sampling drums? HOW? i been learning all this shit for like a year. the drums i use is off of some bullshit ass cd's i got from a few of my friends... these cats make house music. the drums is kinda.... funny. i dont know how to describe them shits. but i dont like em. do yall sample yall drums? i aint tryna get niggas secrets but shit.. where yall get yall drums from?

school me on drums n shit...

n/m

cuz if you just sampling off CDs, there are a bunch of drum sample cds that are pretty decent out there. i don't know where but I doubt they're too hard to find, I got some friends that have some.
I sample most of my drums from vinyl because I like the warmth and I'm a DJ so I just don't buy CDs. But what I like to do is sample a lot of old snares from 70s recordings when they made them real dry and dead. You can get a good snare from the beginning of Superstitious by Stevie Wonder for example, but I'm sure you can find plenty on anything.
I usually just cut it up in sound forge. I make sure to start the sample as soon as the attack is and try to let it sustain as long as possible before another drum or cymbol gets in the sample. But if you keep the sustain, make sure to fade it out beacuse the noise of the sample won't sound as good if it just cuts out suddenly.
Now it is a tedious and painstaking process, but if you can find enough stuff it is worth it. I find that even if I use Fruity Loops, my beats sound much better when I sample from record.
But man, there is a million things you can do. These are just my methods.

yep

>cuz if you just sampling off CDs, there are a bunch of drum
>sample cds that are pretty decent out there. i don't know
>where but I doubt they're too hard to find, I got some
>friends that have some.


yeah.... cd's. i got like 6 of em. i dont like any of these drums. im lookin for some primo-ish drums. my shit aint crisp at all.... this dude told me to "sample primo or dres drums and make them yours." i have tried this..sounds shitty. i guess i aint that advanced yet.

>I sample most of my drums from vinyl because I like the
>warmth and I'm a DJ so I just don't buy CDs. But what I
>like to do is sample a lot of old snares from 70s recordings
>when they made them real dry and dead. You can get a good
>snare from the beginning of Superstitious by Stevie Wonder
>for example, but I'm sure you can find plenty on anything.


a ha! good lookin...good idea...

>I usually just cut it up in sound forge. I make sure to
>start the sample as soon as the attack is and try to let it
>sustain as long as possible before another drum or cymbol
>gets in the sample. But if you keep the sustain, make sure
>to fade it out beacuse the noise of the sample won't sound
>as good if it just cuts out suddenly.

ok

>Now it is a tedious and painstaking process, but if you can
>find enough stuff it is worth it. I find that even if I use
>Fruity Loops, my beats sound much better when I sample from
>record.

i have a copy of fruity loops i have never even attempted to use. i dont know how to use that shit man. its a crack version off of kazaa.

>But man, there is a million things you can do. These are
>just my methods.

i need to find these methods out.. i want preems drums lol

>its a crack version off of kazaa.

Thanks for that comment there....I just blew a little booger out of my nose trying not to laugh out loud.....

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just use digital drum synth's and make your own..fruity loops 4.1 has a nice drum synth system. peace.

let's play ping pong ■

and i dont have 4.1. there an online tutorial?

its not that hard. just figure it out and it starts to get simple. you can try searching for online tutorials too. and watch for devious posts in the next few days. *taps nose. lol

peace.

let's play ping pong ■

ok. gotchu.

>its not that hard. just figure it out and it starts to get
>simple.

Isn't this reasoning kind of ass bacwards??

you can try searching for online tutorials too. and
>watch for devious posts in the next few days. *taps nose.
>lol
>
>peace.

Now, I'm not saying you, but on most message boards it seems like cats know exactly where to find to some ish but will give you the run around.

Come to grips with the fact that most OKP's are of the Nut Hugger lineage, so, if you' re not part of the little cliques that exist 'round here, your posts will probably tank like Souljaboy's album sales.

take a few snares and kicks off of a primo track you like...just find where one instance of the drum is isolated...and sample it.
trim it on both ends...and assign it to a pad and viola...nigga got atleast primo drum.

>take a few snares and kicks off of a primo track you
>like...just find where one instance of the drum is
>isolated...and sample it.

i done this. nas is like.

>trim it on both ends...and assign it to a pad and
>viola...nigga got atleast primo drum.

dont sound right though. maybe i aint trimmin right.. i dont have that down yet...

45's. Honestly, for some good, good, good drums, nothing beats boxes of 45's, and some elbow grease. It's like homecooking, you can come close, but really, there's no substitute.

Download drums, drum cd's, etc... even vinyl compilations really can't match up to a plain record with some open drums.

You go through stages. At first, you only look for breaks, which is understandable, because they're comfort zone. You'll start to find open drum sounds here and there, then you can fish a snare out of a quick drum roll.

I'm not saying this as a digger, or a "purist", or an "elitist", but old records is a great place to start.

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>45's. Honestly, for some good, good, good drums, nothing
>beats boxes of 45's, and some elbow grease. It's like
>homecooking, you can come close, but really, there's no
>substitute.
>
>Download drums, drum cd's, etc... even vinyl compilations
>really can't match up to a plain record with some open
>drums.
>
>You go through stages. At first, you only look for breaks,
>which is understandable, because they're comfort zone.
>You'll start to find open drum sounds here and there, then
>you can fish a snare out of a quick drum roll.
>
>I'm not saying this as a digger, or a "purist", or an
>"elitist", but old records is a great place to start.



ok. thanks. good lookin. im goin to the record sto on saturday!

>ok. thanks. good lookin. im goin to the record sto on
>saturday!

Depends on what record store you go to. If you're looking for comps with well known breaks, they're easy to find. Generally under "Various" or sometimes "Beats & Breaks". I'm talking a place like Tower and whatnot.

If you're going to a used record store, specifically a well known one, don't go in there and say "hey, I'm a producer and I'm looking for some breaks", because most likely if they know what a "break" is, they may charge four times the price on the record already. Keep in mind that a lot of classic 45's aren't just going to be found like that, however if you keep on looking you *may* stumble upon it.

Fortunately, for those who don't collect and dig for records as a hobby, you can seek compilation LP's CD's as the next best thing. In truth, sound is sound, so just make the most of what you have, regardless of how you got it.



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i was goin to a used spot....

There are loads of country records with some nice beats. Helen Reddy, Lynn Anderson. In fact, the easiest way is to find someone doing a cover of "Put Your Hand In The Hand". Not all of them have a break in the intro, but many do, Lynn Anderson for example. All you need is a good 2-3 seconds of open drums, and you can extract it and boom, 5 minute jam ready to go.

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who woulda known? thanks again...

for his drums.....i have a drum machine, i have battery on my computer, i've taken from cd's....they never sound right....

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He uses a 3 snares as of recent, which are all from the same song on a Groove Merchant album. Ugh, when you hear a chunky snare like that, it's sexy.

Loading open drums into an SP-1200 is erotic, man lol Serious, I love it.

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is that easier to use than the mp?

It's VERY user friendly. The instructions are basically ON the drum machine. You just go over the manual once, and your basically hands on from there.

Plus, the way the drums sounds come out...the MP isn't messing with the SP. The SP is like "Take the sample, load it, truncate it, rock it". It's very point-A to point-B. I was doing Large Professor-type stuff on my 2nd day, but to really rock the SP, you have to get your own drums.

It's like "the digger's machine", 'cause the stock discs on the SP are jokes at best. If you have knowledge of records, and drums, than the SP is the best thing in the world. If not, it's basically a box.

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pads? ins and outs?

In/out, pads/buttons. Once you sample something, it'll ask you if you want to truncate. Push "yes", and you get right to cutting it down. Press "complete" when your happy, and the button is there for the pushing.

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....huh?

I think, when they WERE making them, they must've made a s--tload of them, because they're still fairly easy to get.

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?

Last time I checked, but they can get pretty steep (the $1,800 range). Honestly, if anything ever happend to my SP, I'd splurge for a used one in good condition than spending less on a brand new MPC.

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for a g each.

I want to be like the Beatminerz...

have like 10 of them just sitting in my room 'cause they're so sexy lol

Like they're aromatherapy candles.

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...

....more than the tool itself.

If you don't know what you're trying to do, MPC versus SP won't make any difference. You'd be wasting dough.

I want an SP1200 my damn self, because of those filters that guys like Betminerz used to abuse. I'm loving those high-buck keyboards like Fantoms and Tritons too, as well as certain computer programs. At the end of the day though, it's not the machine, it's the guy using it. I know a cat doing him on a cheap toy Yamaha and Pro Tools. Thing is, son knows his sound, and knows how to play.

Just keep at it with the MP. I've picked up on tricks on my own and from folks that have caused me to discover new angles of beats I've made.

Have you really made that many tracks on it?

...with who? THA DOODOOMAN!!!
www.homestarrunner.com/vcr_poop.html

kill all whites today & we'll still be f'd up. we fight over BS political ideas & ethnic allegiances but scared to defend resources of our own land. the only savior is self--thegodcam

>If you don't know what you're trying to do, MPC versus SP
>won't make any difference. You'd be wasting dough.

if you have the efx filters on the 2000 you get get your drums a little more crunchy like the sp.. but i find nothing beats the "bounce" the sp gives to drums... its unmatched by anything else..

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I'm just tryna help the brethren out, since he has the same machine I got. This needs not be an SP1200 versus MPC debate, folks. Sheesh.

...with who? THA DOODOOMAN!!!
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kill all whites today & we'll still be f'd up. we fight over BS political ideas & ethnic allegiances but scared to defend resources of our own land. the only savior is self--thegodcam

Just buy alot of music (CD or vinyl really doesn't matter). Look for intros, breaks, and outros that have open drums. Certain eras have different sounding drums. 70's are usually considered the best for open drums because they were individually miced and didn't use alot of reverb on the mix down as opposed to the sixties where drums were miced with two mics and are usually pretty muddled and have background noise or the eighties were they used a shit load of reverb.


I don't think it makes that much of a difference when it comes to warmth if you are sampling from CD or Vinyl. Because ultimately if you are sampling from analog recordings you are remastering and converting to digital. If you look at it this way of course the CD will be mastered much better then what you are going to do rematering from a piece of vinyl. So in reallity there is probably MORE warmth on a CD then a piece of vinyl. This is assuming that you are working digitally.

http://keymusic.bandcamp.com/album/apophenia

https://keymusic.bandcamp.com/

>Just buy alot of music (CD or vinyl really doesn't matter).
>Look for intros, breaks, and outros that have open drums.
>Certain eras have different sounding drums. 70's are usually
>considered the best for open drums because they were
>individually miced and didn't use alot of reverb on the mix
>down as opposed to the sixties where drums were miced with
>two mics and are usually pretty muddled and have background
>noise or the eighties were they used a shit load of reverb.
>

this has been hard for me. i aint much of a digger. but 90% of the shit i have is from the 70's.... have yet to find open drums. maybe im lookin at the wrong kinda music... most of my shit is jazz and soul.

>
>I don't think it makes that much of a difference when it
>comes to warmth if you are sampling from CD or Vinyl.
>Because ultimately if you are sampling from analog
>recordings you are remastering and converting to digital. If
>you look at it this way of course the CD will be mastered
>much better then what you are going to do rematering from a
>piece of vinyl. So in reallity there is probably MORE warmth
>on a CD then a piece of vinyl. This is assuming that you are
>working digitally.


word.. yeah im digital.

>Just buy alot of music (CD or vinyl really doesn't matter).
>Look for intros, breaks, and outros that have open drums.
>Certain eras have different sounding drums. 70's are usually
>considered the best for open drums because they were
>individually miced and didn't use alot of reverb on the mix
>down as opposed to the sixties where drums were miced with
>two mics and are usually pretty muddled and have background
>noise or the eighties were they used a shit load of reverb.
>
>

Lies run sprints.
Truths run marathons.

What you do with those drums (after trimming them properly) is you play around in params, tune, filter, attack, and decay.

How long have you had that MP?

Inbox, E-mail, or IM me for more, because I wanna talk more on exactly what you're doing. I'm gonna be on the track tonight when I get home.

And oh yeah, source don't matter....just make sure you sample loud enough, but not to where it's all cooked.

...with who? THA DOODOOMAN!!!
www.homestarrunner.com/vcr_poop.html

kill all whites today & we'll still be f'd up. we fight over BS political ideas & ethnic allegiances but scared to defend resources of our own land. the only savior is self--thegodcam

>What you do with those drums (after trimming them properly)
>is you play around in params, tune, filter, attack, and
>decay.
>

ok.

>How long have you had that MP?
>

14 months.

>Inbox, E-mail, or IM me for more, because I wanna talk more
>on exactly what you're doing. I'm gonna be on the track
>tonight when I get home.
>
good lookin!!!!!!

>And oh yeah, source don't matter....just make sure you
>sample loud enough, but not to where it's all cooked.

loud enough? i have sampled too loud before. thats what u mean by cooked right?

>>>>What you do with those drums (after trimming them properly)
>is you play around in params<<<

That's inside "trim" and "program"

>>>tune<<<<

That's part of "params"

>>>filter, attack, and
>decay.<<<<

Found in program>params, 16 levels>note variation, and the note variation slider.

>>>ok.<<<

You try it yet?

>>>How long have you had that MP?

14 months.<<<

Why have you never said anything before?

>Inbox, E-mail, or IM me for more, because I wanna talk more
>on exactly what you're doing. I'm gonna be on the track
>tonight when I get home.
>
good lookin!!!!!!<<<<

Well?

>>>>>make sure you sample loud enough, but not to where it's all cooked.

loud enough? i have sampled too loud before. thats what u mean by cooked right?<<<<

Cooked = where it's all distorted and full of feedback, no longer clear/crisp.

As far as when it's simply too loud, just turn the level down in "trim", the track down in "mixer", or the velocity down on the track you used that sound in on the main screen...

...with who? THA DOODOOMAN!!!
www.homestarrunner.com/vcr_poop.html

kill all whites today & we'll still be f'd up. we fight over BS political ideas & ethnic allegiances but scared to defend resources of our own land. the only savior is self--thegodcam

breaks and drum solos are. There are enough sites that can help you, and loads of CD's that are based on featuring complete songs with the break in question. I like stumbling onto a break on my own, which may be well known among everyone else but having it is nice.

EDIT: Don't always use a sound and leave it as is. You *can*, and I do that all the time, but if you have the luxury of equipmet AND time, fuck around with the beat and/or sample.



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thanks. i leave everything as is... well maybe 80% of the time.

is layering you shit on top of each other, like get 2 different types of snares, or either a snare and clap and add them together, this gives it that SLAP! on it...its a pretty common trick though..

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.

Have two of the same kick, eq one kick high, and eq the other one low them put them boys together.....

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i wanna go home!

.

Acid drum loops (found some nice ones last night) and my MIDI Keyboard. But like yourself I am also learning.

Lies run sprints.
Truths run marathons.

this is something i learned after moving from the MPC to the ASR-10. But on my ASR i will layer about 3 or 4 drums together to get that thick ass sound. PLay around with the Eq's aswell. I am sure someone touched on this already, but i didnt read all the thread

November 8th, 2005 The greatest night in the history of GD!

if you're too lazy to dig, you can cheat and download mp3s of tracks with breaks in em. Itunes Music store recently put up the billboard top 10 tracks for the past 50 or so years.

if you're too lazy/cheap for that you can also scour the net for breakz. Hit up the drum n bass / breakbeat music production sites for TONS of drum samples. These types of music are completely based on breakz. You'll at least find the classics like the amen, tighten up, funky drummer, apache, etc...

As for what to do with them once you get em, chop em up and re-arrange. cut em up into kicks, snares, even hi hats. Sometimes cut em chunky. Get just a kick/snare and maybe the next couple of 16th notes. Use maybe the kick and the hi hats that follow it. This way you will keep some of that live rigid drum playing.

If you're using software you can use programs like Recycle and Phatmatik Pro that will chop up your breaks for you.

After thats done, do some eq'ing and layering to make your drums sound good.
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thanks!

...

i dont know to to much about it yet. I have had it for about 1 year. I dont feel completely comfortbale on it yet. I guess all that time on the MPC i got accustomed to it. But its definetely sick. Its my favorite thing in the world right now, but i am learning it still. I have yet to lay down a full beat with it yet. I kind of switch off between it and my MPC. But i know alot of cats still use it.

November 8th, 2005 The greatest night in the history of GD!

kicks: according to pete rock (remember when i spoke of jay and pete re creating "mecca and the..." in jay's basement when we were doing "dynamite"? (actually we just did the "new years at jay dee's" joint) anywho---pete says that 9 times out of 10 he uses the 3rd kick from James Browns "funky president" says it gives a great punch and depth. i tested his theory and he is correct. i must say that i give JB a run for his money on the voodoo album ("the root")

808kick: get the 12 inch to BDPs "duck down". go to side B and play instrumental of "we in there". there is a friggin kick 808 drum from the lord himself at the very end of the song (they yelling "south bronx...south south bronx AUUUUUUUUUUUUUUGH!!!!" THEN boooooooooooooooooooooooooooom! in case you can't find this then i think that tribe has a nice one at the end of their "vibes and stuff" on the low end theory.

claps: "carwash" from rose royce. can't lose from that. and of course "chicken grease".

crisp snares: i dont have the song name, but al teller's SHOW AND TELL has a song on side two (the last song) that is sweeeeeeeeeeeeeeet to death! matter of fact--you don't even need to take it from there, you can take it from the top of "busta's lament" on the love movement (for that is the same snare)---you can also take the first snare from "fantastic 1" on the fantastic vol 1 album (same snare, just dilla mixing more low end in it. even though it's played out i still like the crisp sound of the emotions' "blind alley". "substitution" and "funky drummer" are crisp but they are mixied with so much reverb, that you can't give them a separte identity. so you always wanna use a flat sounding snare with no reverb on em...

deep snare (aka a primo snare): once again "funky president" is a winner. and it adapts to every style. you can take the lows off it and it cracks hard (see marley marl's "eric b is president", "the bridge", and his classics) or sample it with the lows in it and blamo!! you have half the group home album. "impeech" is good too.

hi hats- i hate effed up high hats (except for 9ths hats....while studying his hats i noticed that "speed" and "love" sounds like jheri curl "fffffftzz" spray bottles. lol. but there is a "decay" option on your 2000 (page that lets you speed up and sl;ow down samples) it is set to 0/0. when doing high hats try to decay before you just edit them on the edit page. in other words if you get a hi hat (or snare or kick--) with "clips" on the end (the result of either other instruments in the way or perhaps reverb that would make your new drum sound out of place (TSSSSSSSTsilence......TSSSSSSSSTsilence) use the decay option (scroll "end" to 100 (0/100) so now your TSSSSSSSSST sounds like a clean "T!"

the goal for me is to make drums sound as natural as possible. this is why i am on dillas nuts. cause as a drummer, he is perhaps one of maybe 4 cats that i know that will go through painstaking measures to make sure that his drums are ultra natural sounding.

once you get more advanced then you can dillatize it by sampling more than one snare. this will give you more "dynamics" options. in other words, one snare would sound rather blaze.---dont get me wrong-- one snare sound works great for the songs that need that type of action like "can't stop wont stop"--but for more melodic stuff--say if you doing a track for jill. or maybe the tribe reunion album--or just something that has musical elements (as in: you sample 8 bars of a rhodes loops, and you playing bass lines)--then this is where this method of "dynamic options" comes in correct.


if you are giving the illusion that you are doing a band--then a drummmer would hit the snares different ways everytime he hits it. i try to match the same sound when i drum, but it is not possible to get the same tone everytime. so if you are in a situation in which you got alot of sampling time--take 3 snares from the same break use snare one on the 1 and 3 use snare 2 on the four use snare 3 on the three. and if you really wanna freak shit program your drums like 16 or 32 bars at a time and go random. and if you really wanna kill shit put each drum sound on the 16 level option (the loudest sound on the top right pad/the most silent sound on the bottom left) and give snare hits that way (i do pad 16, pad 14 and 13---nothing the naked ear can really catch but it's those small things that make the song flow)

of course if you are doing a "cant stop wont stop" or busy b "suicide" or eric b is pres then just do normal programming.

also---

sometimes a shuffle is a nice high hat replacement. hi hats keep the song moving (take note that some of you die hards are scratching your head at the new gang star album because primo all but threw the high hat out the window--thus it seems--well "slow") but sometimes you can't find a good shuffle (if you own "what time is it" and "1999" (the time) and (prince) you can find excellent shuffles on "i dont wanna leave you" "777 9311" "lets pretend were married" and "dmsr".

but you can make up shuffles too--


take a high hat and do the opposite decay thing. instead of turning a TSSSSSSSST into a "T!" you can turn a "TSSSSSSSST" into a "SSSSSSSST"---

instead of scrolling the "end" of your high hat, scroll the "start" and slowly decay the start of your hi hat and soon a shuffle will occur. the best way to apply shuffles are to do the 16 pad thing and press the 16 and 10. (loud/softer sound)----check out the "yo yo" on little brothers album. there is no high hat....but 9th has shuffles all over the fucking place (ok--he has taken drunk programming to a whole nother level---) but if you do away with high hats or just program em one the 1 and not the 3 (see MJ's "butterflies") --and you still want people to move---use a shuffle instead (or woodblock---or percussion)

more later if i think about more tricks

oh more primo (deep) snares: "free" ohio players the second and third drum breaks are sweet too.

check the resume

organix-93
(from the ground up)-94
do you want more?!!???!-95
illadelph halflife-96
things fall apart-99
(the legendary)-99
the roots come alive-99
phrenology-2002
the tipping point-2004
(the roots present...) 2004
homegrown: the beginne

*rubs eyes*

now umm who has Pete's email so i can let him know what is going on here.

nah but i knew about a couple of those but i have to get on the others

November 8th, 2005 The greatest night in the history of GD!

now see? this is what i needed!!! i can search out the particular joints and just do the damn thing! i appreciate this. thanks.

Nah I was going to do something like this but you know someone would get pissed at me.

Good lookin on those 808 samples. I knew when I sampled that 808 from tribe that people had done it before.

Anyways I'd like to add that there are some great hi hat samples on Jimi's If 6 Was 9.

With whats been supplied you should be able to make a nice beat kid.
peace

http://keymusic.bandcamp.com/album/apophenia

https://keymusic.bandcamp.com/

.

damn I used to fuck with that snare hard a couple years ago.

good to know the rest of the story

(Adrenaline snare has been known to show up every now and then on some of my beats too)

~
www.twitter.com/ear2ear
tanikacharles.com

busta/(al teller)

is also the high hat for "dynamite"

tune that snare all the way up to like 200.

decay the start so that you lose the punch.

blamo!!! it sounds like morracas right?

nope just a snare tuned all the way up.

you can damn near make any drum into any sound you want.

i don't know the song, but hi tek told me that he turned a deep snare into a kick. i've tried that trick once or twice.

adrenaline is aight....

the real gems are the "?st vs. ....." drums. especially the ones on the ledgendery ep.

check the resume

organix-93
(from the ground up)-94
do you want more?!!???!-95
illadelph halflife-96
things fall apart-99
(the legendary)-99
the roots come alive-99
phrenology-2002
the tipping point-2004
(the roots present...) 2004
homegrown: the beginne

wait, I thought yall replayed all the drums on that joint? Wasn't the guitar all that was left from Dilla's original beat?

but yeah, pitching the snare up is the classic cheap hi hat (not that it can't sound good though). when I first got my MPC in 98 I was doing this like a fiend because I hadn't sourced out any good open hats yet.

Lately, I've tuned snares and claps down real low and put them on top of the kik on the 1 just to add a subtle lo-fi crack to the down beat.

I guess one of the positives to come from the computer beat making revolution is that cats aren't tweaking the same 3 parameters all the time (pitch, freq, resonance). That should disguise a few more things.

~
www.twitter.com/ear2ear
tanikacharles.com

---------------------
http://sandbox.pair.com/sound/dujeous_allmcs.ram
www.beetrootnyc.com

---------------------
Thursday, June 17th
Dujeous @ Bowery Ballroom
6 Delancey Street (at Bowery)
w/Addison Groove Project &
Gutbucket
10PM~$13
DUJEOUS debut LP "CITY
LIMITS" INSTOSNOW.
Buy my shit.

-

Lies run sprints.
Truths run marathons.

haha same

let's play ping pong ■

"Funk President" was used for Group Home's "Supa Star", and a number of Pete Rock interludes.

Great, great drums.

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E-Boogs and Nayi

MANHOODLUM
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eric b used "funky president"

bridge used "impeech"

but noone touches "impeech" cause aaron fuuchs watches like a hizzawk. that is unless you dont care (primo) or you think you will not get caught (half the cats in fat beats catelouge)

check the resume

organix-93
(from the ground up)-94
do you want more?!!???!-95
illadelph halflife-96
things fall apart-99
(the legendary)-99
the roots come alive-99
phrenology-2002
the tipping point-2004
(the roots present...) 2004
homegrown: the beginne

?

well....fuuhcs sued def jam for the mere use of "ladies and gentleman" on the very obscure "give the people what they want"---meanwhile i dont even thinks he knows that "unbelieveable" used "impeech". and somehow pete got around it on "fakin jax" too.

not clearing is a dice row yo. and now that "our way" of sampling is a thing of the past---fuuchs is going out for blood.

im still in deliberation over "the slient treatmeant" you and yours remix/"god made me funky" shit. and i PLAYED them jawns. (fuuchs buys all the copywrites of shit with drum breaks just hoping someone will slip and fall.

check the resume

organix-93
(from the ground up)-94
do you want more?!!???!-95
illadelph halflife-96
things fall apart-99
(the legendary)-99
the roots come alive-99
phrenology-2002
the tipping point-2004
(the roots present...) 2004
homegrown: the beginne

how old is he? like how many years he got left? lol

or used to. I know I've seen a couple "Impeach The Pres" sample clearances, and they were all used courtesy of Tuff City Records, which is a label that pretty much started the whole breakbeat/distributed mixtape thing. They carried alot of the early 45 King breakbeat records, Kenny Dope, etc...

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E-Boogs and Nayi

MANHOODLUM
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MANHOODLUM via Twitter
MANHOODLUM@live.com
MANHOODLUM@yahoo.com
Tommy Moran @ Facebook
MANHOODLUM@tmo.blackberry.net

Not shitting on your drums, but that's pretty obvious it's not a sample. It better not even go to court.

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E-Boogs and Nayi

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"interpolation" sometimes on sample clearences. meaning that you replayed the sample.

when you sample you pay two sources: the label from which you took it (the people who own the master) and the publisher (the people who wrote the song from which you are using)

replaying it means that if i did "funky drummer" i wouldnt give polygram a dime--just the writters of the song.


but then that is a pain in the ass. the woman who owns "ode to billy joe" was denying EVERYBODY use of her husbands song without a major fight or emptying your pockets to unfair degree (even lauryn for the "zion" song) --cause she is a racist that hates hip hop. from what pos told me, some firm finally caused a dent in the sampling law like in 2000 so that you can separate a separate drum track from a part of the composition.

and before u say it "cant stop the prophet" was not cleared lol (dj middle finger primo at it again)




in other words if de la used the music from lou donaldson's version of "ode" in "view" (aoi1) then they could get denied from the lady who owns it. but capitol/blue note who wanted that scrilla fought for her to stop denying people use of it so they could get some loot.

pos won.

i was dismayed cause i played that shit on the money and i wanted to brag so bad that i had matched it.

check the resume

organix-93
(from the ground up)-94
do you want more?!!???!-95
illadelph halflife-96
things fall apart-99
(the legendary)-99
the roots come alive-99
phrenology-2002
the tipping point-2004
(the roots present...) 2004
homegrown: the beginne

No question. On an interpolation, though....a drum break? I mean, yeah, you redid "God Made Me Funky", but that's a drumbeat, not music. Can they really get interpolation credit on a drum beat? That's frightening, and eff'd up at the same time.


Edit: I can see why you caught flack for "Ode", 'cause the baseline was in there too, tho.

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E-Boogs and Nayi

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not the husband. and are you 100% sure about her being a racist? for instance, the "Ode To Billie Joe" album has a great soul song ("mississippi delta") on it, and she generally seemed to incorporate a lot of black music into her stuff, surpising amounts really, at least for a country artist (which she was more or less considered as).

.............................
new shit! (link re-upped and running ...)

http://rapidshare.de/files/5982112/01_Spor_1.wma.html

"Wild & Free (Todd Terje Night Version)"
-Snuten feat. Fox N Wolf
twelve inch out (very) soonish

Marley just recreated the pattern and a few others knicknacks like the barely audible guitar pluck.. Unless I've been in denial for 15 years lol I swear that's an Impeach kick and snare.

*getting nervous*

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E-Boogs and Nayi

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>Marley just recreated the pattern and a few others
>knicknacks like the barely audible guitar pluck.. Unless
>I've been in denial for 15 years lol I swear that's an
>Impeach kick and snare.
>
>*getting nervous*

you should be nervous coz it's defenitly not impeach but it is funky pres..lol

----------------------

http://www.myspace.com/deejaymass

"Eric B. For President"...the kick'n snare is definately "Impeach". The drum roll, and assorted chops are "Funk President". It's clear as day lol

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I met him at WNWK back in '84 when my crew won a talent contest at the Empire Roller Rink and we went on the DNA-Hank Love Radio Show and I thought the dude was poor at first because he looked like it, but Half Pint told us he owned Tuff City records which had an M.C. that was getting some burn call Funk Master Wizard Whiz. So we approached Arron on some we want record deal type of vibe and instead dude offered us summer jobs at his label.

I had this fantastic idea that we were going to be working in a fancy office and it turned out to be this dirty wharehouse in Long Island City, Queens. Dude hired us clean up the wharehouse. It was a humbling moment that taught me a lesson. That dude is a crazy but shrewd businessman. When I was there it was one the first times I met Marley Marl who produced some Spoonie G records for one of Aaron's labels... I think it was Tuff City Records.. Arron who I would say was in his mid thirties or early 40's at this time used to ask us a lot of question about the records we used to use and us being naive would tell him. I took the money I earned working for Aarron to help finance my demo that got me my first record deal.

Well, when that EPMD shit went down I was told by my Cousin Howie Tee that the reason Aaron was sniffing us out was because he wanted to buy the rights to all those breaks. I also know the guy who owns the rights to the Skull Snaps break his name is Michael Gusick and he's a shrewd lawyer that owns a house music label called Easy Street records.

I sampled the drums from the Skull Snaps break "It's A New Day" recently for a track I'm just strting to work on called "No Good" if you click on the link below you can hear how I used them. Now that Quest reminded me about these people, I'm going to get back on my old stacking technique. That's where you take three diffrent snares, layer then and edit the parameters according to the sound you're trying to create. What I do is adjust the eq and filters on each drum sample and flip the pitch, attack and decay till I get the sound I want. Thanx Quest, you just saved me from some future headaches that I can't afford to have as an independent label.

"The Sound, The Love & The Feeling" The debut CD w/Mini Book from The Grand Architect Soulphoniq due spring 2005.

The Music:

http://www.broadjam.com/artists/artistindex.asp?artistID=9043

Where It All Began:

http://www.discogs.com/artist/Choice_MC