congrats on the baby i feel you 100% on the diggin/sample flip thing i dont think anyone cares anymore what someone samples until someone of jay's caliber uses something. it aint really about puttin in work diggin anymore. its a reality. im still with it, but when i play beats to folks, they dont ask me what record i found that sample on. they either dig what i do or not.
True.
but
YO LU!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!:
And for that matter crate heads, wait till you hear what I got up my sleeve for 2008. BE VERY AFRAID. RAERS+GOD GIVEN TALENT+HARD ASS WORK+NEW API1608 CONSOLE=me shitting on your favorite "underground" producers
That's what's up right here. I can't wait to play that shit on the radio every day and have a new record dope enough to promote the f*ck out of.
I still care, even though I can count the number of people I've met who do care on two hands. The world of people who give a fuck these days is small, but for those people it is their world, not just some sidenote. PUTS is the illest hip-hop group of the past decade, and that's not some fanboy BS, I grew up listening to that era of hip-hop and nothing touches it.
Bring it Thes. Make a beat all out of acetates or something ridiculous like that.
I think you missed the point of that old post I made. Thinking what you do is on par with a Jay does cuz you sampled some rare before him record is stupid. Nobody cares about some $300.00 record but Hip Hop nerds 90% of whom are Middle Class White kids who come in with this elitist attitude about a music that's not even from there world.(Hip Hop Gentification is what I call it.) Make a hot record that alot people can relate to like the Jay-z 's or the Lil'Wayne's or keep it moving. An as far as sampling goes if it sounds hot ,it IS hot!! I don't care if someone sampled another rappers record. If you really were so creative you would get real instruments and make real music not sample some else get upset when some bigger ,more popular artist does the same.( The last sentence is not directed to you Thes, but to these rare sample Elitist dudes.)
congrats on the baby i feel you 100% on the diggin/sample flip thing i dont think anyone cares anymore what someone samples until someone of jay's caliber uses something. it aint really about puttin in work diggin anymore. its a reality. im still with it, but when i play beats to folks, they dont ask me what record i found that sample on. they either dig what i do or not.
True.
but
YO LU!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!:
I JUST BOUGHT THIS TODAY
wow homie... you are a blessed dude that thing looks lovely. looks like those soldering skills might get rusty now that you aint maintaining the neve! honestly i was hoping you wouldve gone this route instead of the summing mixer and outboard rack units. just makes more sense. im pretty damn envious right now
Well I just finished scoring a movie that involved some pretty serious composition work (orchestral, editing, sampling, drum programming etc.). It pushed me to the limit of my comfort zone musically and well beyond it, and now there's really no turning back. To see all the possibilities come together - rare samples, breaks, synths, programming, strings, live drums - all in 5.1 format really changed my whole perspective.
Plus to be working against exclusive Pharrel, Linkin Park, etc. I had to pull all the stops.
Finished post on the Movie last, sealed the deal on the Neve today, it's a new world. We start the dismantle of the Neve next week, my API console ships at the end of the year, then I will start recording Wonderful Radio, a solo record of the MoustachioRapSoul variety. The new console allows me to mix in 5.1, and I plan on releasing an SACD of the record fully mixed in 5.1 format.
There will also be a PUTS record in 24/96 5.1
Fans of my variety of music have been continually robbed by poor shit mix quality from producers who don't give a f***. I'm comin' in Analogue/Surround next year.
Well I just finished scoring a movie that involved some pretty serious composition work (orchestral, editing, sampling, drum programming etc.). It pushed me to the limit of my comfort zone musically and well beyond it, and now there's really no turning back. To see all the possibilities come together - rare samples, breaks, synths, programming, strings, live drums - all in 5.1 format really changed my whole perspective.
Plus to be working against exclusive Pharrel, Linkin Park, etc. I had to pull all the stops.
Finished post on the Movie last, sealed the deal on the Neve today, it's a new world. We start the dismantle of the Neve next week, my API console ships at the end of the year, then I will start recording Wonderful Radio, a solo record of the MoustachioRapSoul variety. The new console allows me to mix in 5.1, and I plan on releasing an SACD of the record fully mixed in 5.1 format.
There will also be a PUTS record in 24/96 5.1
Fans of my variety of music have been continually robbed by poor shit mix quality from producers who don't give a f***. I'm comin' in Analogue/Surround next year.
x5 and 1 tenth!
^^^^
BUT DOG WHERE'S TEH HAUGHT TRACK THAT "ALOT" OF PEOPLE CAN RELATE TO?
congrats on the baby i feel you 100% on the diggin/sample flip thing i dont think anyone cares anymore what someone samples until someone of jay's caliber uses something. it aint really about puttin in work diggin anymore. its a reality. im still with it, but when i play beats to folks, they dont ask me what record i found that sample on. they either dig what i do or not.
True.
but
YO LU!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!:
Thes, you will always be ahead of the curve. That's how you do. And this is the nature of what happens to people who are that - it can get aggravating when people start to catch up and you wonder where were they then.
That said I think you could pick a better example than a Little Beaver loop. To say these producers are not digging hard is easy. But this is not a rare or obscure record at all; shit, I sampled it too (five years ago ).
I don't think this kind of sentiment does anything for you, I think the picture of the new console goes a lot further.
rappin in 5.1? im not really a big fan of surround sound actually im not really a big fan of super clean sounding songs either i guess i fall into the "underground" producer category when things are a bit too clean, somethin doesnt sound right. i guess its how my ear has been trained over the years anyways im curious to know how this new console will change the way your records sound
i'm sorry but what's the point in putting something out in SACD nowadays when most people buying it won't even have something to take advantage of it?
From what i understand most new cars in the next couple of years will be rolling off lots with dvd players in the dash and the internal stock system will be 5.1 - front center left in the front seats and surround right left in the rear doors, the reason being to pacify all the parents who have those DVD players in the car, which is ALOT nowadays and even more in the future. Plus a good many grown folk have 5.1 systems in their living rooms where they watch movies, tv and have their system. I mean, you can go to best buy and get a 5.1 amp and 6 speakers for $199. So I will release a regular CD and also a DVD that will have both the 44/16 Stereo strip and the 24/96 5.1.
Imagine hearing Long Red fully engulf you. Imagine Skull Snaps in the back of your skull.
As far as the console goes, the 500 series format is on fire right now, I think it's a good look. If anything it will give things and Aftermath-ish tinge (In The Club) as the summing circutis and output transformers are identical to a Legacy or large format API. It is a HUGE investment for me, but i believe i am hear to make music and this will be a tool that will make that music more satisfying to me and hopefully anyone who cares.
Johnny - thanks for the kind words. I know the little beaver is fairly common, the point is that if Jay could just hit me up, I would give him the newness NOW, not something thats old news. JAY HOLLER!
you aint lyin i saw the price tag your description of the sound is interesting. id like to hear some neve board/api board comparisons if you get time to do that
2) I agree with pretty much everything you've said in this thread re: sampling, being the first to flip things, and the unfortunate pigeonholing of sample-based production these days. I'm just glad there are still folks out there doing what you do and keeping that ethic alive in spite of the frustrations that come with it.
I kinda see the point behind the Little Beaver sample, but being salty about someone using a drum break you used "first"? (Day and Exile had a song with the break out around the same time anyway.) I doubt the legions of legitimate hip hop acts that sampled Skull Snaps asked Stezo (or whoever) if it's cool with him or somehow acknowledged that he was the first to use it.
Furthermore, you guys have used some common drum loops in your time and been beat to the punch with a bunch of musical loops as well. The L the Head Toucha joint-- and Primo's NY Reality Check mix-- with the Don Blackmon sample was out way before your record. The INI joint with the same loop as "Acid Raindrops"... (Though to be fair, I can't remember when it was that the bootleg became widely available.) I think El-P was the first to use that Bo Hansson piano and Can Ox was a pretty big as far as underground rap goes. Etc. It happens, it's hip hop.
I agree. And let me restate for the umpteenth time: I am not salty. If anyone understands sampling, believe me I know. As far as that duralcha goes, it was comped right after I used it, and then you heard it on a few other tracks. It's all whatever because to be salty you would have to know for sure that someone actually heard the first joint. And like I never heard that INI song before Acid Raindrops (for some reason that track and one other one weren't on the first bootleg I heard) or Cannibal OX, I am most absolutely positive PDiddy is not sitting around listening to OST.
That being said, JAY I HAD THAT SHIT READY FOR YOU 6 YEARS AGO. GET AT ME FOR THE 2013!
Funny you should bring up the Steezo thing though, because if none of this all mattered, why would you even know about that claim or the story behind it? It's hip hop and it does, though less so nowadays, still matter. And if other people used a loop before me and i come out with it later, whether or not I heard the first track, in my opinion it makes my joint a little less fresh. That's it.
Comments
but
YO LU!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!:
I JUST BOUGHT THIS TODAY
That's what's up right here. I can't wait to play that shit on the radio every day and have a new record dope enough to promote the f*ck out of.
I still care, even though I can count the number of people I've met who do care on two hands. The world of people who give a fuck these days is small, but for those people it is their world, not just some sidenote. PUTS is the illest hip-hop group of the past decade, and that's not some fanboy BS, I grew up listening to that era of hip-hop and nothing touches it.
Bring it Thes. Make a beat all out of acetates or something ridiculous like that.
...and I thought the gear you used on Lifestyle Marketing was crazy. Dayum.
post some beats or your resume of placements
Please make some beats containing moustache & modern soul loops.
Kind Regrads,
phatmoneysack
b/w amy winehouse watch
MR PHAT MONEYSACK
YES!
[color:red] 2 0 0 8 [/color]
THES ONE
WONDERFUL RADIO
wow homie... you are a blessed dude
that thing looks lovely. looks like those soldering skills might get rusty now that you aint maintaining the neve!
honestly i was hoping you wouldve gone this route instead of the summing mixer and outboard rack units. just makes more sense.
im pretty damn envious right now
whats this track your talkin bout?
Well I just finished scoring a movie that involved some pretty serious composition work (orchestral, editing, sampling, drum programming etc.). It pushed me to the limit of my comfort zone musically and well beyond it, and now there's really no turning back. To see all the possibilities come together - rare samples, breaks, synths, programming, strings, live drums - all in 5.1 format really changed my whole perspective.
Plus to be working against exclusive Pharrel, Linkin Park, etc. I had to pull all the stops.
Finished post on the Movie last, sealed the deal on the Neve today, it's a new world. We start the dismantle of the Neve next week, my API console ships at the end of the year, then I will start recording Wonderful Radio, a solo record of the MoustachioRapSoul variety. The new console allows me to mix in 5.1, and I plan on releasing an SACD of the record fully mixed in 5.1 format.
There will also be a PUTS record in 24/96 5.1
Fans of my variety of music have been continually robbed by poor shit mix quality from producers who don't give a f***. I'm comin' in Analogue/Surround next year.
^^^^
BUT DOG WHERE'S TEH HAUGHT TRACK THAT "ALOT" OF PEOPLE CAN RELATE TO?
My Score/Composer credit is taking a second to submit because it's my first one!
b/w actually the beat we got from Pharell is hot ta def though I had to work the mix out a little.
fuckin' beautiful.
That said I think you could pick a better example than a Little Beaver loop. To say these producers are not digging hard is easy. But this is not a rare or obscure record at all; shit, I sampled it too (five years ago
I don't think this kind of sentiment does anything for you, I think the picture of the new console goes a lot further.
actually im not really a big fan of super clean sounding songs either
i guess i fall into the "underground" producer category
when things are a bit too clean, somethin doesnt sound right. i guess its how my ear has been trained over the years
anyways
im curious to know how this new console will change the way your records sound
From what i understand most new cars in the next couple of years will be rolling off lots with dvd players in the dash and the internal stock system will be 5.1 - front center left in the front seats and surround right left in the rear doors, the reason being to pacify all the parents who have those DVD players in the car, which is ALOT nowadays and even more in the future. Plus a good many grown folk have 5.1 systems in their living rooms where they watch movies, tv and have their system. I mean, you can go to best buy and get a 5.1 amp and 6 speakers for $199. So I will release a regular CD and also a DVD that will have both the 44/16 Stereo strip and the 24/96 5.1.
Imagine hearing Long Red fully engulf you.
Imagine Skull Snaps in the back of your skull.
As far as the console goes, the 500 series format is on fire right now, I think it's a good look. If anything it will give things and Aftermath-ish tinge (In The Club) as the summing circutis and output transformers are identical to a Legacy or large format API. It is a HUGE investment for me, but i believe i am hear to make music and this will be a tool that will make that music more satisfying to me and hopefully anyone who cares.
Johnny - thanks for the kind words. I know the little beaver is fairly common, the point is that if Jay could just hit me up, I would give him the newness NOW, not something thats old news. JAY HOLLER!
you aint lyin
i saw the price tag
your description of the sound is interesting. id like to hear some neve board/api board comparisons if you get time to do that
1) Congrats on your newfound dad status!
2) I agree with pretty much everything you've said in this thread re: sampling, being the first to flip things, and the unfortunate pigeonholing of sample-based production these days. I'm just glad there are still folks out there doing what you do and keeping that ethic alive in spite of the frustrations that come with it.
I am also extremely excited about this
Incredible strings and composiion are what musica dreams are made of....
and then you went and bought the gear to really make it happen
Nice one! man I wish the best to both these life endeavours
b/w mustachio loops
Furthermore, you guys have used some common drum loops in your time and been beat to the punch with a bunch of musical loops as well. The L the Head Toucha joint-- and Primo's NY Reality Check mix-- with the Don Blackmon sample was out way before your record. The INI joint with the same loop as "Acid Raindrops"... (Though to be fair, I can't remember when it was that the bootleg became widely available.) I think El-P was the first to use that Bo Hansson piano and Can Ox was a pretty big as far as underground rap goes. Etc. It happens, it's hip hop.
Congrats on the baby (and the new console).
I agree. And let me restate for the umpteenth time: I am not salty. If anyone understands sampling, believe me I know. As far as that duralcha goes, it was comped right after I used it, and then you heard it on a few other tracks. It's all whatever because to be salty you would have to know for sure that someone actually heard the first joint. And like I never heard that INI song before Acid Raindrops (for some reason that track and one other one weren't on the first bootleg I heard) or Cannibal OX, I am most absolutely positive PDiddy is not sitting around listening to OST.
That being said, JAY I HAD THAT SHIT READY FOR YOU 6 YEARS AGO. GET AT ME FOR THE 2013!
Funny you should bring up the Steezo thing though, because if none of this all mattered, why would you even know about that claim or the story behind it? It's hip hop and it does, though less so nowadays, still matter. And if other people used a loop before me and i come out with it later, whether or not I heard the first track, in my opinion it makes my joint a little less fresh. That's it.
Thread dead.