Thanks for stopping by. Some of you may have read a three part series I did recently on Sampling and Music Compostion. Over the last two days (Thanksgiving morning and evening, and this evening), I decided to gather up all the downloaded sample libraries, construction kits and various samples spread out over two Macs to add and categorize them onto a 250 GB portable HD I use for music production. While there are many software apps (Redmatica, etc) out there to do just this, I needed a solution that would work best for the way I intend to work. One solution I thought (and still do think) will work great is using iTunes to categorize samples. It has smart folder capability and search and can be used across Windows and Mac. While multiple playlists can be set up, I’d have have the app installed on my computers (which it is) as well as the external drive. I decided I wanted to be app independent.
I read and viewed a very good video by my man St. Joe over at Sounds and Gear entitled Organizing your samples and sound libraries for better workflow. I like his thought process, but since I am not primarily a sample based musician, I really don’t care about the manufacturer connection to the samples I use (unless of course they really suck, which none I have come across do), instead, it’s more important to me that I choose my samples by sound category, genre and bpm (if they are loops). So I set out to categorize them in that fashion. While I prefer to program my drum tracks from scratch, I do find loops useful for quick and dirty tunes or for something fast I may need for a client. I most likely would use an audio drum loop for something backing, though there are a few songs I’ve used straight loops for. In any event, being able to choose loops of any sort by bpm first is easiest for me because the tempo of a song is one of my first considerations, along with genre. I keep my genre list basic because frankly, the industry is out of control with genres, sub-genres and the like…I just can’t keep up.
That being said, here is a screen shot of what my sample organization looks like. There are a number of sample loops aside from drum loops with bpms so having that as the primary search criteria makes composing, from a sample standpoint, very easy.
I still have a ton of sample CDs that I haven’t categorized yet, but at least I’ve got all the ones from the various hard drives done. Aside from adding the sample CDs over time, the next project is to burn all of these current ones….to CD, then incorporate the iTunes solution into the mix. Between the CDs, my portable drive and Logic Studio, I shouldnt ever want to see another sample or sample loop ever …lol. (I know that it itself, is unrealistic…ha!) I’ll continue to look out for the info I get from Primeloops, Loopmasters, Platinumloops, Siliconbeats, P5 Audio, and a host of other fantastic vendors that grace the music production community with free demos and samples…but at least now, I can categorize them in an order fashion.
Sample users (this means you especially Big La ha!), I’d be interested to read about how you categorize your samples, if at all.
The CD project is moving forward, though Dan and I have two more songs to record, and a few to mix. I’ve laid out a schedule of things to be done, but right now, I’m playing around with these
In the meantime, I pulled out of the vault, a house music track that was originally written for a female vocalist. Think I’m gonna spruce it up some (I actually forgot I had it until tonite). Stay tuned for a post to my Soundcloud page.
Crew,
Hello. Here I am, back with the final installment of this blog post. Took the day off (Happy Birthday to me), sitting in Starbucks, finishing up this blog post. Listening to Foreign Exchange’s “Authenticity” (superb new release by Nic, Phonte, Zo, Yah, etc). Nice day so far.
I’ve had time to do some more reading, see some more tweets, have some more conversations, all related to this topic. That being said, I’ll be highlighting three of those diatribes later on this post.
On the information highway, Twitter is my primary stop for all things. Readers of this blog and followers of me on Twitter have heard me sing the praises of how I use Twitter to get all info I am interested pushed to me, based on the IDs that I follow. It keeps me abreast of, and learning about, the things that make me smarter, without having to hop on Google search (pull info) all the time (though that’s a regular activity too)
In any event, outside of the topic matter in the first two posts, Part 1, and Part 2, Twitter has brought directly to my attention how many sample construction kit/sample vendors there are out there. Yeah, I read a few music production magazines, but the info-push from Twitter places them in front of me on a daily basis. This, in itself, (for the most part) really shows the popularity in using samples in music composition today…anywhere from the computer novice and “beat maker” to the most accomplished trained musicians and writers of film scores. Speaking of which, here’s a good article on the use of such from another follower on Twitter, Soundsandgear. His article is here.
That being said, I decided to leverage the power of my Twitter connections and present a survey to two of my followers to get some feedback from them on the very topic of this series. Since sampling does have it’s roots in hip-hop, I’ll present first some footage of a video interview done by Propellerheads (Reason, Record, Recycle, etc) of the legendary Hank Shocklee, sonic architect, producer, artist, behind the hip-hop legends, Public Enemy. The first minute of his commentary confirms how sampling has continued to live:
Good video. Now, I’ll let one of my followers, MsTrisBeats, a producer and studio engineer out of Baltimore, answer a series of questions I presented to her, regarding the topic of this series;
Fresh: What got you interested in sampling?
MB: I was in a rap group and our producer DJ Profaze was, and is a sample king. He introduced me to it before I touched a sampler. Over the years as a rapper, producers came and went. I knew I had ideas. I purchased an Ensoniq Eps. I started going crazy with crate digging. Profaze taught me how to extend the time on the Eps. When I first started producing hip hop, I had no idea that 90% was sample based. I’d recognize some songs, but my favorite producer at the time, RZA, was great at chopping samples beyond obvious recognition. Later, I learned more about sampling from another producer Scottie B, Baltimore Club Music pioneer. He raved about the new Ensoniq sample workstation, the infamous Asr10. Once I found out RZA also used it, I purchased one and it was on..
Fresh: What got u interested in using sampling as a primary means of composing your music? (If you don’t consider it a primary means, explain to what extent you use it).
MB: It was primary in the beginning, because I could only play by ear. No real chord progressions or any thing. Just playing what sounded good, as far as composing was concerned. Hip Hop was all about sampling at the time. I remember artist saying ” I don’t like whack keyboard beats”. They were meaning beats without samples. Every producer I loved was sampling as well. It wasn’t that I was only interested in sampling, sampling was how hip hop I loved was made.
Fresh: What are your thoughts on the history of sampling. How has it’s evolution played a part in music composition to date?
MB: Sampling gave birth to rap music. Although it has evolved into using more composed tracks, the history is there from the Bronx. DJ’s played and looped a sample of old soul music, the emcee rhymed over it.
Before that, the first synthesizers were being created with samples. Music would not sound the way it does today without samplers. Samplers allowed musicians to extend the limits of sound, and sound manipulation.
On an extreme extent, samplers have cut the cost of music. If you’ve seen “Whats Love Got To Do With It”, there’s a scene with a huge orchestra. Talk about money to pay all the players and engineers for one song?..wow. Samples have allowed musicians with little budget, to create the feel of full orchestras with one module.
Fresh: What are your favorite tools and current methodologies for sampling in your composition?
MB: I’m sort of a gear junkie..lol. I love learning all types of hardware and software. My favorites have been , the Asr10, Fl Studio’s slicer and slicex. I use the mpc2500 as well. Today I honestly found the best sampler for my set up in Native Instruments Maschine. It mixes both hardware and software for endless possibilities. It’s a concept which brings the ease of Fl studio to the hands on of the Mpc… brilliant!
There are many many styles of Sampling. Chopping a sample into many parts and replaying the chops is my favorite style. It gives a song a certain feel which no one can create playing straight melodies. This style has a swing most popular in boom bap hip hop.
When I use samples, I chop/slice samples with an editor into as small as 1bar loops. I assign each slice to a keys or pad. The sample is now like an instrument. I play it with keys or pads of the sampler.
Fresh: How do u see sampled based music (loops and samples only) as a means for composing music today with regards to the ease and popularity of such music in popular genres that use it.
MB: I’ve been learning more music theory, which allows me to compose my own samples. There are so many laws against sampling, that a lot of industry artist don’t want to deal with. It can be very expensive for sample clearance. The copyright owner may not even allow use.
It’s only right morally and legally to pay if using music that another artist made. The mainstream artist that still use beats with samples, can usually afford clearance. It’s gotten so expensive that many want to take it out of the producers budget.
I don’t think there is an ease of use anymore, unless you don’t plan to release the sample based song on a major level.
Fresh: Do you think a composer that has no formal knowledge of music, but learned knowledge of computers, digital audio workstation software and the use of samples and loops only, is considered a musician?
MB: A musician makes music, instrumentalist play instruments. Some people do both. Some are masters and some are not. I would not consider some one who arranges straight loops as a master of the craft, but the fact remains they are musicians if they make music.
It’s more about how they use the samples, computers, and software that would make the general public consider one a musician . Some people are born with musicianship as a natural gift.
It’s 2010, we have kicked off a new millennium. Music has taken a digital turn. Anyone who uses a sound module like the Motif, Triton, or Fantom are actually using “computer, software, samples, and loops”. When the composer sits down and plays a orchestra type chord on the motif, there is no chamber, no oboes, or trumpets. Yes that’s all samples played together to make a chord. Because he/she did not blow the reeds or horn, does not mean he or she isn’t a musician.
I know people with no formal training who sample a chord, place it across a software piano roll, and make entire songs drawing in each and every note or step. All samples, all digital, and they make the most amazing music.
You have composers/instrumentalist with formal knowledge of music theory, and those who sample with no formal knowledge both winning Grammys. I think the instrumentalist with formal knowledge are the only ones who wouldn’t classify computer musicians as musicians today in the 21st century.
*****
That was an interesting take on the topic. Below is another set of viewpoints, this time by another follower, Lady The Producer, a producer, songwriter, arranger, trained pianist, and studio engineer.
Fresh: What got u interested in using sampling as a primary means of composing your music? (If you don’t consider it a primary means, explain to what extent you use it).
LP: It’s not so much my primary means of sampling because I do a lot of work without sampling, however, I enjoy sampling because I enjoy music. I am a trained pianist, and have dabbled with other instruments too. I’ve always collected old music and I love the idea of being creative in conjoining pieces of another creative piece into something extra special.
Fresh: What got you interested in sampling?
LP: Listening to music all my life, and the passion to play and program sound is a drug to me.
Fresh: What are your thoughts on the history of sampling. How has it’s evolution played a part in music composition to date?
LP: When I heard a sampled joint for the first time, it was an amazing discovery to my ears! To take a creative piece of music and recreate something even more special is a collaborative effort in my opinion. I call it recycled music. I call it appreciating the value of what the original artists and producers brought to the song. I also think at times, it’s a win-win for both parties involved. Often times old songs are forgotten and revamped into major hits because they were chopped into a new song. As long as the paperwork is right at the end of the day, and all parties are happy, what can be more beautiful?! I’m grateful for the history of sampling, and regarding the evolution…Kanye is one of the big names that made it a commercial art. Personally, as one of my goals, I’d love to get a production deal topped with a hefty sampling budget…talk about the ultimate exploration of music!
Fresh: What are your favorite tools and current methodologies for sampling in your composition?
LP: I’m a sista from the hardware era, so I like to touch knobs, push buttons, and scroll through screens while programming my music. I like being made to hear the music and not just see it in a wave form. It’s a certain discipline for me. My preferred tools for sampling is the Roland Fantom X6, Ensoniq ASR 10 and the Beat Kangz Beat Thang Virtual. I’ve also used software titles Ableton Live, and Reason. As for my methods of sampling, I’m different from a lot of cats in the process. It’s not just about snatching a bit of a song and dropping a drum loop over it, and done in 5 minutes. I process every detail of the chop, and I’m very particular about my chops and placement. I don’t use drum based loops to build upon the track. I actually process and play my drums around my chops. I also may play over my chops… the list goes on (can’t give away all my lil’ secrets!)
Fresh: How do u see sampled based music (loops and samples only) as a means for composing music today with regards to the ease and popularity of such music in popular genres that use it.
LP: There are some really great companies out there with tons of sounds, plus as we all know, any piece of hardware or software production tool you buy comes loaded with sound samples. I like manipulating those sounds. I don’t use drum-based loops, I create my own. I think with composing music today or anytime, the art of it lies within the creator or producer. I find that many aspiring producers today are seeking the easiest way to produce a track, and it shows in the end result.
Fresh: Do you think a composer that has no formal knowledge of music, but learned knowledge of computers, digital audio workstation software and the use of samples and loops only, is considered a musician?
LP: Formal knowledge alone doesn’t make you a musician… you must have a talent first. Also, understanding the depth of the creation process, obtaining your own tricks of the trade, studying and perfecting your craft and being able to ‘play’ and understand music is what makes you a musician in my opinion. You can know your software in and out, even your DAW, but you have to know your music and be able to communicate it. You know immediately when you’ve come across a musician by their sound, and it’s definitely not through a couple loops. To be a musician is an acquired behavior!
*****
Very good insight by Lady Producher. It was my intent, in 2010, as a musician who has been writing and composing music from my teenage years, to look at the evolution of sampling in how music is composed today, especially in the urban contemporary and dance music scenes.
Lastly, for your listening pleasure, is a podcast I did with Todd Kelley, aka The Big La, for a series I wanted to start back in 2007 called Fusion. This podcast, done back in 2007, is an interview I did featuring the history of Todd Kelley, the producer/writer/arranger/podcaster/hip-hop and soul lover, who has leveraged technology in producing his music as well. This is 50 minute interview so be ready for a long one.
With that, I’ll conclude this series. I hope you’ve found it interesting. It’s given me food for thought…not anything new, but just a wider outlook from other creators words, not just actual articles. I’m much like Lady Producher, still love my hardware (buttons, knobs, LCDs and LEDs – the whole tactile thing in creating and producing music), which (to me) goes hand-in-hand (no pun intended) with my 30+ years as a guitarist, bassist and *somewhat* keyboardist – haha! I love the ability to be able to use samples at the level I choose in my compositions, but find it more difficulty to solely rely on loops and construction kits for a finished product. Be it personal or not, these days, in any way you tend to look at it, it’s the final product that speaks.
Hope all is well with you. I’ve finally gotten around to Pt 2 of this series. In Part 1, I gave a brief history of sampling and, specifically, the tools used in the early days; and the explosion of sampling in the 80′s and 90′s that was fueled by the music of James Brown. Since then, not only has sampling evolved greatly with the advent of sampling technology, both in hardware and software tools, but it’s also taken on the form of a different kind of sampling – taking a song’s basic arrangement and feel (usually the hook) and creating a new song from it. One example that immediately come to mind in the last decade is Kirk Franklin’ s radio version (remix) of “Stomp”. When this release first hit the airwaves, it was quite noticeable to the listening public that the song’s groove was reminiscent of a very popular song by Funkadelic, namely “One Nation Under A Groove”. The interpolation comes into play as the tempo of “One Nation Under A Groove” (the verse section) was slowed down and the bass track was extracted for the main groove for “Stomp”. Whosampled.com shows a side by side comparison of the two. In this particular case, Kirk took the obtained permission and provided reference and credit to Funkadelic in the liner notes of his release. Before, during, and since then, there have been many instances were permission was not granted, resulting in copyright infringement lawsuits. While I’d venture to guess hip-hop holds the record for the highest count of sampling lawsuits, especially with the landmark case involving Biz Markie’s “I Need A Haircut” sampling of Gilbert Sullivan’s “Alone Again Naturally”, Kid AdRock of The Beastie Boys claims they hold the first sample lawsuit.
The laws of copyright infringement in cases like those above span far and wide and, to many, are still open to interpretation. I came across an interesting article (I’m sure there are many more out there) written by an artist on Twitter named Sean Grey. His article Thinking Out Loud: How to Legally Sample Songs For Free, provides some interesting questions for consideration, as well as feedback from other readers. While it’s not my intention to delve into the legalities of sampling in this post, it’s an area with depth that continues to be revisited time and time again. One of many good resources on this subject is here. Disc Makers also recently posted a good article entitled Sampling Safely – A Primer to Avoiding Lawsuits.
As the late 80′s progressed into the 90′s, Sean “Puff Daddy (bka Diddy)” Combs took arranging and composing based on sampling a step further and actually obtained permission to use the actual masters (not samples or interpolations) of songs to compose songs for releases under his artists Junior Mafia, Biggee Smalls, Little, Kim, Lil Cease, Faith Evans, etc. Popular hip hop songs were produced that used actual hooks from Diana Ross’s “I’m Coming Out”, Herb Alpert’s “Rise”, The Police’s “Every Step You Take”, even Jeff Lorber’s classic fusion track “Rain Song”. You may be able to associated each song above with the hit Diddy produced.
This type of new song arranging and composing hit it very big, and still continues to do so, with the likes of Kirk Franklin using the hook to Patrice Rushen’s “Haven’t You Heard” for his 2005 hit “Looking For You”.
The topic matter in this particular post is nothing new. The question I have is, as of late, is there any merit to what I call “gross sampling” (using the actual song itself, (in the case of what Diddy and Kirk have done)? I would submit that there is some skill level, maybe some would say an art, to composing new (and I use the term loosely) songs. What, if any, are your thoughts? As an artist, songwriter, composer, and producer, I have my own but will reserve them until I finish this series.
In Part 3, I’ll give my perspective on sampling, sample packs, the tons of vendors that make them, the use of them in music composition, and related issues.
Hope all is well. A lot of you here heard me profess my love for Twitter, and for those of you who haven’t, here it goes: I love Twitter for its easy of networking and especially information push to me about things I’m most interested in. Via an actual person or a website, if it allows me to grow in areas of learning on topics that greatly interest me (various areas of tech and music production), than I’m with it. The *push* aspect is of most interest. In any event, a few weeks ago, one of my followers let his followers know that he was about to drop a release and offered the chance for other artists to remix certain songs on the release for its remix EP and a list of singles. Being as though I aspire to ALSO become a great remixer, I try to jump at the chance to remix songs when I can. This particular genre is electronica/synthpop/DnB/etc with BPM (beats per minute) faster than I usually choose to compose in. I thought, “What better way to expand my musical horizons and skills”. The EP, remix EP, and singles list has been release and I’m proud to say that my remix was chosen for the singles list. This is the first single from the new SKatterBrain album “the Basic Condition Of Life“. The artist is @dan303 (Dan Weatherall of Stoke-On-Trent, England)
This remix project was different than the first official remix project I did for Philip Clark, in that I knew what the original song sounded like, typical of remixes that are released AFTER the original song is out. Instead, Dan offered just the remix stems, so I had NO idea what his composition was like. That provided me with an open palette to create from. All he provided to us was the BPM (145) and key (Dm).
My DAW (digital audio workstation of choice) is Logic Studio. (Logic 8). I unfortunately had limited time to complete the remix because it was smack in the middle of vacation time – which meant out of the studio (if I had my Mac with me, that would have been another story ).
In the limited amount of time I had, I chose to explore the loop library in Logic versus programming my own drums from scratch or even chopping up samples to do so. My original plan was to time stretch the samples, but couldn’t remember how to until the 11th hour. Since I’ve grown to be a fan of drum and bass, and already a fan of 2-step, it didn’t take long to find a drum loop that was a mix of both and fit the stems perfectly. Dan used a number of percussive spatial synth effects that give good stereo dynamics, so those stems were added next. Listening to the drum loop, I played a percussive bass synth to lock with parts of the kick drum and counter the analog synth bass stem he sent as one of the stems. He suggested we use as many of the stems as we could, but I decided to create another synth lead part using Logic’s ES-M synth to sub for the one he sent. In the beginning of the remix, you’ll hear a four note section of electric piano, that I mirrored with a synth line created with Logic’s ES-1 synth. The synth pads I play under the ES-M lead are Logic’s “Chilled EP” pad.
Anyway, here’s the track listing:
1. The Most Impossible Plan 04:31
2. The Most impossible Plan [303 edit] 03:03
3. The Most Impossible Plan (groove7 outerbanks edit rmx) 03:38
4. the basic condition of life (ne7′s daijo mix) 05:14
5. Balance of sanity 04:41
Dan’s bandcamp page has links to all the releases.
The EP page is here .
The remix EP page is here .
The singles page is here.
Some of you received an email from me about two weeks ago about a single put out by a group I’m in called C3. Here’s the scoop in case you haven’t seen it:
I am pleased to share with you the debut single, “Give it 2 Ya” from our upcoming EP, Contempojazzsoulhop.
Produced by The Big La and Fave
Lyrics written by Fave
Drums and Sampling: The Big La
Electric guitar: Fresh
Keys and Vocals: Fave
It’s a challenge scheduling our families, careers and other “life stuff” in order to coordinate this project, but it is (and continues to be) a blessing to work with such open-minded, talented and tech savvy brothers. You may download the single using the title link above or from our website. Feel free to share it among your social networks (i.e., Twitter, Facebook, etc.).
In the interim, we appreciate your time and support. Have a fantastic week!
Kind regards,
Fave
_______________________________________
Fave Media | PO Box 301046 • Houston TX 77230
+1 713 568 9089 mobile • AIM: fridayfavecast
www.fridayfavecast.com • www.allthingsfave.com
Well, Fave just contacted us last night with this email:
From: soulunsigned@aol.com
Date: June 21, 2010 1:24:44 AM CDT
To: tomglide1@mac.com, smoothswingrecords@gmail.com, chris.young@nurturemusic.co.uk, funkeepers@mundo-r.com, lars@candycream.de, soulfoodmusicuk@gmail.com, diesler.promo@googlemail.com, dsingleton@gedsoulrecords.com, favecast@gmail.com, breakingartists@btinternet.com, igo1077@gmail.com, soulman1902@gmail.com
Subject: Soul Unsigned Show (Edition 2010-024)
You (or someone you represent) has been featured on this week’s Soul Unsigned show, which was aired on all of the following radio stations –
Jun 16th – Network 1 (UK)
Jun 17th – International Showcase Radio (UK)
Jun 17th – Raunchy Rhythms Radio (UK)
Jun 17th – QFM 94.3 Tenerife (Canary Islands, Spain)
Jun 17th – Exite FM 93.1 Costa Blanca (Spain)
Jun 17th – Positiva FM 96.0 Tenerife (Canary Islands, Spain)
Jun 17th – Radio Bombo FM 100.1 Treni (Italy)
Jun 18th – MRS 90.5 Stockholm (Sweden)
Jun 19th – HearDat (UK)
Jun 20th – Netjazz (UK)
Jun 20th – Kiss FM 91.6 Kristianstad (Sweden)
Jun 20th – APCS Radio (Amsterdam, The Netherlands)
Jun 20th – Key 56 (San Diego, USA)
Jun 21st – Soul And Jazz (UK)
Jun 22nd – MotionFM (Toronto, Canada)
You can hear a full copy of the show on Podomatic –
http://soulunsigned.podomatic.com
Playlist (2010-024)
Tom Glide & The Luv Allstars – Kool party
Oui & Fresh – Steppin out
Max Sedgley – All around me
Funkeepers – Im gonna stay
Candycream – Love what you do
Edei – In my bed (Sed Soul remix)
Diesler – Zebra boogie
DeRobert & The Half Truths – The joy
Crosscountrycollective – Give it 2 Ya
Boozoo Bajou – Take it slow
Jumbo Aniebiet – Love change the world
Groove Stu – Be free
KS – Worthless
YCB – Jazzified
Our Website
If you haven’t previously been featured on a show, a link to you has been added to the “artists” section on the Soul Unsigned website -
http://www.soulunsigned.com/artists.htm
Your Website
We would greatly appreciate a reciprocal link to the Soul Unsigned website on your website and/or myspace page so that your fans and other artists and musicians visiting your website will be aware of Soul Unsigned and what we have to offer.
I trust all is well today. This post is a follow-up to the previous post about the subject of an upcoming podcast I hope to resurrect entitled Fusion. The concept of this podcast came to me via an off the cuff discussion I had a few years ago with a fellow podcaster/recording artist/graphic designer. Both of us, being musicians in our own right, began discussing our backgrounds and influences in making music, which invariably talking about how technology (past and present) played a role taking the music from inner to outer.
I began to see the different paths he had taken and compared them to mine. I also began to see, along our separate journeys, how there were things we couldn;t *readily accomplish* (but did) that we could easily accomplish now. The conclusion of the discussion led me to develop the concept for this podcast – one that would share the insights of an (generally musical, but not limited to) artist by which they leverage technology to get their art out there – including their journey along the way, their influences etc.
The format of the podcast is to use an audio interview, very casual but basically formatted, and to just have some fun with it (which is the most important part). Being a techy, I have to include the usual aspects of what kind of hardware/software was/is being used, suggestions/recommendations, tips, etc…but fuse the overall flow with some laid back fun.
As said, although the general focus is about music (recording, arranging, creating, production, podcasting), every once and awhile, I’d like to include the same concept with regards to web design, photography, etc. All aspects of using social media, Web 2.0 and the like are definitely topics of discussion as well.
That being said, I’d like to invite all interested in leaving me your Skype ID, Yahoo IM, iChat ID, Grand Central number or even cell or landline number so the audio interview can be recorded to my laptop. Primarily, I’d prefer to do it via net chat, but will consider landline/cell phone interviews down the line (gotta keep it as inexpensive as I can – heh!). If you are interested, feel free to leave your info in the comments section or e-mail me
