TROY was chopped. The secret is that is was chopped so well that it “sounds” like it was looped. Each of those saxophone lines were from different parts of the same song
@@gullydeluxe I understand he took different parts to make the entire beat but the hook and the part everybody knows is a loop Bucktown by Smif n wessun Xxplosive by dr dre Juicy by BIG Regulators by Nate Dogg and Warren G California Love by 2Pac Are you saying those songs aren’t dope because they looped part of the original samples? (Juicy took most of the entire song, still dope)
@BlackTalonBeats I never said anything about the other songs not being classic. I just said TROY is more than a loop and a simple beat. Pete’s drum programming & SP1200 chopping just shouldn’t be in the same conversation with the other with this particular song. His techniques in it were way more complex. That songs was one of the reasons I started making beats. It was a mix of simple & complex (for the time)
@@gullydeluxe I got you 👍🏾 It’s definitely a masterpiece. I would never downplay Pete Rocks production. I don’t think simple always means bad. Many times I like simple.
Back in a day it was an honor when somebody loop your music and make it a hit. Nowadays all musicians become a lawyer sissies. I mean if i write some music and all of a sudden somebody took a loop and make it big... i mean i would be cool with that. Of course if somebody makes it big they usually sent you some hefty sum... and if they don't it's where i believe trouble starts.
I think the reason is he use well-known samples that you could clearly tell where it was from. On the other hand, madlib finds loops nobody never heard and do the same thing.
But P. Diddie (using samples that are whole measures/song structures) is not Madlib the bad kid by any stretch of a limited imagination and, that is what Dyreck seems to be referring to in a similar fashion with D.dot.
@@sawssman965 Diddy doesn’t make beats & never claimed to, he puts people in a room and tells them what he wants. A producer touching the buttons and an executive producer orchestrating the project are 2 totally separate things.
I think there's also an element of trying to skirt around copyright law. Taking loops from really famous songs resulted in a number of high-profile cases-like Earl Klugh versus Wu Tang, for example-that caused such blatant sampling to be looked down on. Beyond effort, beyond chops-both in your skills as a producer and in chopping up samples-producers can't afford record labels on their asses. At the same time, too, perhaps the issue isn't so much technicality, but _voice._ To borrow an example from classical music, I can listen to a Liszt piece and a Satie piece, or a Xennakis and a Reich piece, and the main thing that excites me isn't so much their technicality, but the ways that those artists use their voice. Liszt is lightning-fast and complicated, whereas many of Satie's pvoice are simple and yet filled with emotions; Xennakis chooses to represent complex mathematical phenomena across his many shifting pieces, whereas Reich tends to stick with an idea throughout an entire piece. Perhaps I'm just repeating what you said in a really roundabout, stiff way, but producing hits doesn't mean you have a voice. You can use a sample without chopping it up, but at least do something _interesting_ with it-put that sample in a weird context, give it cool effects, make a familiar sample sound new, anything.
just my opinion but there's no rules to this shit. If it's dope in the end thats all that matters. Sometimes a simple loop is all it takes. Don't get me wrong I'm on that chop shit heavy but there's more than one way to eat a horse .
I’ll say this, while I too have rules, and agree with all you say, I do think there are situations once in blue, where a drumloop just “works”, when you bring it in with a melody you already have running, to where chopping n flipping, would be detrimental to the spark you feel happening in what you hear at first, I mean I’m saying “rare” situations, like it REALLY has to be magic for me to NOT touch it, but even then, at the least, I’m adding hits “over” it, double snares, extra kick hit here n there lol
Peace Bro! I chop up the whole dang thing into 1 second hits and then see what happens. I have a lot of time on my hands (literally and figuratively) but its just the hobby I choose. I realize most people don’t understand the work but I have more satisfaction in having exercised my creativity and explored the sounds of a record. Keep the great content coming and much respect ✌🏾
I think the only exception to looping a sample (in regard to melodies) is if it’s something unassuming, wasn’t a big hit (at best a minor hit), or something obscure being sampled. If you can make a classic from looping a few seconds of a keyboardist’s improvisational playing that most folks don’t even notice like Premier did for “Mass Appeal” (though he did pitch it down some) or you can make a classic from looping a sample of an outdated Jazz song from some barely known out of print album, cats will typically cut you some slack. You were able to breathe life into something that barely or didn’t already have a life of its own in its time. With the songs you had listed that were major hits in Hip Hop, those looped melodies and such were of songs that were already big hits in Rock, Soul, and R&B. It feels like the producer is cheating and being lazy if he or she is looping proven hits, especially if those hits were seriously major hits in their time. Heads aren’t going to see any honor in that.
@@DyReckProductions I understand where you are coming from. Dre has a lot of loops or interpolations. Dre did not chop records like that. Sample then add instrumentation. Still great production with layering. To me, Dre’s greatest contribution is engineering. California Love was a straight loop. What is the difference is a loop.
Dre made a killing off sampling Axlerod for a l'il era. The catch is, though, that almost nobody recognized them as being samples and he wasn't sampling songs that were monster hits of their day.. like "Let's Dance".
Depending on how the process is going, I may run it or truncate it or filter out what I don't want then play some piano or bass long with it to hybridize it.
It all comes down to who do you make music for... other beat makers or for the people on the dance floor? To my ears 99.9% of TH-cam beat maker's songs don't sound good at all and I think it's because they're not making beats with non-beatmakers in mind
I still put those rules on my head, but I’m starting to not care anymore, We getting older ….and I’m looking for that hit. When I do get that hit, maybe I can retire my 9 to 5 ……fake it to make it. Bad Boy records mad a killing, If we got new access to using it, then use it…..because the next man will. If the 90’s style music come back……then ill sample chop the old fashion way, when time felt like it move slower.
This is a great debate. Because producers like D Dot usually get classic songs. Producers like J Dilla (do more work to the samples) get classic beats.
The most popular loop beat is Biggie's "Juicy". One of mine favorite loops beats is "The Realest" by the Alchemist. I prefer the chop & make it mines approach, some loops lose the magik when you chop it. So it depends, but just make it dope either way.
D-Dot definitely gets the credit he deserves,but not in the sense of a super producer because he wasn’t a solo SUPER producer. He was apart of a music collective,somewhat similar to 1500 or NOTHING and that collective for those whom don’t know was called THE HITMEN. And if you are unfamiliar with that team of producers they are known for countless hits of the 90’s and 2000’s. Also anyone who is considered a music enthusiast would know you have various types of samplers. And neither one should be considered better than the other. You have choppers,loopers,and section choppers who sample sections of records in full loops (2-4 bars). There is no science behind chopping in music and there are no rules. The only rule is to make great music. Which THE HITMEN ( D-DOT ) did. He’s forever legendary while others are concerned about looping verses chopping.
@@DyReckProductions dope ! we actually just got a chance to check the interview out that you were referring to. D-dot was basically saying that we (the hitmen) didn’t hate the backpack rappers or the producers of those records,but we (the hitmen) were getting a lot of slack from those guys and hip-hop purists alike during that time. They (the backpackers and the producers) were trying to get us to do there style of hiphop or what they considered traditional hip-hop and we (the hitmen) were trying to go in a different direction and it worked. But at the same time of us doing the more commercial and pop oriented hip-hop records ,people forgot all the hip-hop records we did along the way including the first B.I.G. album etc. But like us if you were fortunate enough to be around in that era the commercial sound from BB had always been there even early on if you go back and listen to One More Chance (94/95) and BIG Poppa (94/95).
Its all subjective and depends on the context. I’ve seen guys on TH-cam take a sample loop, chop it into even beat divisions and then literally just hit the pads one by one on beat recreating the exact same sample that they chopped for no reason. I think people are addicted to the actual act of robotically pressing some pads in order and hearing music come out. Like the process is more important than the music
D Dot was a co producer on all of those hits. Not the primary producer. Most people dont know the names of Jermaine Dupri's co-producers, like Manual Seal Jr. and Carl So Lowe. Only reason they know Brian-Michael Cox is he branched off and made a name for himself. Im pretty sure that most people didnt know that The Neptunes were responsible for co-production credits on Wreckx N Effect 2nd album. Bottomline, if all of your production credits are after a primary producers name, folks probably wont mention you.
Now mind you....DDot originally came from a group called Two Kings and a Cypher....which was a heavy early 90s conscious underground group. Can't really respect him for shading a desceased legend in conversation, but in the end, he might be mad that J Dilla's MPC3000 is on display at the Smithsonian. Meanwhile, DDot's MPC might be in a musuem (With P Diddy's name on it lol). That's where his smoke should be directed, truth be told.
Lol..I feel you..He wasn't going too hard at J Dilla and Premier..He said he respects them alot.. I think he just wanted to be considered up there among the greats since he produced so many hit records.
@@DyReckProductions "I love J DIlla to death but he can't see my catalog" Very unecessary comment to make on a deceased cat who CLEARLY wouldn't have been done if he didn't fall ill and descease. Would have been best to leave it at "God rest his soul" . Did he even mention Primo in that interview?? I can respect coming at the living even more LOL
love your vids!!! Really, I strive to find a dope pocket and for me the goal is the head nod. the legit head nod, not the over exaggerated crazy looking nod. that boom bappa hiphoppa head nod. thats it.
Well it depends, when I'm looking for background drums sometimes samples just work the way they come from the sample library, but over all I try to make every sound mine. Also, people are data mining legendary music from the 90's~00's and I've observed many artists used unmodified samples at some point, but their legendary status comes from the genius way they used them.
I’m a producer and i’m here to say that there are NO rules to beat making. Although I rather chop my samples I don’t oppose anyone who makes tracks off of loops with drums on top of it. If it’s dope it’s dope, point blank period. And secondly a real producer would know and understand that chopping certain samples will take the integrity of the sample away, so looping the sample may be the route to go so that the intended feel of the sample isn’t compromised.
It's because he picked songs that were already big hits and easily recognizable. It's more impressive when you pick something no one knows, or if you pick a small piece from a known song and either loop it or chop it, but folks don't know what it is. Basically D Dot copied off of other's homework. The only song that could easily get away with this was Rapper's Delight because it was one of the first (and commercially known as the first) rap song.
Due to Beat ID and all the new AI to track samples and music nowadays; a lot of reworking and flipping has to happen ! Otherwise you have to clear the samples with oodles of money 💴 or get a label to do so …. It’s becoming the Wild West ….you can’t even use Splice before getting some form of copyright takedowns ….weird times !
You know the funny part of looping well known records that was/is frowned upon? We would loop not so well known records lol and get props. And if we really wanted to go there we would filter the record lol and then throw some more loops on top of the unknown loop lol! Impeach the president got a run for it's money!
I like to sample like Boom Bap but I want to buy some Drum Machines to make different sounds... I think Boom Bap have to evolve , only few people make something original, and I want to understand more Another genre of music and even trap... The influences and subtiltys....
Trackmasters got away with just looping 80s records. The production for BIG'S JUICY was not that clever to me. And I see why Easy Mo Be and Large Professor distanced themselves from Bad Boy.
Truth is, when Hip Hop started it was DJs *looping* breaks and MCs rapping over those looped breaks. That evolved into sampling loops of breaks and adding drums and/or additional instrumentation. Then the producers of the original songs the loops came from saw how much money was being made and started suing, which forced producers to become a little more creative with how they used samples, that's when they started chopping and rearranging the loops, mixing multiple loops (wall of sound technique), creatively filtering and interpolating samples in order to avoid lawsuits and sample clearance. That was the original motivation of those advanced sampling techniques, not artistry.
It's more like an evolution of what we can do with sound, the same happened with the vaporwave-genre during the turn of the decade. You can't just take an old song, do the bare minimum with it and call it done. Not anymore. Now you have to mind every aspect of a two bar loop, or you're not doing enough with it
If its 🔥 then its 🔥....EXCEPT, I dont mess with those KINGSWAY samples. I feel like I can't do JACK with them. They seem perfect the way they are and adding drums to them would mess them up. Even chopping them sounds blasphemous. Dont ask me why.😅 Its like touching a famous sample. If you can't do what Just Blaze did with Rick James' "Super Freak" after Hammer already made it LEGENDARY..then dont bother. 🤷🏿♂️
what I find comical is calling flipping a beat 'work' . LOL Anyone who knows is maybe shamefully agreeing. Wood Brass and Steel re-playing a groove in the studio with full band, is WORK. - Fun video thanks.
Back in the mid 80s -early 90s when sampljng become popular in hip hop, all producers primarily did was loop breaks. Marley Marl, Rick Rubin, Paul C, Bomb Squad, Dr. Dre, Prince Paul, etc. made plenty of hits and classic songs with just loops. Chopping and rearranging samples became a more popular artform with advancements in technology. Seems like D. Dot's style was a nod to that earlier era. Not to mention the average listener likes simple, catchy, familiar rhythms to dance and listen to.
I don't care about new pop rap it sucks chop sample sucks like rap 90s not new pop rap sucks. How they chop the sample like what you do to drum sample the sample sounds like a drums do I don't like the new pop rap music of to day or do not like trip hop sucks
Great video! Illmatic was primarily loops, with a drum beat and bass!
True!
If it’s dope it’s dope. TROY is a sample loop and one of the illest beats ever made.
TROY was chopped. The secret is that is was chopped so well that it “sounds” like it was looped. Each of those saxophone lines were from different parts of the same song
@@gullydeluxe
I understand he took different parts to make the entire beat but the hook and the part everybody knows is a loop
Bucktown by Smif n wessun
Xxplosive by dr dre
Juicy by BIG
Regulators by Nate Dogg and Warren G
California Love by 2Pac
Are you saying those songs aren’t dope because they looped part of the original samples? (Juicy took most of the entire song, still dope)
Word!
@BlackTalonBeats I never said anything about the other songs not being classic. I just said TROY is more than a loop and a simple beat.
Pete’s drum programming & SP1200 chopping just shouldn’t be in the same conversation with the other with this particular song. His techniques in it were way more complex. That songs was one of the reasons I started making beats. It was a mix of simple & complex (for the time)
@@gullydeluxe
I got you 👍🏾
It’s definitely a masterpiece. I would never downplay Pete Rocks production. I don’t think simple always means bad. Many times I like simple.
Back in a day it was an honor when somebody loop your music and make it a hit. Nowadays all musicians become a lawyer sissies. I mean if i write some music and all of a sudden somebody took a loop and make it big... i mean i would be cool with that. Of course if somebody makes it big they usually sent you some hefty sum... and if they don't it's where i believe trouble starts.
Yeah..Money changes everything.
I think the reason is he use well-known samples that you could clearly tell where it was from. On the other hand, madlib finds loops nobody never heard and do the same thing.
True..
But P. Diddie (using samples that are whole measures/song structures) is not Madlib the bad kid by any stretch of a limited imagination and, that is what Dyreck seems to be referring to in a similar fashion with D.dot.
Facts, well known loops versus obscure loops, there is a difference
I cant name one beat diddy himself made. To me, he seem like the type of producer that hangs over the actual producer shoulder@MS-1
@@sawssman965 Diddy doesn’t make beats & never claimed to, he puts people in a room and tells them what he wants. A producer touching the buttons and an executive producer orchestrating the project are 2 totally separate things.
I think there's also an element of trying to skirt around copyright law. Taking loops from really famous songs resulted in a number of high-profile cases-like Earl Klugh versus Wu Tang, for example-that caused such blatant sampling to be looked down on. Beyond effort, beyond chops-both in your skills as a producer and in chopping up samples-producers can't afford record labels on their asses.
At the same time, too, perhaps the issue isn't so much technicality, but _voice._ To borrow an example from classical music, I can listen to a Liszt piece and a Satie piece, or a Xennakis and a Reich piece, and the main thing that excites me isn't so much their technicality, but the ways that those artists use their voice. Liszt is lightning-fast and complicated, whereas many of Satie's pvoice are simple and yet filled with emotions; Xennakis chooses to represent complex mathematical phenomena across his many shifting pieces, whereas Reich tends to stick with an idea throughout an entire piece. Perhaps I'm just repeating what you said in a really roundabout, stiff way, but producing hits doesn't mean you have a voice. You can use a sample without chopping it up, but at least do something _interesting_ with it-put that sample in a weird context, give it cool effects, make a familiar sample sound new, anything.
Good point..Ima check that Earl Klugh versus Wu Tang case.
Weather you sampling a drum break or a melody or whatever, the art form is all about how you give it your own personal touch.
The way they constructed their ball handling 🏀 🤏 skills to make it their own is Wild! 🤣
just my opinion but there's no rules to this shit. If it's dope in the end thats all that matters. Sometimes a simple loop is all it takes. Don't get me wrong I'm on that chop shit heavy but there's more than one way to eat a horse .
"more than one way to eat a horse" Lol!!..I feel you.
I’ll say this, while I too have rules, and agree with all you say, I do think there are situations once in blue, where a drumloop just “works”, when you bring it in with a melody you already have running, to where chopping n flipping, would be detrimental to the spark you feel happening in what you hear at first, I mean I’m saying “rare” situations, like it REALLY has to be magic for me to NOT touch it, but even then, at the least, I’m adding hits “over” it, double snares, extra kick hit here n there lol
I feel you..Sometimes it is better to leave it alone..Maybe boost or eq a lil bit.
The only reason people don't give the mad rapper.His respect is because he wanted to be THE MAD RAPPER So that was all on him
Peace Bro! I chop up the whole dang thing into 1 second hits and then see what happens. I have a lot of time on my hands (literally and figuratively) but its just the hobby I choose. I realize most people don’t understand the work but I have more satisfaction in having exercised my creativity and explored the sounds of a record. Keep the great content coming and much respect ✌🏾
I think the only exception to looping a sample (in regard to melodies) is if it’s something unassuming, wasn’t a big hit (at best a minor hit), or something obscure being sampled. If you can make a classic from looping a few seconds of a keyboardist’s improvisational playing that most folks don’t even notice like Premier did for “Mass Appeal” (though he did pitch it down some) or you can make a classic from looping a sample of an outdated Jazz song from some barely known out of print album, cats will typically cut you some slack. You were able to breathe life into something that barely or didn’t already have a life of its own in its time.
With the songs you had listed that were major hits in Hip Hop, those looped melodies and such were of songs that were already big hits in Rock, Soul, and R&B. It feels like the producer is cheating and being lazy if he or she is looping proven hits, especially if those hits were seriously major hits in their time. Heads aren’t going to see any honor in that.
Yeah I feel you..He had a ton of hit records..But people still wanna see creativity if your messing with loops..Unless its just that dope lol.
"My Name Is" by Eminem was just a loop but nobody holds Dr. Dre to that same standard.
Good point!..I think folks feel D-dot got too many loops idk.
@@DyReckProductions I understand where you are coming from. Dre has a lot of loops or interpolations. Dre did not chop records like that. Sample then add instrumentation. Still great production with layering. To me, Dre’s greatest contribution is engineering. California Love was a straight loop. What is the difference is a loop.
Dre made a killing off sampling Axlerod for a l'il era. The catch is, though, that almost nobody recognized them as being samples and he wasn't sampling songs that were monster hits of their day.. like "Let's Dance".
@@SCMESDYeah his engineering is masterful..His sonics are incredible!
Depending on how the process is going, I may run it or truncate it or filter out what I don't want then play some piano or bass long with it to hybridize it.
Great vid homie! 👊🏻💯🙏🏻
TUPAPA!!!!!!
It all comes down to who do you make music for... other beat makers or for the people on the dance floor? To my ears 99.9% of TH-cam beat maker's songs don't sound good at all and I think it's because they're not making beats with non-beatmakers in mind
Wow!!..You might have something there!
I still put those rules on my head, but I’m starting to not care anymore, We getting older ….and I’m looking for that hit. When I do get that hit, maybe I can retire my 9 to 5 ……fake it to make it. Bad Boy records mad a killing, If we got new access to using it, then use it…..because the next man will. If the 90’s style music come back……then ill sample chop the old fashion way, when time felt like it move slower.
True!..I feel u.
This is a great debate. Because producers like D Dot usually get classic songs. Producers like J Dilla (do more work to the samples) get classic beats.
You check that new black rob album ? D-dot did quite a few. Couple joints on there
Oh ok ima check it.
The most popular loop beat is Biggie's "Juicy". One of mine favorite loops beats is "The Realest" by the Alchemist.
I prefer the chop & make it mines approach, some loops lose the magik when you chop it. So it depends, but just make it dope either way.
“Juicy” is not “the most popular loop beat.” Hell, this video mentions “U Can’t Touch This” which is arguably much more popular than “Juicy.”
D-Dot definitely gets the credit he deserves,but not in the sense of a super producer because he wasn’t a solo SUPER producer. He was apart of a music collective,somewhat similar to 1500 or NOTHING and that collective for those whom don’t know was called THE HITMEN. And if you are unfamiliar with that team of producers they are known for countless hits of the 90’s and 2000’s. Also anyone who is considered a music enthusiast would know you have various types of samplers. And neither one should be considered better than the other. You have choppers,loopers,and section choppers who sample sections of records in full loops (2-4 bars). There is no science behind chopping in music and there are no rules. The only rule is to make great music. Which THE HITMEN
( D-DOT ) did. He’s forever legendary while others are concerned about looping verses chopping.
I loved alot of records he produced.
@@DyReckProductions dope ! we actually just got a chance to check the interview out that you were referring to. D-dot was basically saying that we (the hitmen) didn’t hate the backpack rappers or the producers of those records,but we (the hitmen) were getting a lot of slack from those guys and hip-hop purists alike during that time. They (the backpackers and the producers) were trying to get us to do there style of hiphop or what they considered traditional hip-hop and we (the hitmen) were trying to go in a different direction and it worked. But at the same time of us doing the more commercial and pop oriented hip-hop records ,people forgot all the hip-hop records we did along the way including the first B.I.G. album etc. But like us if you were fortunate enough to be around in that era the commercial sound from BB had always been there even early on if you go back and listen to One More Chance (94/95) and BIG Poppa (94/95).
Its all subjective and depends on the context. I’ve seen guys on TH-cam take a sample loop, chop it into even beat divisions and then literally just hit the pads one by one on beat recreating the exact same sample that they chopped for no reason. I think people are addicted to the actual act of robotically pressing some pads in order and hearing music come out. Like the process is more important than the music
Lmao! Thats horrible..I feel u.
D Dot was a co producer on all of those hits. Not the primary producer. Most people dont know the names of Jermaine Dupri's co-producers, like Manual Seal Jr. and Carl So Lowe. Only reason they know Brian-Michael Cox is he branched off and made a name for himself. Im pretty sure that most people didnt know that The Neptunes were responsible for co-production credits on Wreckx N Effect 2nd album. Bottomline, if all of your production credits are after a primary producers name, folks probably wont mention you.
Sad..but true.
Now mind you....DDot originally came from a group called Two Kings and a Cypher....which was a heavy early 90s conscious underground group. Can't really respect him for shading a desceased legend in conversation, but in the end, he might be mad that J Dilla's MPC3000 is on display at the Smithsonian. Meanwhile, DDot's MPC might be in a musuem (With P Diddy's name on it lol). That's where his smoke should be directed, truth be told.
Lol..I feel you..He wasn't going too hard at J Dilla and Premier..He said he respects them alot.. I think he just wanted to be considered up there among the greats since he produced so many hit records.
@@DyReckProductions "I love J DIlla to death but he can't see my catalog" Very unecessary comment to make on a deceased cat who CLEARLY wouldn't have been done if he didn't fall ill and descease. Would have been best to leave it at "God rest his soul" . Did he even mention Primo in that interview?? I can respect coming at the living even more LOL
@@dn30001I feel you.
love your vids!!! Really, I strive to find a dope pocket and for me the goal is the head nod. the legit head nod, not the over exaggerated crazy looking nod. that boom bappa hiphoppa head nod. thats it.
Thanks fam!!..No doubt!
The problem with D dot is that a lot of uninformed people attribute some of his biggest songs to Puffy’s(Diddy) sound and ideas.
Well it depends, when I'm looking for background drums sometimes samples just work the way they come from the sample library, but over all I try to make every sound mine. Also, people are data mining legendary music from the 90's~00's and I've observed many artists used unmodified samples at some point, but their legendary status comes from the genius way they used them.
No doubt.
John Stockton is dope. But Larry Bird is Goat. Chop it up !!!!!!!!!!!!
Lol I feel u!
I’m a producer and i’m here to say that there are NO rules to beat making. Although I rather chop my samples I don’t oppose anyone who makes tracks off of loops with drums on top of it. If it’s dope it’s dope, point blank period. And secondly a real producer would know and understand that chopping certain samples will take the integrity of the sample away, so looping the sample may be the route to go so that the intended feel of the sample isn’t compromised.
It's because he picked songs that were already big hits and easily recognizable. It's more impressive when you pick something no one knows, or if you pick a small piece from a known song and either loop it or chop it, but folks don't know what it is. Basically D Dot copied off of other's homework. The only song that could easily get away with this was Rapper's Delight because it was one of the first (and commercially known as the first) rap song.
No doubt.
Due to Beat ID and all the new AI to track samples and music nowadays; a lot of reworking and flipping has to happen ! Otherwise you have to clear the samples with oodles of money 💴 or get a label to do so …. It’s becoming the Wild West ….you can’t even use Splice before getting some form of copyright takedowns ….weird times !
If it sounds good, it is good🤷🏾♂️
Word!
Its art not athleticism. The lowest tier artists judge others on apparent effort put in, as if it defines the art.
Great point.
I abuse the sample, and promise to pay royalties after it is a hit... unless the copyright owner never finds out! 😮
Lol!!!
You know the funny part of looping well known records that was/is frowned upon? We would loop not so well known records lol and get props. And if we really wanted to go there we would filter the record lol and then throw some more loops on top of the unknown loop lol! Impeach the president got a run for it's money!
I like to sample like Boom Bap but I want to buy some Drum Machines to make different sounds... I think Boom Bap have to evolve , only few people make something original, and I want to understand more Another genre of music and even trap...
The influences and subtiltys....
Trackmasters got away with just looping 80s records. The production for BIG'S JUICY was not that clever to me. And I see why Easy Mo Be and Large Professor distanced themselves from Bad Boy.
Hey. Just make sure that beat dope!!!! F the rest 😂
Truth is, when Hip Hop started it was DJs *looping* breaks and MCs rapping over those looped breaks. That evolved into sampling loops of breaks and adding drums and/or additional instrumentation.
Then the producers of the original songs the loops came from saw how much money was being made and started suing, which forced producers to become a little more creative with how they used samples, that's when they started chopping and rearranging the loops, mixing multiple loops (wall of sound technique), creatively filtering and interpolating samples in order to avoid lawsuits and sample clearance. That was the original motivation of those advanced sampling techniques, not artistry.
Yup!..I know Pete Rock talked about if you chop a sample right you shouldn't be afraid of a lawsuit..You could make it unrecognizable but still dope.
"That was the original motivation of those advanced sampling techniques, not artistry." FACTS!!!
It's more like an evolution of what we can do with sound, the same happened with the vaporwave-genre during the turn of the decade. You can't just take an old song, do the bare minimum with it and call it done. Not anymore. Now you have to mind every aspect of a two bar loop, or you're not doing enough with it
Yeah..I feel u.
If its 🔥 then its 🔥....EXCEPT, I dont mess with those KINGSWAY samples. I feel like I can't do JACK with them. They seem perfect the way they are and adding drums to them would mess them up. Even chopping them sounds blasphemous. Dont ask me why.😅 Its like touching a famous sample. If you can't do what Just Blaze did with Rick James' "Super Freak" after Hammer already made it LEGENDARY..then dont bother. 🤷🏿♂️
No doubt..I feel you.
what I find comical is calling flipping a beat 'work' . LOL Anyone who knows is maybe shamefully agreeing. Wood Brass and Steel re-playing a groove in the studio with full band, is WORK. - Fun video thanks.
The listener doesn’t care how much WORK was put in LOL, they just care about the final product coming out the speakers
Flipping a sample is work
Lol.
Back in the mid 80s -early 90s when sampljng become popular in hip hop, all producers primarily did was loop breaks. Marley Marl, Rick Rubin, Paul C, Bomb Squad, Dr. Dre, Prince Paul, etc. made plenty of hits and classic songs with just loops. Chopping and rearranging samples became a more popular artform with advancements in technology. Seems like D. Dot's style was a nod to that earlier era. Not to mention the average listener likes simple, catchy, familiar rhythms to dance and listen to.
Good point!
D dot ain’t even John Stockton who might very well be the greatest PG ever. So poor analogy.
LMAO!!!
It don’t matter as long as it sound good stop the BS
There are no rules in hip hop at all that’s the problem these fake ass purist try to regulate what people can and can’t do with music
Lol!!..Yeah..If your nice there are no rules.
CHOOSE YOUR PATH FOLKS SCREW DILLA
Lol ahh man.
Pharrell stay wack af. I ain't heard a halfway decent beat from them fools. Stoupe the enemy of mankind has the beats that slap...
I don't care about new pop rap it sucks chop sample sucks like rap 90s not new pop rap sucks. How they chop the sample like what you do to drum sample the sample sounds like a drums do I don't like the new pop rap music of to day or do not like trip hop sucks
I don't like pop rap or trip hop
Or country rock
I like country music and rap and
hip hop
Yeah HipHop is in a sad state as far as creativity right now.