When we were at our height (after the point when NY hip hop seemed to be all that existed...the early 80s) in the 90s and early 2000s there was a sound that went with each era. In the early 90s when Large Pro and his classmates were trying new samples and sounds they had groups of rappers around them dying to get on those beats. The sound of those tracks are a large part as to why around the world that era can still tour. People in Japan don't understand the lyrics but they know that sound.

When you go up to the 2000s and you get a Swizz Beats or Timbaland taking an artist and breaking them with hit records. Hell Rampage the last Boyscout got a hit out of Timbaland early on. ANGIE MARTINEZ did good with Timbaland. I know Tim isn't from NY but he had a camp of artists before people starting knowing who he was. Hell Mustard is doing the same thing now in 2014.

Maybe New York needs to go back to the culture of in house production (Beatminerz, The Hit Men, Erick Sermon, etc.) to gain a strong foothold in the game. Until we do our music will probably seem outdated or like every other region because we use their producers/production style.

The problem though is those old producers were DJs often and loved music on its own. They had a love for notes and sound first and money/fame second. Now it's different.


What say you Lesson?

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PSN: ThirteenRose

technology just makes pop culture more uniform

before their were radios and records�people listened to very local musicians mostly. would have a very community based sound

as technology grows�

radio�records�tv�internet

pop culture becomes more singular�

NY doesn't represent enough of the U.S. to be popular on that singular POP level (won't even bring up sampling law bs)

even at the height�Gang Starr never sold more than 300000 copies. Primo was at least a top 3 producer but couldn't get his own group a gold album. my point is�even our great shit wasn't always popular

NY lost when cats starting fucking with the majors. most of the hottest shit came from the indies or an indie that had distribution. once the majors had the blueprint.

lights out

http://howardlloyd.bandcamp.com

Artists like NAS being on Columbia was not the norm back in the days. Most rappers would get deals on a lil indie joint like Wild Pitch, Nervous, Tommy Boy, and do their creative thing. I kinda wild that Nas was able to be so creative on such a large label like Columbia.

Back then you would sign to anyone (see B-boy records) just to get your album out and be heard. There was no real formula. I'd say that a producer with the right sound can cut through if the following is big enough. NY hasn't had a big named producer that broke an act since...hell Swizz Beats maybe.

This post was paid for by the following.

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www.debunkthemyth.org
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Remember MJ The Great!
PSN: ThirteenRose

MC Search� took him there. Search executive produced that project and it was on the strength of him the labels moved

by the 2nd album the major was like OK buddy� time to make some $

http://howardlloyd.bandcamp.com

So don't know if he applies.
Just & Ye game NYC/East coast it's last distinct sound commercially.
In some ways Araab Music gave the Dips their sound.

https://twitter.com/onnextlevel

asked him what he was doing here, that was kinda awkward lol.

http://i54.tinypic.com/2j51hj4.jpg

Swizz did attend school in GA, but he spent a large number of his early years in the Bronx

I make music for listeners, blunt heads, fly ladies & prisoners, Henessey holders, old school n!ggas & I be dissing the unofficial...

Soundcloud.com/p-ez-2

>technology just makes pop culture more uniform
>
>before their were radios and records�people listened to very
>local musicians mostly. would have a very community based
>sound
>
>as technology grows�
>
>radio�records�tv�internet
>
>pop culture becomes more singular�
>
>NY doesn't represent enough of the U.S. to be popular on that
>singular POP level (won't even bring up sampling law bs)
>
>even at the height�Gang Starr never sold more than 300000
>copies. Primo was at least a top 3 producer but couldn't get
>his own group a gold album. my point is�even our great shit
>wasn't always popular
>
>NY lost when cats starting fucking with the majors. most of
>the hottest shit came from the indies or an indie that had
>distribution. once the majors had the blueprint.
>
>lights out

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

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didn't read the post below.

R.I.F. (c) OKP 2002

__________________________________________

http://www.twitter.com/chriscjamison/

People who don't take risks generally make about two big mistakes a year. People who do take risks generally make about two big mistakes a year.

Peter Drucker

a month after it's release.

>even at the height�Gang Starr never sold more than 300000
>copies. Primo was at least a top 3 producer but couldn't get
>his own group a gold album. my point is�even our great shit
>wasn't always popular

http://i54.tinypic.com/2j51hj4.jpg

technology doesn't homogenize culture? the Internet hasn't homogenized American POPular culture to previously unattained levels of singularity?

most of the country is like NY or is the tristate/NE region have it's own thing going on?

Is Georgia and Texas more alike than NY and DC? hell yeah

so as culture becomes homogenized... how could something that was never really a pop music (ny golden age hip hop) now just suddenly become popular or resonate with most of America when it was never that

now rap is big business. cats must compete. do you not have to defer to the pop culture? and that's not saying cats should make that decision but market pressures are what they are

http://howardlloyd.bandcamp.com

This is long, but....my overall view of it right now.

To me, 2001 was the last year that all four main Regions had artists represented almost equally in the mainstream (well not equal, but closest to equal) and each of them had their own sound.

My post about the 2000-2004 East Coast Hip Hop mentioned that the sound at the time was a key factor. Just Blaze, Megahertz who someone just posted about, Swizz, etc etc, all of them had a sound that defined the East, yet appealed to the commercial heads and even to a few of the "Hip Hop" heads.

Seeing how L.A. was commercially dead from like 2002-2008 or so....I see what we did to come back and appeal to the nation, and I think NY needs to do the same in their own way.

2009: Jerkin was based off of Hyphy, which was never huge in the mainstream but was a strong Club sound on it's own...along with Collipark's sound, and a bit of the Tampa club sound. This was just our start. So "You're a jerk" "Kiss me miss me" and even random tracks like Airess Ent "Billy."

2011: Jerkin had evolved a bit...combined elements of older L.A., New Orleans Bounce, more Collipark/Snap, sometimes a hint of 80's Electro, even some old Bay, and it had a fresh overall polish. So it was where it sounded L.A. enough, and matched our current culture...yet, it appealed to people outside of L.A. This was Mustard on "Rack city" and "Bitches ain't shit"

2012: This was the year we finally had a defined new style, and other producers found their own lanes. Along with Mustard's sound, we had League of Starz with tracks like "Faded" and "Function" (a L.A. producer actually made that), Ty Dolla "All star," and Glasses Malone "That good."

Now, it's interesting that you mention the producers being DJs, because Mustard was a for REAL DJ way before producing...he finished HS in 07, was DJn since Middle School and didn't even start producing until 2009 when Jerkin was already going on. So he was able to absorb everything that was working in the club/parties for years before even attempting to make a beat.

So............on to New York.

What I notice about NY rappers when going through the hundreds of new songs within all of my DJ Pools is that....

1. A lot of songs sound like B and C level Down South hits. From the slow BPM, to the production, to the hook. So the smash hits like "Ain't worried bout nothin" "Pop that" and "Work" don't have ANYTHING in common with what NY had 10-25 years ago...it's just NY rappers making South sounding club tracks.

2. Literally all the R&B collabs have 90's samples or 80's drums...yet, most of them just don't HIT. Tracks like Nathaniel "My lady" or even Mack Wilds "Own it" and "Henny" are solid early vibe hits, but none are touching the 1994-1995 Rap/R&B collabs.

3. The more modern sounding NY tracks don't have enough energy to compete with the main hits now. Take a song like Vado/Chinx "Hey now" or Troy Ave ft. Banks "Your style"....they sound like 10:45 PM at best, nothing close to 12-1. I think "Shot caller" and "I'm a cokeboy" were in a good direction production wise, but no one built off of that like I thought they could.

4. East Coast artists who have excelled lately in making Club/Radio records that don't sound too Southern tend to have a sound that no one else can really pull off but them...so it hasn't lead to any mass movement in the NY/East Production sound in the way that Mustard/Leauge of Starz/Invasion did for L.A./Bay in the last few years. Main example is Meek Mill...no one else could pull off "Levels" or "I'm a boss" so that sound ends up getting tied to Meek only.

So..............

What can be done? The last time NY had true hits that sounded East Coast in some way was 2009, with all the "wack ass" Ron Browz shit like "Dancin on me" and "Pop Champagne"...before that, it was the "Ballin" "I'm a hustla/I get money," "Show me what you got" era. People here HATED on me in 2008-2009 when I said that the whole Get lite movement should have been the blueprint to the new NY sound, but I knew what I was talking about, because it's what we did with Jerkin. I'd even say that Ron Browz sound was built off of that rhythm from Get lite.

I do feel like ASAP's overall sound is darker than what the South has, but as a whole, I don't think it's groundbreaking enough to really lead to a new commercial sound. I think tracks like that Vado "Hey now" could grow into something stronger...using a 90's type sample on a new drum template. And speaking of drums...that's the MAIN thing that defines the sound of any era. NY drums no longer make people dance.

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

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What do you mean by "Modern NY Sound"

I mean Ferg popped two Big club records off with "Shabba" & "Work". Harry Fraud & French with Shot Caller as well.

Swizz Beatz can still own the club especially now because his tempo is basically Mustard, League Of Starz tempos....

To me NY's problem will always be it's TOO close to the industry. A kid makes a mixtape in his bedroom and he immediately thinks he needs to go to a building and get a deal. There is no in-between grassroots grind to build a real fanbase (except hipsters). Even though cats like French "Leave NY" What they are actually doing is building a following.

EDIT: When you think about it.. Started From The Bottom is kinda a NU New York sound. The tempo is much more NY than southern (86 BPM).

Drake has had a few NY Tempo/Drums records that have worked. Starting with "Best I Ever Had"

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

like the South, but the speed/BPM and bounce are for sure closer to the South and even Midwest/Bone than to the East Coast...and more than that, it's not really leading the overall NY sound to change or define their own sound, which is the main thing this is about.

>What do you mean by "Modern NY Sound"
>
>I mean Ferg popped two Big club records off with "Shabba" &
>"Work". Harry Fraud & French with Shot Caller as well.

I mentioned Shot caller being one of the few NY hits in the last few years that I'd say had an "East Coast sound" and feel to it. I think it feels way more East than "Shabba" and "Work" do. I also define a sound by how closely it's tied to the local dances, or even the local style of dance. You know how L.A. dudes all do that kinda jerk/Two-step to the L.A. songs...and how the South has dances that are all connected to that slower bounce. The East not having any true dance movement or even a general style affects their sound too...or, either it's the opposite.

>Swizz Beatz can still own the club especially now because his
>tempo is basically Mustard, League Of Starz tempos....

He can, and hell, he inspired a lot of the Mustard sound, with those empty but hard hitting beats. But he hasn't had a lot of club hits lately, especially not going to other NY artists outside of Jay. "Summer on smash" wasn't at all smashin.

>
>To me NY's problem will always be it's TOO close to the
>industry. A kid makes a mixtape in his bedroom and he
>immediately thinks he needs to go to a building and get a
>deal. There is no in-between grassroots grind to build a real
>fanbase (except hipsters). Even though cats like French
>"Leave NY" What they are actually doing is building a
>following.
>
>EDIT: When you think about it.. Started From The Bottom is
>kinda a NU New York sound. The tempo is much more NY than
>southern (86 BPM).
>
>Drake has had a few NY Tempo/Drums records that have worked.
>Starting with "Best I Ever Had"

Good point, a lot of Drake's tracks are closer to "Boom Bap" than anything that came from NY/The East in the last few years. Even the sample on "Started from the bottom"..the drums def have more of an East feel than a South feel to them.

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

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You could also argue that since most NY "Boom Bap" was 85-92bpms most of the records on the radio now (including some slower mustard stuff) are traditionally more Hip Hop than previous years...

I mean 140bpm is slowly fazing out in both mainstream and EDM circles and it's being replaced with anything from 85-100(108 in EDM)

I mean I know i'm spinning much more in that range and slower 120-130 stuff than 140-150

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

i dont ever have to play a swiss, just blaze or megahertz beat (i did like bad boy for life)

ron browz??? lol. worst shit ever. didn't sound anything like NY to me

french montana and harry fraud lol

what harry fraud is doing is new? he jacks old samples and put 808s underneath.

i agree with a lot of what you said�i too thought the get light shit was next but i dont see how anything you said goes against what i said.

NYers abandoned their sound because it was never POP CULTURE popular. what really dope NY record ever sold like hot cakes. EPMD no platinums. De la one platinum. Gang starr one gold (greatest hits). PE might got two platinums. KRS� probably none. rakim�maybe one. illmatic? nope. main source? lol. tribe one or two

everywhere outside of NY sells more because (1) all the other states have more in common than outlier NY and (2) once the shit left the mecca it invariably gets watered down.

ima take it back to blues people. no "pure" black music is ever popular. and much early hip hop was created outside market pressures.

blues�never pop culture. jazz is though cuz it integrates european melodies. gotta put milk in that coffee.

rock n roll same shit

hip hop same shit

its never been pop culture. run dmc shit that blew up was basically BS. jam master jay didn't go plat. the larry smith shit didn't pop like rick rubies did, though the material was better

http://howardlloyd.bandcamp.com

is proof.

>i dont ever have to play a swiss, just blaze or megahertz
>beat (i did like bad boy for life)
>
>ron browz??? lol. worst shit ever. didn't sound anything
>like NY to me

What's funny to me, is that a lot of the NY music that has appealed most to people outside of NY was the commercial sound that wasn't as "true" to NY/Boom Bap, and I'd say this started around the early 90's. Tribe, EPMD, Wu-Tang, and even Naughty had songs that were based on that NY Boom Bap type of sound, but had s light commercial gloss to it. And there were still plenty of NY hits that may not have lead to long, major careers, such as a "Rebirth of slick" "Mic checka" "They want efx" and "Where my homies"...but they were for sure a NY sound before it became too radio/commercial for y'all to enjoy it.

>
>french montana and harry fraud lol
>
>what harry fraud is doing is new? he jacks old samples and put
>808s underneath.
>
>i agree with a lot of what you said�i too thought the get
>light shit was next but i dont see how anything you said goes
>against what i said.
>
>NYers abandoned their sound because it was never POP CULTURE
>popular. what really dope NY record ever sold like hot cakes.
> EPMD no platinums. De la one platinum. Gang starr one gold
>(greatest hits). PE might got two platinums. KRS� probably
>none. rakim�maybe one. illmatic? nope. main source? lol.
>tribe one or two

This is part of the issue. I mean...on the other side, we saw DMX, Ja Rule, Method and Red, 50 Cent/G-Unit Jay-Z, and plenty more NY/East Coast rappers who were huge commercially, but their hits never had this sound that you refer to...however, their album cuts tended to have this sound. So the kids would like "Big pimpin" while the "heads" would like "So ghetto." And to me, it makes sense...I have both ears, and that commercial sound that you (and others) hate is what worked best in the clubs at the time, and was the most danceable.

>everywhere outside of NY sells more because (1) all the other
>states have more in common than outlier NY and (2) once the
>shit left the mecca it invariably gets watered down.

To be honest, this was my excuse for L.A. when I got to Florida. I realized that L.A. and the Bay were just two markets on a whole different side of the Country...while Florida alone had a Tampa and Miami sound, then Atlanta was there...then Memphis...then Texas (which also had two sounds)...then a few artists from Alabama, and if you wanna count VA too? Yeah...it felt like it was no way to compete. However...as of today, the two main hubs that everyone seems to go through are L.A. and ATL...ATL still has a bigger commercial presence, but L.A. has a balance of commercial and then the "new underground" indie acts.

So with all that....I won't say it's off base to feel that the other states combined have more power than NY, because that was for sure the case in a year like 2005 where damn Texas put out four platinum artists...but I think it's more. I think NY artists don't even know what direction to go at this point. Ten years ago, 90% of them were all Mixtape/Battle style/Punchline rappers...all that "I run birds like Larry Fitzgerald, puttin to Desert Eagle to ya head like McNabb" type shit...and barely any of them succeeded. Now, I do think they have more examples to follow, yet there isn't any lane for them to slide in. And more than anything...I feel like hit songs are still more important than anything. It's why artists like K.R.I.T. just can't seem to break all the way through.

>
>ima take it back to blues people. no "pure" black music is
>ever popular. and much early hip hop was created outside
>market pressures.
>
>blues�never pop culture. jazz is though cuz it integrates
>european melodies. gotta put milk in that coffee.
>
>rock n roll same shit
>
>hip hop same shit
>
>its never been pop culture. run dmc shit that blew up was
>basically BS. jam master jay didn't go plat. the larry smith
>shit didn't pop like rick rubies did, though the material was
>better

But...NY as a whole has still produced the most successful careers in the Rap game, especially in the 80's and 90's. Jay-Z alone is seen as the overall king of Rap. I think the issue is that we only refer to a select type of NY artist as being "pure."

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

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Pure is not the right word.

I'm just using that as a distinction when the audience came into play in the process.

cats useta rhyme what they wanted to hear. cats made beats they wanted to hear and then at some point either they wanna sell records and bring the audience into the equation. that's not pure artistry to me. but I like AFKAPs argument that black music was better when it was a job lol

oh...1 thing I vehemently disagree with you about. Digable planets ain't nowhere near NY. I hated those albums and most of my boys hated it too.

1 they reused too many samples (wasn't acceptable then) and the insect analogy that coopted 5% ideology just ... smfh

but lol at that disagreement

I don't ever think NY hip hop is coming back.

we use to be blacks. these new NYers are American.
I'm talking bout values. our values weren't equivalent to Americas at large but these young ppl it's true in many ways. that's another major difference. can't be no counter culture when you ate the cheese

http://howardlloyd.bandcamp.com

GangStarr has 2 gold plaques, Moment of Truth almost went platinum

__________________________________________
CHOP-THESE-BITCHES!!!!
------------------------------------
Garhart Ivanhoe Poppwell
Un-OK'd moderator for The Lesson and Make The Music (yes, I do's work up in here, and in your asscrease if you run foul of this

miami bass music existed concurrently with everything else in the 90s.

it had it's time and place.

now, there's no time or place for anything but strip club tempos, drums, songs.

and rap isn't particularly "selling" any better or any more popular now than it was 12-20 years ago.

you have somebody like j cole, despite the fact i believe his record sales are phony.

how many fucking records has he sold on paper with lots of arguably "east coast sounding drums"?

rick ross and justice league... same thing.

not everything has to be a southern strip club record for welfare mothers to be considered "relevant".

and the examples you posted of impotent "ny drums" don't work because they're weak productions, not because they didn't use 808s.

that a lot of the "Real Hip Hop" was still danceable until some point in the Mid 90's?

Tribe, Rakim, Kane, DMC, Wu, etc etc...their music wasn't made solely to dance and party to, but you surely could dance to it. What NY artists did was adjusted their sound while still "rapping" and making good music out of it, and even though they struggled in the late 2000's, I feel that a lot of dope music came out that was still playable in the club.

>miami bass music existed concurrently with everything else in
>the 90s.
>
>it had it's time and place.
>
>now, there's no time or place for anything but strip club
>tempos, drums, songs.
>
>and rap isn't particularly "selling" any better or any more
>popular now than it was 12-20 years ago.
>
>you have somebody like j cole, despite the fact i believe his
>record sales are phony.
>
>how many fucking records has he sold on paper with lots of
>arguably "east coast sounding drums"?

Not sure what the argument is on that.

>
>rick ross and justice league... same thing.
>
>not everything has to be a southern strip club record for
>welfare mothers to be considered "relevant".
>
>and the examples you posted of impotent "ny drums" don't work
>because they're weak productions, not because they didn't use
>808s.

I didn't say they didn't work because it wasn't 808's. They don't work because they're dated and just don't appeal to modern club ears. NY used to always stay ahead of the game with their drum tracks. I had never heard anything like "Flipside" before when I heard that. Or Swizz on "I'm a hustla" which was also used on "I get money"...those drums were just fire.

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

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>NY used to always stay ahead of the game
>with their drum tracks. I had never heard anything like
>"Flipside" before when I heard that.

really? this was out in late 2001:

https://www.youtube.com/watch?v=MNeHoRSlvrI

Or Swizz on "I'm a
>hustla" which was also used on "I get money"...those drums
>were just fire.

majorly agree on that.
that was one of the last mainstream beats that i can recall fucking with when it came radio/tv.
the rapping unfortunately was super weak.

.....in a long time ....i remember (in the old days, lol) even an average loop could be turned into a good song with the right drums and low end filter + dope performance on the mic

The drums have moved.... genre's

Imagine Dragons is one of the Biggest bands in the world and their drums are hard as fuck (Thanks to Alex The Kid)

https://www.youtube.com/watch?v=mWRsgZuwf_8

Maroon 5 has all kindsa drum breaks or live drums cut to sound like breaks in their tunes..

https://www.youtube.com/watch?v=fwK7ggA3-bU

I just think the 808 is such a staple in Pop, EDM & Hip Hop right now it's hard to get past using it.

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

French got big with a Harry Fraud beat but when it was time to drop his album he used Southern Producers.

ASAP using Southern more "Trap" sounds to draw people in but his break out was a song using ASAP Ty Ty Beats. Shabba was a Ty beat however. Ty from VA too.

Other than Fraud and Araab Muzik I can't think of another new NYC based producer that has his own sound.

If I were a NYC artist I would milk Fraud out of beats like Smoke and let that be my sound to ride with.

Just was the last NY based producer to make a name for himself in my opinion.

https://twitter.com/onnextlevel

>Other than Fraud and Araab Muzik I can't think of another new
>NYC based producer that has his own sound.

(North Jersey right next to NYC, close enough)

to me if there is a "new" NY sound for the 2010s, it should be his. Or just let Araab do a full project with a good/great rapper, instead of random dipset beats

Bandcamp/IG/FB/Twitter: @hecticzeniths

http://board.okayplayer.com/okp.php?az=show_topic&forum=5&topic_id=2878852&mesg_id=2878852

...and i think producers that were known for great sampled beats became less and less utilized by the mid to major labels


edit: im taking about 1998 moving into the 2000s

Wasn't SHIT about them cost effective...

The "cheesy keyboard" beats you wanted were from cats charging $150K A BEAT..

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

________________________________________________________________
whenever you did these things to the least of my brothers you did them to me

50 & Nicki Minaj, both from Queens (so is Waka Flocka if you ask his mom), Jay-Z, Nas, ... some of the biggest artists with the biggest projects are from NYC, just not necessarily with a typical "NYC" sound. French Montana is another one

www.soundcloud.com/JamesMoorePGH
www.pmpworldwide.com/SteelCitySoul
www.loyaltydigitalcorp.com/james-moore.html

Only Jay is that guy who puts the city on his back and honestly now he's more of the face or Roc Nation than the face of NY. These various artists rep their record labels more than their home. Nas didn't bang for Columbia and if you're gonna do that your music should take me to your home so I know where you're from. 50 still does that but people don't listen.

This post was paid for by the following.

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Remember MJ The Great!
PSN: ThirteenRose

and embrace their sound fully without compromise
technology has caught up with the industry so you don't need to play that game anymore, it's more costly to do it than it is to not do it and the payoff would be bigger if executed properly
you can't really be salty because the industry that is built on trends and short term gains isn't willing to play ball regionally

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CHOP-THESE-BITCHES!!!!
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Garhart Ivanhoe Poppwell
Un-OK'd moderator for The Lesson and Make The Music (yes, I do's work up in here, and in your asscrease if you run foul of this

Embrace what "sound"?? exactly...

Al Shux? (Empire State Of Mind)
Ron Browz (Jumping Out The Window)
Swizz Beats
Pete Rock/Dj Premier
Just Blaze
Clams Casino
Harry Fraud
Vinylz
Baauer
88 Keys
Q Tip?

There is no NY sound.. There is just a "sound" that dominates for a period..

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

__________________________________________
CHOP-THESE-BITCHES!!!!
------------------------------------
Garhart Ivanhoe Poppwell
Un-OK'd moderator for The Lesson and Make The Music (yes, I do's work up in here, and in your asscrease if you run foul of this

Lol...

Again.. what is it..

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

you're a clown man

http://howardlloyd.bandcamp.com

lol...

The lil spanish homie has two charting songs to his name.. one named after a NY dance that also had a remix from Jim Jones rapping on it and one with Jay-z on it...

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

Right and exact...it's complete BS to say NY has a sound...So if cats like EL-P, Pete Rock, Primo (who is not even from NY), Harry fraud are all making beats/producing, and they all are very different, how can they be defined at a NY sound? Total bs....So is DJ Revolution, Evidence, and others from Cali doing NY sounding beats? Stop trying to simplify ish kiddies...

Integrity is the Cornerstone of Artistry...

Preemo music career started and will likely end in New York.

Has music is inspired and crafted with a "New York" sound.
So what the hell him not being born in NY has to do with his sound?
which WAS born in New York

My point is, people been trying to label a NY sound/style for years, and I ain't buying it�.EL-P brings a completely different dynamic/sound than that of Q-Tip, than that of Primo, compared to Diamond D, in relation to Spinna, that of Prince Paul, Doom, Rockwilder, RZA, Blockhead�and I can go on and on�.they are all very unique, yet people want to lump them as one type of sound�.now if you want to call certain peoples style boom bap, I can dig it, but don't lump all these cats (and again I can list many more from NY) as representative of one sound when in fact there is a huge amount of diversity from NY�..

Integrity is the Cornerstone of Artistry...

The music created out there usually has a certain vibe and feel to it that you associated with it?

The younger me would have said yes�but just like the proposed "east coast sound", after digging a little deeper, I would not say there is a defined sound...

Integrity is the Cornerstone of Artistry...

this is just a foolishly misinformed concept, and not very well thought out if you all can do to back it up is name artists that don't sound the same across eras

__________________________________________
CHOP-THESE-BITCHES!!!!
------------------------------------
Garhart Ivanhoe Poppwell
Un-OK'd moderator for The Lesson and Make The Music (yes, I do's work up in here, and in your asscrease if you run foul of this

NY artist sold out and dont mentor/ coach their young.

Detroit makes the best East Coast music easily.

As far as drums making people dance strip club songs are for tricking and making niggas function in a base level.

<----

Soundcloud.com/aquil84

(HIP HOP)
http://aquil.bandcamp.com

>As far as drums making people dance strip club songs are for
>tricking and making niggas function in a base level.

the "drum" sounds & synths you find in most of this so-called "music" have an effect at mechanizing ppls minds, reinforcing in them a robotic & morally-devoid way of being that perpetuates the spiritually empty nature of the music & bolsters negative base behavior

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whenever you did these things to the least of my brothers you did them to me

You mean the drums sounds created and made famous on Vintage 80s (some 70s) gear?

Literally 90% of the synthetic drum sounds in production today were alive and well in the 80s (Rick James, Prince, Phil Collins, BBD, Janet) all used the Roland TR-808, 909, 707 and Linn Drum sounds...

Lex Luger and the south are just using samples or emulations of the same exact machines..

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

which is why sample based beats created w/ wax are typically better

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whenever you did these things to the least of my brothers you did them to me

but they too are "machine processed" In fact the Machine is what gives them their sound.

They are played into a machine, mixed on a machine then mastered to sound good on a machine.

Then played from that machine into a new machine and processed to sound good on other machines...

so..

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

but i wouldn't be a fool and argue that sampled drums and instruments from wax are not more organic than synths and processed drums

its patently obvious that producers who sample from analog sources & "play" their beats (ie rely less on computer sequencers and quantization) realize a more organic & natural sound

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whenever you did these things to the least of my brothers you did them to me

So was Just & Ye..
Araab Muzik uses samples

I don't think that applies.

That Boom Bap sound you are most likely referring to isn't the only sound that came from NY & in my opinion NY lack of mainstream presence has more to do with the MC's than the producers.

https://twitter.com/onnextlevel

to make them sound, actually, less like samples

the technology had advanced to help them w/ that too (and has continued to)

in the opinion of many, the way those producers treated samples & approached sampling was distinct from what you call "boom bap"

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whenever you did these things to the least of my brothers you did them to me

I been saying the only real problem in NY is there's no
definitive producer like how Chicago has Young Chop or Hit Boy
out of LA. Even 808 Mafia have the south on lock. Once a real
producer rise out of the 5 boroughs and with the right artist,
then we might see a full on shift back to NY.

I make music for listeners, blunt heads, fly ladies & prisoners, Henessey holders, old school n!ggas & I be dissing the unofficial...

Soundcloud.com/p-ez-2

One producer with a sound that aritst in the 5 boroughs can
gravitate towards and make hits with. We don't need to run ish
but we should have multiple seats at the table. 

This post was paid for by the following.

www.twitter.com/13Rose
www.debunkthemyth.org
http://dashaunworld.wordpress.com/
www.mothergreen.com

Remember MJ The Great!
PSN: ThirteenRose

the stereotypical east coast sound, or boom bap.

If you are under 25 years old you were JUST BORN when the east coast sound started to already change with It was Written, The Bad Boy sound..ect in the mid 90's..
Of course a dude can go back and listen but we all know it aint that same as being there.

So we are seeing the effect now of the cats coming up and all they really know is synths & 808's. Generally speaking their ears aint even in tune to get into sampled based production at all. Im talking people grown almost in their 30's, not raised on boom bap styled hip-hop being ANYWHERE in the picture.


They may have caught the last sample revival of the early-mid 2000's with the Just, Ye & the golden years of the Rocafella sound (Throw Dipset into that mix too with those Heatmakerz beats), but even THAT sound is so closely tied to that era that it never expanded from that. Kanye's sound grew into his own genre pretty much.

Even when alot of the current generation producers sample, they still gonna throw some 808's in there somewhere.

That whole dirty, grimmy, warm breakbeat sound, unless done for nostalgic purposes, seems to be over for a looooong while. It's like we are in the 80's soul/pop/r&b era again where we didn't hardly hear an actual REAL drum sound for an entire decade..lol

#PicABeat Audio Photo series. Where the beat is inspired by the photo.
http://soundcloud.com/KingAkai

http://kingakai.com

“I love these bitches, man. I really do.”
- Andre 3000

being the dominant part of the beat....or piano chords and changes in R&B songs.

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Twitter and Instagram - @DJ_RTistic

he 'sorta kinda' brought bass lines back with some of his productions..

#PicABeat Audio Photo series. Where the beat is inspired by the photo.
http://soundcloud.com/KingAkai

http://kingakai.com

“I love these bitches, man. I really do.”
- Andre 3000

Breaks still exist... But the reality is nothing was the same after The Chronic... It was so clean that everything changed from there in terms of mixing for hip hop..

Breaks are just a part of pop culture now though.. Kanye definitely helped bring em back... Still layer an 808 under it tho.. Shit gotta knock

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

Jesus Christ are you even a producer?

__________________________________________
CHOP-THESE-BITCHES!!!!
------------------------------------
Garhart Ivanhoe Poppwell
Un-OK'd moderator for The Lesson and Make The Music (yes, I do's work up in here, and in your asscrease if you run foul of this

not in the trunk rattling sense.

https://twitter.com/onnextlevel

nothing knocks like a kick from a break that's treated like a break should be treated
also don't use 'rattle' and 'knock' interchangably
solid kicks knock, 8o8s rattle

__________________________________________
CHOP-THESE-BITCHES!!!!
------------------------------------
Garhart Ivanhoe Poppwell
Un-OK'd moderator for The Lesson and Make The Music (yes, I do's work up in here, and in your asscrease if you run foul of this

semantics bruh.... Knock to me has always meant sub shit 80hz (and under) rattling the fucking trunk...

Yes.. you could double the kick and detune it -12/-24cents and create a sub out of the same break kick... yadda yadda

but cats been layering 808s since the 80s.. so why wouldnt I

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

even if its not super prevalent (the 808 kick im speaking of) its layered under the kick to give it that sub below knock that is now ESSENTIAL to urban music if you want to have anyone even REMOTELY halfway listen to it...

#PicABeat Audio Photo series. Where the beat is inspired by the photo.
http://soundcloud.com/KingAkai

http://kingakai.com

“I love these bitches, man. I really do.”
- Andre 3000

Example: https://www.youtube.com/watch?v=JnNkaO1EMyQ

One of my favorite albums where that's done masterfully throughout is
Low End Theory.


>Breaks still exist... But the reality is nothing was the same
>after The Chronic... It was so clean that everything changed
>from there in terms of mixing for hip hop..
>
>Breaks are just a part of pop culture now though.. Kanye
>definitely helped bring em back... Still layer an 808 under it
>tho.. Shit gotta knock

http://i54.tinypic.com/2j51hj4.jpg