real musicians!" What I was saying (and he understood immediately) was that dedicated musicians share a common fundamental goal: to develop their skills and elevate their craft. Indeed, this is why we constantly seek out people and resources that we believe will help us reach that goal. In this regard, beatmakers should not view themselves any different. We are musicians, and as such, we stand to benefit a great deal from an exchange of information.

No Two Beatmakers Are One in the Same

Regardless of the method or technique used, no two beatmakers are the same. Given the same tools and the same understanding, each of us will inevitably develop our own approach. And I've found that it is within this approach that you find the most interesting "secrets." But instead of having an attitude that promotes the talking of shop (beat talk, if you will), when pressed for specific ideas, secrets, and the like, some beatmakers clam up, or offer the proverbial: "don't wanna' give the secrets away." Huh? What's that all about.

Listen, at face value, there are NO magic secrets that can instantly transform a beatmaker's skills. Secrets (or better yet, pointers, tips, hints, insights) are only as good as the beatmaker who understands them and can, in turn, incorporate them into what they're already doing. For example, DJ Premier is known for his drums, chops, and his ability to finesse the bass out of the breaks that he chooses to use. However, there is no doubt (and he has said as much), that he would not have been able to develop those skills, had it not been for Large Professor. As Premier told me (rather matter-factly), it was Large Professor—another beatmaking pioneer in his own right—who showed him how to filter bass sounds in samples, and also how to make the Akai S950 really work for him. In turn, Premier introduced Large Professor to a new way of diggin' in the crates and surveying music. And before that, another beatmaking pioneer, Showbiz, schooled Premier on diggin' in the crates and surveying music. Thus, these examples of sharing trade "secrets" demonstrates how, for each of the aforementioned beatmaking pioneers, the common goal was to get better and elevate the art form.

Needless to say, I've always been against the notion of not not sharing knowledge ("secrets"). In fact, those who know me, know very well that I consistently share as much as I can, whenever I'm asked by a fellow beatmaker. Likewise, some of the most well-known beatmakers have shared as much as they could with me. Also, consider this, even if one beatmaker breaks down their entire beatmaking process to another beatmaker, chances are, the latter beatmaker isn't going to utilize everything that he (or she) learns from the former. Not at all. The latter beatmaker is only going take what he needs and/or can use from the other beatmaker's process. It's this sort of exchange that each beatmaker can use to further develop their skills.

Final note, keep this in mind: the entire beatmaking (hip hop/rap production) tradition is only as good as its weakest beatmaker. Hence, there's merit in all of us trying to help each other step up our skills.

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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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    WRONG! A free mixtape does NOT permit you to use samples from copyrighted recordings without the permission of the copyright holders.
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    "Sampling is easy; there’s nothing to it. Anyone can do it well."
    WRONG! Sampling is an art form that requires technical skill, imagination, and artistic understanding.
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    "Sampling involves the use of pre-recorded songs only."
    WRONG! While the art of sampling is most commonly understood to include the use of pre-recorded songs (traditionally from vinyl records), source material for sampling includes any recorded sound or sound that can be recorded.
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