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.

>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.....

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

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.

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.

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.

>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.



p.e.a.c.e.
-

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.

p.e.a.c.e.
-

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....

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.

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.

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.

....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.

?

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.

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.

...

....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?

>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..

@ MANHOODLUM and My_SP1200_Broken_Again

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.

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.

>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.
>
>

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.

>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...

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.



p.e.a.c.e.
-

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..

p.e.a.c.e.
-

.

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

i wanna go home!

.

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

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

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.
_____________________
i like björk

Missy Elliot - Pass The Dutch remix
http://www.entitee.com/Missy_PassTheDutch_nttmix.mp3

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.

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.

*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

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

.

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)

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.

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.

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

-

haha same

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

Great, great drums.

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)

?

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.

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...

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

"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.

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.

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).

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*

>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

"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

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

I knew he had to have something to do with Tuff City.

I have a couple Kenny Dope, and 45 King joints from Tuff. I also think Y.Z. was signed to them for a minute.

Good lookin out. I like posts like this.

thats crazy.....good shit!

hot damn.... thanks again. pad 16 and 10? i think if tried this when i was in bullshit mode.. ima give it a go again. thanks man!

Good thing I held on to my Duck Down Maxi Single from 10 years ago...


And my father is a HUGE JB fan so I'll have no problem finding the pres......


ACID here I come!

Thank you (runs out of lesson forum like a cockaroach with a devilish grin)

I could have attended a production clinic and not learn that much...


_____________________________
1804-2004

I might've overstepped my boundaries by suggesting you dig through shoeboxes of 45's in some wharehouse for hours on end, 'cause even if my son takes a nap in his stroller, I can't pull this off lol

Go to any jazz section in any used record store, and look for these records. Yeah, the drums have been used, but it'll give you a taste of what to start with, and they're comfort zone enough to give you a push.

Grover Washington, Jr. "Feel So Good" - The "Hydra" drums are nice and open. You'll recognize this song from numerous samples. As-a-matter-of-fact, also check his "Soul Box" albums for a couple shiny, Pete Rock-style snares that come crisp, but are light enough to maneuver (Premier snares generally plod and kind've restrict when feeling your way around on your own).

Narada Michael Walden - Jazz/r&b drummer records. During my early days of scouring for records, I picked up some late 70's/early 80's stuff of his for 25 cents each, and I found a number of open, full drum kits that were very easy to work with. Alot of Premier style snares that didn't restrict. Even to this day, I'd work with these drums in a heartbeat. These can be found in any budget soul/jazz bin.

Any early Kool & The Gang, or Ohio Players - These records are ideal, because not only do they have good, open drums to sample, but because they don't really come in prepackage form. Not a ton of obvious "open drum breaks" to choose from. Alot of open snares and kicks are inbetween measures, and are scattered. They will provide you with great drums to work with, ontop of training your ear to listen, scour, and comb songs for hidden drums sounds.

Hope this helps.

thanks.

lol

lol

>lol

hahahahaha

I re-listened to his remix for Cameo (love junkee). It sounds simple to the untrained ear (it did to my ass when I first heard it). As I listened closer I noticed that little clap/snr he has goin' on sounds different on like 3 or four hits. I just chopped the open ones and sure as shit 4 out of the 5 sound slightly different. The more I focus on the odd noises he has mixed in the back (all in tune with 1 another) I realized this remix is WAAAAAYYYY more complex than I thought. Listen to his drums on the four tet remix too. OMFG !!!


Another tip - take the same kik/snr, resample it to a lower rate (giving you a lo-fi version of the original) & layer it with the original. Then season to your liking with the eq.

Before ?uest came on here revealing secrets, all ya'll were giving these fake as replies with no real info in 'em. Now ya'll wanna come back acting like you're the Good Samaritan, giving up all kinds of information. How the tides change, eh?

?

Actually, being a digger, just the mere mention of records, drums, and whatnot sparks me to no end. I got too specific with the 45's, and I expected too much out of someone looking for simple answers.

basically, just because I get off on scouring for 45's in dusty shops doesn't mean I need to be suggesting to sherronshabazz the same thing. Simple answers to simple questions, so I provided some easy records...not jewlez, or "giving up the goods". Anyone with a half-decent crate probably has the records I suggested, which are ideal for someone starting out.

I wish I had someone pointing me in this direction at first.

Whoa. Do you think we had an emmy award winning producer telling US which open drums to sample? We told him EXACTLY how we make/made our drums.

In case you didn't know there is a very long statute of limitations on copywrite violation. Even if you make it 75 years without getting caught I think you can STILL get sued. I'm not sure but just because a recording goes public domain doesn't mean that you can't get sued for sampling it when it wasn't public domain.

But my point is that nobody chose to really dish their dirt until ?uest did it first, nahmean? Why does he have to lead the way? Why can't the help out start before he contributes.

Anyway, I still want to give thanks to all those who gave up any kind of info, because newbies like myself can really use it.

i need it...

What's the technique?

on the mixer, but I have no idea how to filter.

just kill all the mid and high freqency levels.

you'll start to hear the bass from 400hz and below. go lower if you want to isolate the bass more, go up a little if you want a little of the low freqs from the other instruments (which creates a much more lush sound).

>just kill all the mid and high freqency levels.
>
>you'll start to hear the bass from 400hz and below. go
>lower if you want to isolate the bass more, go up a little
>if you want a little of the low freqs from the other
>instruments (which creates a much more lush sound).


Good looks.

On any Akai sampler (including the MPC's), there's a filter setting. At level 100, it's not doing anything, the lower you set the filter number, the more high frequencies it kills.

If you just want subs, lower the filter to 0, and -on the mixer, boost everything round 50-60 Hz, and kill everything above.



krewcial
|

serious. whaddup ?uest. i know they have beatmakers/diggers in mind when they cut songs. their drums pop like fuck.

voodoo
jb
the meters

know how to do hats.

i cant stand it when tracks have an open and closed hat playing at the same time or while the opened hat sample is still playing. and watch out for fake sounding/mismatching open hats and crashes. instead of playing hats at 8th notes, play em on every beat and add a delay on it. and for stevie's sake pan that shit to left about 25%.

Word. i respect the tip to make your drums sound realistic and the way a drummer would play them. i have a deep appreciation for drum players.

i also encourage experimental drums though. if you're sampling drums and sequencing them, you have the opportunity to do what real drummers can't do. you have more freedom to create. i say use it.

_____________________
i like björk

Missy Elliot - Pass The Dutch remix
http://www.entitee.com/Missy_PassTheDutch_nttmix.mp3

they are wide open.
but damn if they don't have a personality on their own.
kinda like if you sampled the snare from "humpty dance" that everybody in teen pop land seem to do some 10 years after the fact (backstreet, nsync, c agulara)--it always screams to me "humpty dance"!!!!!!!

i got some open drums but whenever i use em....it just sounds like----me.

distorion
what goes on
esssaywhuman
silent treatment
the lesson (12 inch ?'s flava groove----lol so fucking corny i am--)
what they do
no alibi
next movement
nothing new
adrenaline
you got me
dont see us
table of contents 3
sacrifice
rollin with heat
thought at work
the seed
complexity
rhymes and ammo


most of these songs i left open drums on HOWEVER...they don't leave a "classic" sound.--well not in that way...they leave a "roots" sound to me. im just saying that not every open drum sound is a "useable one".

as in if you took funky president's kick. you could use that for any song you want cause it is a strong level zero kick. if you wanted to create TROY....you could use that kick. if you wanted to make SMACK MY BITCH UP you could use that kick.

however, i think i subconsciously left "trademarks" on all my drums to make it that hard to nab without me going "AHH HAA!!!"

i mos def did that on silent treatment (listen to the beggining when the drum break sounds straight out the trash can. my convo's with bob were like "awww man they gonna jack me now!!" so he trashed em up (didn't stop IMX though)---that was also the trick to Voodoo. isn't that ironic. i bet you if i were to use the oft standard snare of the moment from "chicken grease" that would scream "awwww quest is tryna get on the radio by using radio's most wanted snare!"

but that's my snare!!!!
(i know WHA WHA WHAAAAA!)

again i think the only stuff i left behind that dosn't have my STORE TEST MODEL sticker all over it in case you jack it, is

?st vs rahzel
?st vs. scratch
?st /scratch 3


i think those are the only three joints with drums so dry that i could never nab you.


maybe i dont sample my joints enough...

Ok I have a strange question. How long do you think this dates back too(anyone)? I mean going in to the studio KNOWING that people are going to sample you. I straight up think that it's been going on a LONG time. I think some of the best artists from the sixties expected to be sampled. Maybe they didn't expect people to make millions of dollars but they expected mash ups and collages.

Most of the time when I tell people this they think I'm dillusional. But tell me tribe didn't expect somone to sample that 808. When I heard it I sort of said to myself tribe WANTS me to sample that. which isn't that much of a strectch. But I'd say the same thing for the hi hats I mentioned on If 6 was 9.

1990-1993 was the testing ground, in terms of "can someone sue for the unauthorized use of another recording?" When lawsuits popped up, and some were settled out of court or won, that's when there was a slight shift in the music. 1994/1995 was around the time Master P became more than a local phenomenon, and perhaps it was a mix of "artistic expression" and simply wanting to make more money off of their own music rather than end up spending all this cash on sample clearances.

It was an honor to "give the drummer some", so you can't say that Rick Grech played his bass in a manner that was worth extracting, note by note. However, you do have mellotrons and early analog tape keyboard machines that pretty much played pieces of tape by triggering the keys on the keyboard. That was done merely to simulate an orchestra, but people like Rick Wakeman were already building their own samplers and recording their own sounds outside of the ones that were designed for their machines.

Even then, it was more "atmospheric" than about composing an entire song from samples. You created a "good beat", no one went into the studio and made a breakbeat.

Listen to a lot of music from 1994-on, and not just rap music. I've noticed in a lot of rock songs, they have open breaks when for years no one cared about giving the drummer shit. People like the Black Crowes and Lenny Kravitz had done this all the time, but then it became a bit retro to "give the drummer some" again, when to me it felt like "oh, maybe someone will discover our album at Goodwill, remember it, and in a few years we can request a nice, hefty sampling fee for the use".






p.e.a.c.e.
-

I've used Roots drumsounds plenty of times, but never as-they-were on the record.

Playing with the attack, decay, a little filtering, EQ, transposing, layering with another snare ... it's a shame most people jack the Voodoo snares without adding anything or changing it slightly to give it a character of its own ...

that's the main difference with what people like Preem or Pete Rock do ... they'll recreate a new beat from different sources, and make it sound like it's one break. Whereas most people sampling the trademark Voodoo snare/clap just mix it with a generic kick and hihat, and don't even try to make the drums sound coherent. And to me, that's what separates the masters from the rest.







krewcial
|

have been raped so many times. They still sound like The Roots drums everytime I hear them. haha

Good stuff. Thanks for the info, erveryone.
===========================================
-Me

they got a few series full of drum breaks and a live drummer series too. if you're just starting out then it might help

« machine p'ra covets »

.

he catered to the crate diggers and everyone who chops on that album. There is so much shit just sitting there for the taking. HE actually says so in the liner notes

-

but i dont have the vinyl yet. I have been chopping hte CD, and i hate it. I need that vinyl bad

Louisiana Blues Band - Lots of Bottle (or something like that)

the kick and snare are tough. I think Buckwild used these for Whoa.

whats impeech? impeach the pres?

Honeydrippers - Impeach the President. Get the 12" on Tuff City Records (lol). You'll never find the '45.