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An official "STBB behind the beat" thread?


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#61 Guts

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Posted 28 August 2012 - 01:46 AM

Love this debate, if we sample, we are biting full stop, we steal someones music, and I aleady thought Hiphop was sound homogenization, the blending of one or two components, whats DJ'ing if it isn't.

good point. For me, i really think of sampling as recycling music, more in the sense of making a collage than a fat bag full of empty beer bottles, or even taking certain components from someone else's recipe.

as for things coming to sound the same:
I feel like in any genre, and probably art in general, certain aesthetics begin to take control of how the music is made and what is desired out of the final product. For any music to progress rules must be bent, if not obliterated, and for me, that's the real drive behind the art. Of course, doing that and having it still be pleasing to the ear turns out to be extremely difficult ;)
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#62 DJ Sapien

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Posted 28 August 2012 - 06:28 AM

Ha ha, :lol: I meant how are you allowed on the plane with it, they go nut's over make up bags here and boy do the women go off on one!!


TSA don't fux with me, LOL. B)

#63 Grifty-Rodriguez

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Posted 28 August 2012 - 12:04 PM

what are some drum techniques peeps roll wit??? compression settings, everything. transient shapers?? sound selection? sample velocity? layering, eq tips anybody? i like a super snappy attack and release on my compressors. slooooow attack and a fast relase, usually, but i try to tailor it by ear to my drum transients. i compress and eq all drums in the kit separately, usually rolling off low end massively on err ting but the kicks....just started fucking with a transient shaper, not really sure what the fuck i'm doing yet..... for me producing is like ninety five percent just totally fucking with shit until it's all weird and shitty, then i publish my beat. i think experimenting is super underrated, people seem to be all about twenty four seven "bangers" tho so whatever...
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#64 Cise2

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Posted 28 August 2012 - 03:14 PM

Love this debate, if we sample, we are biting full stop, we steal someones music, and I aleady thought Hiphop was sound homogenization, the blending of one or two components, whats DJ'ing if it isn't.

here i diagree, playing it in the same manner would be biting, but fliping is not stealing, u can take a major scale based song and make it sound in a minor scale, say like premo made boom for royce. :)

#65 1instrument

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Posted 28 August 2012 - 03:16 PM

Cool thread! hope the idea sticks...

#66 sft

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Posted 28 August 2012 - 04:15 PM

Although I don't care whether people withhold their techniques etc and whilst I do somewhat agree with the argument that openly revealing techniques etc can lead to sound homogenization e.g. the FlyLo example brought up earlier I agree with Sev Seveer that creativity is what will separate people. Personally I am all for the sharing of information. The generation and the distribution of knowledge can only lead to the progression of any field, science, arts, and of course beats. It makes me wonder how do people decide which side of the fence people sit with regards to the sharing of information about techniques on beat making. Personally Im all about the the craftsmanship and allowing people the opportunity to learn a certain technique and also having opportunities to learn diff techniques just add to my appreciation of the craft and I would hope adds to the progression of the craft (beat making).
With that said Im more than happy to share, try answer any questions people may have with what ever I do. Not that it's a big secret but I understand theres always new comers on these beat battles wanting to learn etc and if I can contribute something to their understanding than that's rewarding enough. I fear Im coming off sounding like real corny right now but don't worry Im about to go roundhouse kick a couple of trees down in my backyard Van damme style.
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#67 Cise2

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Posted 28 August 2012 - 04:57 PM

Well, i got no mic so no vids for now, but, i see many people uploading their beat a day or two after.
So, new ear, thats what im here to say, not to much, but sure is a key factor: instead of making the beat and uploading it straight away, take a day or two before you mix it, comeback the next day, and start messing with it. youll here the imperfections you would like to remove, or subtle changes you'd like to make, say the flip or the drums, arrengment, etc.
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#68 DJ Sapien

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Posted 28 August 2012 - 05:48 PM

what are some drum techniques peeps roll wit??? compression settings, everything. transient shapers?? sound selection? sample velocity? layering, eq tips anybody? i like a super snappy attack and release on my compressors. slooooow attack and a fast relase, usually, but i try to tailor it by ear to my drum transients. i compress and eq all drums in the kit separately, usually rolling off low end massively on err ting but the kicks....just started fucking with a transient shaper, not really sure what the fuck i'm doing yet..... for me producing is like ninety five percent just totally fucking with shit until it's all weird and shitty, then i publish my beat. i think experimenting is super underrated, people seem to be all about twenty four seven "bangers" tho so whatever...


See, I don't even mess with compression at all. I just try to choose good samples and roll with them. I rarely do anything at all with the kicks and with snares, I might use some distortion from time to time. No boosting or anything when EQing. I keep everything on the same level. Really very simple.

#69 Obi-Dan-Kenobi

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Posted 29 August 2012 - 01:34 AM

here i diagree, playing it in the same manner would be biting, but fliping is not stealing, u can take a major scale based song and make it sound in a minor scale, say like premo made boom for royce. :)

well to me taking a bite of an apple is a metaphor for taking a sample meaning your bitting, thats the stealing bit, then comes the flip later down the line def nothing to do with the stealing, thats why I love this debate :D
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#70 Obi-Dan-Kenobi

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Posted 29 August 2012 - 01:57 AM

See, I don't even mess with compression at all. I just try to choose good samples and roll with them. I rarely do anything at all with the kicks and with snares, I might use some distortion from time to time. No boosting or anything when EQing. I keep everything on the same level. Really very simple.

I hate compression it's evil don't understand why we need to squash something to raise the volume later, If I had a proper reel to reel all my drums would go through that, so I just stick with tape saturation vst's. I tend to layer three to four different snares and kicks, filter them a little so they don't fight and pan them, i'll also knotch the bass eq so the kick can knock and boom, as an ex- Metalhead, I try and bring that into my sound Heavy on the low end!!, Only this week being the dumbass I am I realised setting the polyphony on your drums, so when you let go of the pad it stops dead, really makes your drumming come alive, also it means you can just use the beginning of the sample to layer over something and really make it punch or knock.

#71 Obi-Dan-Kenobi

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Posted 29 August 2012 - 02:06 AM

yeah your vids were informative sft esp in a sea of ableton tutorials on how to make a "hard" beat or a wonky wobble synth so word up to u for that ableton kinda funny tho ifeel u can achieve the same thing in dif ways alot of times, and it seem some of yr production tools aid in speeding up yr work flow and for a min it was like an ableton campaign in here i like ablton but it takes a bit to get into the layout just like any DAW i mean constobuz uses fl and that kinda blows my mind cuz i never got used to the layout on there so i never went back

sorry I got the energy going on the ableton thing, I'm like a little kid WOW!! look at that I wanit, I wanit, I want it now!, it's cool now I have calmed down and got over it :blink: :D

#72 Grifty-Rodriguez

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Posted 29 August 2012 - 01:30 PM

Reason!

#73 ras dude

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Posted 29 August 2012 - 04:58 PM

So I've been going through recent bb's and saw a few collabs. Anyone out there want to explain the process of how they go about doing collab beats?

#74 ziggyt

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Posted 29 August 2012 - 06:11 PM

i like how Grifty-Rodriguez up in this thread i just want u to post another beat so i can hears it cuz i love all the experimentalism and your percs gawddamnitt

#75 Cise2

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Posted 30 August 2012 - 02:13 AM

So I've been going through recent bb's and saw a few collabs. Anyone out there want to explain the process of how they go about doing collab beats?

well i do collab with pixelbeatz a lot, and basically u just get together, find a sample or write a melody/ chord progression, and instead of doing stuff the way u or he does, u raise ideas and it comes out better :) thats the idea behind collabing, its sort of an experiment

#76 steezo

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Posted 30 August 2012 - 02:09 PM

what are some drum techniques peeps roll wit??? compression settings, everything. transient shapers?? sound selection? sample velocity? layering, eq tips anybody? i like a super snappy attack and release on my compressors. slooooow attack and a fast relase, usually, but i try to tailor it by ear to my drum transients. i compress and eq all drums in the kit separately, usually rolling off low end massively on err ting but the kicks....just started fucking with a transient shaper, not really sure what the fuck i'm doing yet..... for me producing is like ninety five percent just totally fucking with shit until it's all weird and shitty, then i publish my beat. i think experimenting is super underrated, people seem to be all about twenty four seven "bangers" tho so whatever...



I didn't effectively use compression until like 2 years ago, really. Because I didn't understand it. Today, I am starting to get a glimpse of how it's working. In my opinion, I think there are 2 types of compression: one would be sound control. This is very important on all stages of the production, esp. on the master bus, to glue everything together, before a Limiter to turn it a louder. But also on a Drumkit and other Mix Groups. I almost never use it on single drum elements, but I EQ separately, though, to create some sort of frequency parking spots for each element - keeps everything from sounding shitty ;)

The other type of compression would be some sort of creative use of it. If used right, it can pronounce certain nuances of a snare or kick, without sounding distorted. If used wrong - everything sounds like shit. It's an art really. A few years back, I was messing with some drum loop in Reason in the Scream Module, cut the middle and compressed it heavily and then I suddenly realized: oh shit, that are the drums Primo used for Group Home's "Supa Star" - So that's how it goes… The feeling of actually finding out shit like that by yourself through experimenting is 10 times as rewarding as googlin' that shit.

Plus there are certain sounds and grooves you can never ever ever ever in life create without compression. Check these drums for example. There's no way to create drum sounds like this without compression:




Somebody mentioned the reverb on the drums. Well, it's actually just the decay of the drums amplified by the compression (slow release) so it sounds more roomy… try that w/o compression.

Here are the drums I used on that (don't bite my shit now):



As far as settings attack and release settings go: don't worry about it. Go with your guts. Just know what attack and release and ratio means and what types of different compressors to use on which element. And most important of all: try not to be technically about it. Try to let your emotion take control to achieve what you FEEL your shit should sound like and try to get there. It's like working with tag clouds of adjectives which describe the sound you are after.

If you outline that in your mind, then there's pretty good chance, that you have more fun while making beats and also shit sounds better, plus you free you mind of current flavors, that might influence and hinder you. Cause 9 of 10 of us have tried to emulate preem, pete and dilla at some point, but that just limits your creativity in the end, plus you get seldom get props for sounding like the next man. To me it's like: "ah, ok, dilla swing" next please… it's so overdone that I'm getting bored to listen to it, if that's the only noticeable aspect of the beat I am listening to.

Sound Selection: Go with your guts/mental tagcloud.

Transient shapers: never knew they existed until a year ago. Haven't used a single one in my beats yet. Will do some time though, I guess. They are suppose the manipulate the attack of a sample. So if your kick or snare lack a little emphasis should help to use this instead of compression. Never really fucked with that yet. I regard it as, some shit whack as producers do, who picked the wrong drums to begin with ;)

Aight.
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#77 Grifty-Rodriguez

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Posted 30 August 2012 - 02:59 PM

I dunno man, i don't think any single tool can make a dude wack....above all it comes down to style, i agree with you there. I don't care if you made your beat on an iphone and then sent it to a mastering agency, if its ill its ill

#78 Constrobuz

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Posted 30 August 2012 - 04:14 PM

And generally compression on the master channel is a bad idea lol

#79 Heavy Drama

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Posted 30 August 2012 - 05:20 PM

...but in the context of the battles, we are all good beat makers here. some of the best cats in the world are in here and the production community is made much smaller by this forum.



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#80 Sev Seveer

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Posted 30 August 2012 - 06:56 PM

Posted Image


ha, i have no idea what that GIF response means. But I assume discontent, because i dont associate anything positive with American Idol

#81 Sev Seveer

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Posted 30 August 2012 - 07:04 PM

I didn't effectively use compression until like 2 years ago, really. Because I didn't understand it. Today, I am starting to get a glimpse of how it's working. In my opinion, I think there are 2 types of compression: one would be sound control. This is very important on all stages of the production, esp. on the master bus, to glue everything together, before a Limiter to turn it a louder. But also on a Drumkit and other Mix Groups. I almost never use it on single drum elements, but I EQ separately, though, to create some sort of frequency parking spots for each element - keeps everything from sounding shitty ;)

The other type of compression would be some sort of creative use of it. If used right, it can pronounce certain nuances of a snare or kick, without sounding distorted. If used wrong - everything sounds like shit. It's an art really. A few years back, I was messing with some drum loop in Reason in the Scream Module, cut the middle and compressed it heavily and then I suddenly realized: oh shit, that are the drums Primo used for Group Home's "Supa Star" - So that's how it goes… The feeling of actually finding out shit like that by yourself through experimenting is 10 times as rewarding as googlin' that shit.

Plus there are certain sounds and grooves you can never ever ever ever in life create without compression. Check these drums for example. There's no way to create drum sounds like this without compression:

http://soundcloud.co...es/feel-my-pain


Somebody mentioned the reverb on the drums. Well, it's actually just the decay of the drums amplified by the compression (slow release) so it sounds more roomy… try that w/o compression.

Here are the drums I used on that (don't bite my shit now):

http://www.youtube.com/watch?v=3gE2H73l57A

As far as settings attack and release settings go: don't worry about it. Go with your guts. Just know what attack and release and ratio means and what types of different compressors to use on which element. And most important of all: try not to be technically about it. Try to let your emotion take control to achieve what you FEEL your shit should sound like and try to get there. It's like working with tag clouds of adjectives which describe the sound you are after.

If you outline that in your mind, then there's pretty good chance, that you have more fun while making beats and also shit sounds better, plus you free you mind of current flavors, that might influence and hinder you. Cause 9 of 10 of us have tried to emulate preem, pete and dilla at some point, but that just limits your creativity in the end, plus you get seldom get props for sounding like the next man. To me it's like: "ah, ok, dilla swing" next please… it's so overdone that I'm getting bored to listen to it, if that's the only noticeable aspect of the beat I am listening to.

Sound Selection: Go with your guts/mental tagcloud.

Transient shapers: never knew they existed until a year ago. Haven't used a single one in my beats yet. Will do some time though, I guess. They are suppose the manipulate the attack of a sample. So if your kick or snare lack a little emphasis should help to use this instead of compression. Never really fucked with that yet. I regard it as, some shit whack as producers do, who picked the wrong drums to begin with ;)

Aight.


Dont compress the master bus!!!! I mean to each their own, but thats pretty much one thing that you can count on hearing across the board when it comes to mixing.

All i got to say is, EQ EQ EQ EQ EQ EQ EQ EQ. There's no excuse for having muddy or tinny beats imo. I just simply dont understand it. Gotta learn that

I used alot of compression when i first started because I didn't know how to get what I wanted in the correct fashion, and compression is pretty much a universal "apparent problem solver". "Oh, its messed up? throw some compression on it"...wrong. When I was leading a mixdown session with a veteran engineer I did not see this man use one damn tick of compression, and the shit sounded like it was mastered by Zeus himself. It was all Eq'ing and giving everything its space from the very beginning of your beat till the last tweak. You'll find you might not even need compression if you make the right EQ moves

#82 steezo

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Posted 31 August 2012 - 12:07 AM

Thanks for your feedbacks, guys.

Hmm... I like to mix into the comp on the Master Bus to glue things together. And it worked really well for my taste so far. Usually, I just knock like 1 dB off of a mix. Slower attack and a fitting release. From what I understand and read so far, a lot of major mixing engineer do that: Michael Brauer (mixes into it, uses mulitbus setup) , Dave Pensado (similar), I think CLA does it too.

There are a lot of threads about that topic on gearslutz.com and it seems like there are 2 camps of people: people who use it and people who don't. Here is an interesting article about different approaches to using a Master Comp (or not):

http://www.gearslutz...-by-Charles-Dye

But I try the different route next time, by gain staging and EQing. And then I throw in an SSL like Comp and see what it does to the sound. Although I just post the beat split into 2 sections: 1 bus comp'd, one that's not. ;)

The thing I said about Transient Shapers was more of a joke, btw.

As far as saturating the drums is concerned: that's awesome. PSP Vintage Warmer is really great on that, cause it does a little bit of both compression and saturation. Used wisely, this thing turn your drums into pure crack. But you've gotta be careful with it. Massey tape head is dope too and it's free.

#83 Grifty-Rodriguez

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Posted 31 August 2012 - 12:53 AM

dude the vintage warmer has been in my mastering setup for daaaays!!! that thing is a miracle. i wish i could use it in my mixes, but alas, reason..... although i'm hoping like hell they make a "rack extension" for it (reason speak for plugins)

#84 Speekless

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Posted 31 August 2012 - 01:50 AM

Wow guys... NO master bus compression in Hip-Hop? :blink:

A lot of us here are using some form of master bus compression, namely: limiting. A limiter is basically just a compressor with a ratio of infinite. So if you talk about squashing dynamics, using a compressor is featherweight stuff compared to that. I'd bet my ass that 90% of the dudes here are using limiters on their master bus. Otherwise, I wonder how everybody's beats are so loud.

You can EQ away as much as you want, but there are sounds or dynamics that are simply impossibe to get without bus compression. It's just a different tool. All the 70's drum breaks that we're so fond of using in our beats for instance, they sound like they sound because of bus compression. Often the drums were recorded with just a handful of mics to one tape track and they compressed the crap out of it to get that now classic 70's sound, or pushed it intentionally so that the tape would start saturating/limiting. Hell, they compressed it with reverb and all...!

And I haven't even mentioned the 'loudness war' - these days, everybody tries to get a few dB's extra by using compressors/limiters. It's sad but it's reality. I even noticed in the Beat Battles that the softer beats get skipped over much more easily.

Anyway, my point is: it's not at all "bad" to compress the master bus, in Hip-Hop the master bus is probably the one thing you surely want to compress(/limit)... (and you're likely already doing it in some way!) It's as much part of the genre as sampling is imho. The thing is, it takes a lot of practice and active listening to become very good at it, and it's very easy to fuck it up, which is why a lot of people stay away from it. And they should. Plus: not every situation requires it. But it's only evil if you don't know what you're doing :)
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#85 steezo

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Posted 31 August 2012 - 03:26 AM

Wow guys... NO master bus compression in Hip-Hop? :blink:

A lot of us here are using some form of master bus compression, namely: limiting. A limiter is basically just a compressor with a ratio of infinite. So if you talk about squashing dynamics, using a compressor is featherweight stuff compared to that. I'd bet my ass that 90% of the dudes here are using limiters on their master bus. Otherwise, I wonder how everybody's beats are so loud.

You can EQ away as much as you want, but there are sounds or dynamics that are simply impossibe to get without bus compression. It's just a different tool. All the 70's drum breaks that we're so fond of using in our beats for instance, they sound like they sound because of bus compression. Often the drums were recorded with just a handful of mics to one tape track and they compressed the crap out of it to get that now classic 70's sound, or pushed it intentionally so that the tape would start saturating/limiting. Hell, they compressed it with reverb and all...!

And I haven't even mentioned the 'loudness war' - these days, everybody tries to get a few dB's extra by using compressors/limiters. It's sad but it's reality. I even noticed in the Beat Battles that the softer beats get skipped over much more easily.

Anyway, my point is: it's not at all "bad" to compress the master bus, in Hip-Hop the master bus is probably the one thing you surely want to compress(/limit)... (and you're likely already doing it in some way!) It's as much part of the genre as sampling is imho. The thing is, it takes a lot of practice and active listening to become very good at it, and it's very easy to fuck it up, which is why a lot of people stay away from it. And they should. Plus: not every situation requires it. But it's only evil if you don't know what you're doing :)


So you are so speaking my mind right there!

#86 steezo

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Posted 31 August 2012 - 03:32 AM

dude the vintage warmer has been in my mastering setup for daaaays!!! that thing is a miracle. i wish i could use it in my mixes, but alas, reason..... although i'm hoping like hell they make a "rack extension" for it (reason speak for plugins)


I'm pretty sure they will not miss out the opportunity to develop some Rack Extensions for Reason 6. Check out PSP Noble Q, too. Best vintage EQ out there imho. Pretty damn dope on everything. Esp. on Kicks and snares. Great in Addition with VW. So Reason 6 - how's that? I used version 1-5, but stopped using it when I got Maschine. I'm glad, that they finally introduced some sort of plugin-support.

#87 Heavy Drama

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Posted 31 August 2012 - 04:01 AM

...but in the context of the battles, we are all good beat makers here. some of the best cats in the world are in here and the production community is made much smaller by this forum.


It's about your comments not pop idol. No disrespect to you or anyone in here and everyone should know how I feel about the community but to say "we're all good beat makers" and that "some of the best cats in the world are in here" is just straight up retarded. There are many talented people in the group many of whom I'm kool with and respect immensely but I assure you the ones that might potentially be world class have left or do not contribute often enough for exactly that reason. Maybe 1 or 2 potentially but if you wouldn't mind telling me who you think is "best in the world" levels from this current group I'd appreciate it?

My suggestion regarding your original post is that if this is really needed you start one thread of conciousness and encourage everyone to contribute their go to technique or a tip that's helped or just some info/video that they think is relevant. I say this because we've been here with the "share your techniques" stuff many many times before and it always flops for a few of reasons.
1. the majority of cats on here are new or still learning and so the quality of the information isn't necessarily the best out there
2. because of no.1 we as a group have generally come to accept that the judging process is mostly based on creativity and not engineering. (I'm sure you've realised the "battle" element of this situation is a loose term to define the format. No one actually battles anyone else on here which is why there's so much love in the group. If we're being real this is the "stones throw beat cypher" which I'm absolutely fine with. If we were to actually battle I think you'd see the standard of production increase 100x cos folks don't wanna get punk'd.)
3. most of the "technically better" producers/beat makers don't actually want to give up their secrets or share much info at all

Sev mate big up to you for being proactive but we've tried this before in the actual round threads and unfortunately it always ends up dead or a baby sitting service where cats start talking about basic shit.

I would prefer if we concentrated on improving individual rounds and increasing the challenge or promoting more creativity. For example...
  • technique based weeks where everyone has to flip with a sidechain, distortion, reverb etc.
  • No drums week.
  • 3 beats in one.
  • Hip hop sub genre themed like trip hop, chillout, club etc.
  • Tempo week where all beats have to be locked to a certain bpm 90/180.
  • Classic re-flip week.
  • Elements week where you can only use 3 drums sounds kick/snare/hat, one none synth sounding bass and the sample.
  • Filter week
  • homage week where you flip in the style of or pay tribute to Dilla, premo, pete rock, large pro, marley marl etc
If I was around more and had the opportunity to inflict these rules I would. I think being more creative with the rules is the way forward. Folks can go find their own tutorials or ask specific questions to the group but please lets not turn this into some beat clinic because that's weak. We may not be "battling" but life is still competitive and finding out how to do things as well as your creativity sets you apart from others.

oh and just on a purely functional level extra threads in this board will fuck up the flow of

Voting Thread
Round Thread

Trust me I can guarantee that at some point it will become impossible to keep track of where the latest round is because they'll be 18 "behind the beat" threads clogging up the situation. In here it's Beat battles and voting only. I'm with whoever suggested we do this in "The Crates" and just link it to the current round.

Less talk
more action.

My views.

Big up Sev.
  • Pickled Beets, Sev Seveer and Shador the Black like this

#88 Obi-Dan-Kenobi

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Posted 31 August 2012 - 04:51 AM

Wow guys... NO master bus compression in Hip-Hop? :blink:

A lot of us here are using some form of master bus compression, namely: limiting. A limiter is basically just a compressor with a ratio of infinite. So if you talk about squashing dynamics, using a compressor is featherweight stuff compared to that. I'd bet my ass that 90% of the dudes here are using limiters on their master bus. Otherwise, I wonder how everybody's beats are so loud.

You can EQ away as much as you want, but there are sounds or dynamics that are simply impossibe to get without bus compression. It's just a different tool. All the 70's drum breaks that we're so fond of using in our beats for instance, they sound like they sound because of bus compression. Often the drums were recorded with just a handful of mics to one tape track and they compressed the crap out of it to get that now classic 70's sound, or pushed it intentionally so that the tape would start saturating/limiting. Hell, they compressed it with reverb and all...!

And I haven't even mentioned the 'loudness war' - these days, everybody tries to get a few dB's extra by using compressors/limiters. It's sad but it's reality. I even noticed in the Beat Battles that the softer beats get skipped over much more easily.

Anyway, my point is: it's not at all "bad" to compress the master bus, in Hip-Hop the master bus is probably the one thing you surely want to compress(/limit)... (and you're likely already doing it in some way!) It's as much part of the genre as sampling is imho. The thing is, it takes a lot of practice and active listening to become very good at it, and it's very easy to fuck it up, which is why a lot of people stay away from it. And they should. Plus: not every situation requires it. But it's only evil if you don't know what you're doing :)

Yup don't use use as I don't like what it does and so many use it, I want my own sound so try to avoid it, because of that I don't know how to use it, my meaning of evil is it squashes the dynamics, I just don't get it. it's a case of each to their own as long as you get where you want to go. Also watched a vid by Alan Parsons the guy that did Pink Floyd the wall, he explains limiting and compression really really well, they are similar but not the same.

#89 Obi-Dan-Kenobi

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Posted 31 August 2012 - 05:34 AM

It's about your comments not pop idol. No disrespect to you or anyone in here and everyone should know how I feel about the community but to say "we're all good beat makers" and that "some of the best cats in the world are in here" is just straight up retarded. There are many talented people in the group many of whom I'm kool with and respect immensely but I assure you the ones that might potentially be world class have left or do not contribute often enough for exactly that reason. Maybe 1 or 2 potentially but if you wouldn't mind telling me who you think is "best in the world" levels from this current group I'd appreciate it?

My suggestion regarding your original post is that if this is really needed you start one thread of conciousness and encourage everyone to contribute their go to technique or a tip that's helped or just some info/video that they think is relevant. I say this because we've been here with the "share your techniques" stuff many many times before and it always flops for a few of reasons.
1. the majority of cats on here are new or still learning and so the quality of the information isn't necessarily the best out there
2. because of no.1 we as a group have generally come to accept that the judging process is mostly based on creativity and not engineering. (I'm sure you've realised the "battle" element of this situation is a loose term to define the format. No one actually battles anyone else on here which is why there's so much love in the group. If we're being real this is the "stones throw beat cypher" which I'm absolutely fine with. If we were to actually battle I think you'd see the standard of production increase 100x cos folks don't wanna get punk'd.)
3. most of the "technically better" producers/beat makers don't actually want to give up their secrets or share much info at all

Sev mate big up to you for being proactive but we've tried this before in the actual round threads and unfortunately it always ends up dead or a baby sitting service where cats start talking about basic shit.

I would prefer if we concentrated on improving individual rounds and increasing the challenge or promoting more creativity. For example...

  • technique based weeks where everyone has to flip with a sidechain, distortion, reverb etc.
  • No drums week.
  • 3 beats in one.
  • Hip hop sub genre themed like trip hop, chillout, club etc.
  • Tempo week where all beats have to be locked to a certain bpm 90/180.
  • Classic re-flip week.
  • Elements week where you can only use 3 drums sounds kick/snare/hat, one none synth sounding bass and the sample.
  • Filter week
  • homage week where you flip in the style of or pay tribute to Dilla, premo, pete rock, large pro, marley marl etc
If I was around more and had the opportunity to inflict these rules I would. I think being more creative with the rules is the way forward. Folks can go find their own tutorials or ask specific questions to the group but please lets not turn this into some beat clinic because that's weak. We may not be "battling" but life is still competitive and finding out how to do things as well as your creativity sets you apart from others.

oh and just on a purely functional level extra threads in this board will fuck up the flow of

Voting Thread
Round Thread

Trust me I can guarantee that at some point it will become impossible to keep track of where the latest round is because they'll be 18 "behind the beat" threads clogging up the situation. In here it's Beat battles and voting only. I'm with whoever suggested we do this in "The Crates" and just link it to the current round.

Less talk
more action.

My views.

Big up Sev.

Mmmm got a point I've gone right off on one and has anyone actually mentioned any 286 beats, I've learnt some stuff though, listened to beats a lot differently and really tried to make sure my comments actually help out a bit, What I have got to say about the been there done it worn the T.Shirt beat forum, with this whole thing that Sev started is I can feel the difference since this Cat jumped on board, the whole community has had a rocket up its creative bottom hole!! and that is since I started hear in June, all it felt like was download sample chop chop chop, flip flip flip, post beat, comment next, etc. Now it feels like a Hiphop community raising each other out of ignorance,(like special needs kids that see the word retarded typed and get upset, ridiculous, or silly will do man, it's actually really offensive, has a nasty feel when you say it.sorry dude but I hate seeing that word used.) Like some of the ruling ideas dude, tribute week, that sort of thing, themes would be good as well, or stories. time changes etc. You wanna have a go at the M.P.C battles or look at the forum it's young granted only on number 15 but it's dead pretty much. This is worth the time and effort if everyone puts in a little, anyone moans about time issues will be tracked and hunted, I'm a home Dad and full time carer, and I still try to make the effort, as others are listening too my stuff and I could be wasting 2 mins of their life ha ha!

#90 Speekless

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Posted 31 August 2012 - 06:12 AM

Lol sorry Heavy Drama, just read your post before posting the thread!

I'm new here so if y'all think it's better to move this to The Crates.. lemme know. Don't wanna clutter up anything and if we do this Behind the Beats thing, everybody should be cool with it. Peace.




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