That's really cool! I've enjoyed how you let the samples play out past just the break in your videos, and that definitely came in handy for discovering the Washed Out sample.
Good ear! They are definitely similar, but I am 99.9% sure that Washed Out is just extending and looped the tail end of the reverb from his vocal take to create that vocal sample. You can hear it pretty clearly at the 1:26 mark of Feel it All Around.
@@KarlBoltzmann For sure. I could really go either way with it! Depends on the day lol. Such a similar tone. Both great songs either way. Enjoying the channel!
Great question! My understanding is that sampling breaks from recorded music started in the 70s and got much more popular in the 80s. Producers would make tape loops of beats or other instrumental breaks, sometimes creating collages of sound by layering multiple samples together. The legality of it all is complicated and certain details are still being ironed out in the courts, but generally if you use a recognizable sample, you need to get it cleared by the owner. That could mean an upfront payment or giving up a piece of the royalties or both.
Most hiphop producers were also "diggers" = vinylfreaks who would spend fortunes on rare records, and when they did, they often took off the labels to obscure the origins. Ever since De La Soul's infamous courtcase, the stakes became even higher (no pun intended) ; it became a real sport to use a sample without paying up, by using it creatively (flipping) or minimally. By the late 90s, record labels, their lawyers and other IP holders (investment groups) became hip to the idea that there was real money to be made in pursueing "infringement", so there were teams on it as a full time occupation (see also Bitter Sweet Symphony). Since the advent of A.I., it became next to impossible in practice to use a sample without clearing it.
This Washed Out song is amazing..... Let's do a deconstruction of D.J Champion's best work as well
the effect chain makes a huge difference!
It really does change the mood of the samples. Would be cool to know exactly what treatment he used back in 2009.
beautiful. great video bout sampling
Portlandia opening theme
That's really cool! I've enjoyed how you let the samples play out past just the break in your videos, and that definitely came in handy for discovering the Washed Out sample.
Thanks Cliff!
Thanks Again Karl! Very cool!
the vocal sample on Feel It All Around is from 10cc's I'm Not In Love
Good ear! They are definitely similar, but I am 99.9% sure that Washed Out is just extending and looped the tail end of the reverb from his vocal take to create that vocal sample. You can hear it pretty clearly at the 1:26 mark of Feel it All Around.
@@KarlBoltzmann For sure. I could really go either way with it! Depends on the day lol. Such a similar tone. Both great songs either way. Enjoying the channel!
@@jaymack-p3n Definitely similar in tone!
bingeing all your content 🙏
Will there be a Karl Boltzmann series on MasterClass for being awesome?
That was so cool. Can you make a video of how to make music using sampling?
Thanks! Yeah, I've been thinking about making a video or two about how to compose music with samples.
@@KarlBoltzmann Please make it soon haha. Would love to understand how it's done.
oh.. it was sampled...
I'm curious to know when sampling became an accepted and common practice? Was there a time when it wasn't considered a legit way to make music?
Great question! My understanding is that sampling breaks from recorded music started in the 70s and got much more popular in the 80s. Producers would make tape loops of beats or other instrumental breaks, sometimes creating collages of sound by layering multiple samples together. The legality of it all is complicated and certain details are still being ironed out in the courts, but generally if you use a recognizable sample, you need to get it cleared by the owner. That could mean an upfront payment or giving up a piece of the royalties or both.
Most hiphop producers were also "diggers" = vinylfreaks who would spend fortunes on rare records, and when they did, they often took off the labels to obscure the origins. Ever since De La Soul's infamous courtcase, the stakes became even higher (no pun intended) ; it became a real sport to use a sample without paying up, by using it creatively (flipping) or minimally. By the late 90s, record labels, their lawyers and other IP holders (investment groups) became hip to the idea that there was real money to be made in pursueing "infringement", so there were teams on it as a full time occupation (see also Bitter Sweet Symphony). Since the advent of A.I., it became next to impossible in practice to use a sample without clearing it.
nobody here
Hello, nobody.