As part of my current Beach Boys/Brian Wilson minor obsession I started to think about he and Spector's techniques being used in hop hop.

I had an idea that Spector:Wilson::BombSquad:Dre as it pertains to Spector's smooshing things together vs Wilson's sort of weaving them together. Maybe this was a high moment, but it seemed legit in my mind.

Im interested in the Lesson's thoughts, and suggestions of other examples, for obvious reasons. Sorta thinking some Neptunes productions also had similar characteristics to Wilson's take on it. Any more I could explore?

and while I understand how Brian Wilson managed his session players, and Spector created a "wall of sound" niche, I'm not sure I understand what your are trying get at with it pertaining to Hip-Hop?


werd.

Stylistic limitations, how is it different with a band vs arranging samples, etc

As they are more in-line of a traditional backing band.... and could also be looked at as session players if needed. Though playing one offs for a single or double live session on Fallon might not be as comparable, you can see the evidence of them have a "sound" as it were. They have a style and signature sound IMO.

regarding straight production, in a less literal form, any collaborative production group might fall under this moniker. Neptunes (to your point) bomb squad, Dungeon Family, etc.


werd.

i feel like the hip hop equivalent of what your getting at is layering samples, and when done well they work harmoniously even from wildly different sample sources. the masters of layering are indeed the bomb squad, but i think pete rock also built his productions to have climax moments with tons of simultaneous layers working together. for some reason, ADOR's "Let It All Hang Out" comes to mind but also can't stop the prophet remix or even straighten it out when the horns come in. maybe pete's use of horns in general gives it this feel, cuz the frequencies that horns sit in are usually given more space to breathe in other genres. but pete just throws them out front without regard to whether they will drown out other instruments, which gives it that wall of sound.

maybe company flow era El-P? prince paul? even erick sermon on dare iz a darkside maybe?

>maybe pete's use of horns in general gives it this feel,
>cuz the frequencies that horns sit in are usually given more
>space to breathe in other genres. but pete just throws them
>out front without regard to whether they will drown out other
>instruments, which gives it that wall of sound.

This is exactly the kind of thing im getting at. *daps*

>maybe company flow era El-P? prince paul? even erick sermon
>on dare iz a darkside maybe?

Good call on PP. 3 Ft High & Rising is another one that may fit this bill. Gonna have to listen to those others with new ears.

DJ Shadow just sprung to mind as well.

It was Spector is to Wilson, as Bomb Squad is to Dr. Dre

.

In addition to the wall of sound, I really got into how Brian recorded and pieced together separately recorded sequences of music. Or, having a sequence of "walls" placed one after another to make a song. "Good Vibrations" is the most popular example of this, as is the entire "Smile" album.

When I was on my MPC, a had an epiphany that he was basically making all these .seq loops and putting them into "song mode". That's how I connected his work to hip hop--basically every MPC user is incorporating his methods.

Specific producers, yeah Bomb Squad, DJ Shadow, Dangermouse, etc. Oh and The Avalanches (can't wait for the new album!!!).

EDIT: just wants to re-emphasize The Avalanches. Their stuff is DENSE.

Personally, I'm obsessed with making dense wall-of-sound beats. I LOVE that shit. Nothing feels better than finding like 20+ samples that work together. I start sparse and build to a climax.

Here's a couple examples from me...

https://chrisp.bandcamp.com/track/4-afeni-and-pac-phone-2-your-heartz

https://chrisp.bandcamp.com/track/year-of-the-horse

>In addition to the wall of sound, I really got into how Brian
>recorded and pieced together separately recorded sequences of
>music. Or, having a sequence of "walls" placed one after
>another to make a song. "Good Vibrations" is the most popular
>example of this, as is the entire "Smile" album.

Smile (meaning here the tracklist as put together in The Smile Sessions) was done really seamlessly imo. I love the bits in GV where you can hear the edits happening, like the end of the verses -> the chorus. But is Smile they are a lot harder to detect. Partially thats because the songs have actual pauses in them sometimes, but I also have to assume Brian got a lot better at it. Crazy how GV heralded an entire edit movement in disco/house/techno that was still a decade away.

>When I was on my MPC, a had an epiphany that he was basically
>making all these .seq loops and putting them into "song mode".
>That's how I connected his work to hip hop--basically every
>MPC user is incorporating his methods.

Having never delved into the MPC like that, thats interesting. Just goes to show that he quite literally was not made for those times.

>Specific producers, yeah Bomb Squad, DJ Shadow, Dangermouse,
>etc. Oh and The Avalanches (can't wait for the new album!!!).

Ahh Dangermouse...good one. Grey Album is dense as hell.

>EDIT: just wants to re-emphasize The Avalanches. Their stuff
>is DENSE.

Ive heard iffy things about the new one. Loved the first one and Id hate to have this make me think differently of them.

>Personally, I'm obsessed with making dense wall-of-sound
>beats. I LOVE that shit. Nothing feels better than finding
>like 20+ samples that work together. I start sparse and build
>to a climax.
>Here's a couple examples from me...
>
>https://chrisp.bandcamp.com/track/4-afeni-and-pac-phone-2-your-heartz
>
>https://chrisp.bandcamp.com/track/year-of-the-horse

I will absolutely dive into these over the weekend!

springs to mind

https://www.youtube.com/watch?v=799I89T4OjE

http://board.okayplayer.com/okp.php?az=show_topic&forum=5&topic_id=2859865&mesg_id=2859865&listing_type=search

I feel like this was also a post before that one

Thx for the heads up

The Dust Brothers's production on "Paul's Boutique" is a prime example to me.

"We Major" specifically is as wall of sound as a rap song could get I would think