do u agree with this?

For me, half of this game is finding samples on vinyl to create new music. My rules definitely can't apply to everyone though, and in Marley's case dude has an ill collection with some records most of us will probably never see (The Sympohny drums, anyone?)- He's a legend and he's paid his dues, and my guess is he's just as deep in crate knowledge as any producer who samples.

At the end of the day, if this method works for him and he's happy with his work, I ain't mad.. How can anyone into hip-hop be mad at Marley Marl, the man who brought sampling to the forefront of this music? If it weren't for him, a lot of us beatmakers wouldn't be doing what we do today.

MegaTON wrote:

Onslaught wrote:It is Marley Marl right?

I think it's lazyness...

i was real mad the first time i read it...
i mean i think it's lame that u let someone elses ear decide what's good to sample maybe he aint good at choppin... some **** people sample im like wow i never even heard that in this record... and a lotta times i hear somethin else in the same record a lot better than the **** sampled so i dunno

Agreed.
I think, when you're a hiphop producer that samples, you atleast got to find your own goddamn samples. Then it doesn't matter if you got 300 million dollars, just do it.

Neva mind that shit many producers that work in the industry have tight deadlines so the need to maximise the time the spend macking music and handling other shit. Dudes like Just blaze, Timbaland have pro digger source rare records for them, same way in deep crate when shop owners keep aside records so producer aint gotta spend alot of time going thru wack shit to find the gems to sample.

obviously when ur doing this as a hobby or still developing ur sound u should go out and seek ur own sounds but if uve already come up in the industry and u have access to peeps that dig 4 living then take advantage.

Marley's been doing this for over 20 years yall. It isn;t digging like we dig, where most of what we see is new to us. Dude goes through crates like "got it, got it, got it, got it, got it, got it, got it, got it, trash, got it, got it, got it, got it, got it, got it, got it, got it, got it, got it, got it, got it, got it, got it, got it, got it, got it, got it, got it, got it, got it, got it, this one is in better condition but I already used the fuk outta it, used it, used it,used it,used it,used it,used it,used it, Oh, here's something new!

After you've been digging for 20 years come talk that shyt, anyone just off the bench digging for unbder 10 years is still a newjack and probably won't do it as long as Marley has done it. After you do something for 20 years +, you might feel differently, or enjoy certain aspects more.

Also, in the article you see that he says he lets those cats do it and slips them some paper, he's probably partly doing it to help thiose guys out cash wise, since he can't just pay em for nothing, and they actually help them. People just comment on here like you know all about something, this is like trying to kick code with bill gates after just 5 years of training. you can't hang on that level son, it's just not about records and sampling.

good words elm. i can see this from alot of different POV. imnot gonna say how heshould act..

If it wasn't for Marley you guys wouldn't be looking for records to sample & make beats from. Hip hop would probably just be some forgotten early '80s music.

If it wasn't for Marley the Akai MPC might never have made it past a prototype for the original 60.

I'm guessing that everyone who thinks this sucks never buys a record they see up on the wall behind the desk in a record store & thinks "that looks good ... I wonder what that sounds like?" In fact they go into record stores wearing ear plugs in case they hear someone else play something really hot because they might be tempted to ask what the record is & ..... someone else might tell them. Oh I forgot. They don't go into record stores because all the records there have been chosen by people who know about music.

UNKNOWN wrote:If you have a problem with Marley Marl paying people to find samples for him then you should never buy a keyboard, sound module or drum machine because you would be doing the same thing -paying someone to provide sound for you.

Word!

featherboy wrote:If it wasn't for Marley you guys wouldn't be looking for records to sample & make beats from. Hip hop would probably just be some forgotten early '80s music.

If it wasn't for Marley the Akai MPC might never have made it past a prototype for the original 60.

I'm guessing that everyone who thinks this sucks never buys a record they see up on the wall behind the desk in a record store & thinks "that looks good ... I wonder what that sounds like?" In fact they go into record stores wearing ear plugs in case they hear someone else play something really hot because they might be tempted to ask what the record is & ..... someone else might tell them. Oh I forgot. They don't go into record stores because all the records there have been chosen by people who know about music.

Let's BE REAL CLEAR ON THIS.........................................




I MPC4000XL WAS IN ROCK N SOUL by 35TH DOWNTOWN AND MARLEY MARL CAME IN THERE AND COPPED HIS OWN VINYL..................



DON'T GET IT CONFUSED Me And Marley and The Sales Dues My Man MIKE and RUEBEN where talkin' Bout Breaks And Such.....................


And This Took Place Like 2 Months Ago......................


MARLEY DIGGS............................Period.....................


My Comment Above Was In Reflection OF KANYE and Others..............


Has Marley Sent Out Some ONE For Breaks YES...............................


If My Brother Did Not Send Me Out For A Copy Of ART OF NOISE --"Beat Box" I Prolly Wouldn't Be Doing This Today Either..................


I think Sendin' Out Someone or Whatever IS FAR DIFFERENT From Not Being A Digger................

I can understand how listening to record after record, sampling, chopping, tweaking etc. can become laborious, after awhile you just want to make a freaking beat, just want to put your song together. And i find that i can chop pretty much anything and use it even if at first listen it sounds like garbage, so the man is probably just thinking, just give me some sh*t and i'll lay down a track. Is a painter not a painter because he buys his oil at a store instead of grinding up his own pigments. Samples are just paint.

On the other hand, searching for samples listening to others music in its entirety can give inspiration, a piano riff by itself is sort of soulless, but when you hear the riff in its context it may inspire how you yourself use that sample. As for me, it may get tedious sometimes, but ima always chop cuz, i just like listening to the music.

What i find worse than what X is doing, is getting sh*t from those .com companies selling pre packged programs for your mpc, at least X is gettingexclusive samples from his staff, unless there selling it to other producers. That other stuff though is like fast food, taste good but bad for you.

boaty wrote:I can understand how listening to record after record, sampling, chopping, tweaking etc. can become laborious, after awhile you just want to make a freaking beat, just want to put your song together. And i find that i can chop pretty much anything and use it even if at first listen it sounds like garbage, so the man is probably just thinking, just give me some sh*t and i'll lay down a track. Is a painter not a painter because he buys his oil at a store instead of grinding up his own pigments. Samples are just paint.

On the other hand, searching for samples listening to others music in its entirety can give inspiration, a piano riff by itself is sort of soulless, but when you hear the riff in its context it may inspire how you yourself use that sample. As for me, it may get tedious sometimes, but ima always chop cuz, i just like listening to the music.

What i find worse than what X is doing, is getting sh*t from those .com companies selling pre packged programs for your mpc, at least X is gettingexclusive samples from his staff, unless there selling it to other producers. That other stuff though is like fast food, taste good but bad for you.

Trust That All stated above Iz being Done And more.................



But Marley Marl aint The Violator...........
It IZ Someone Else..............




.. .. ..

It's funny that this topic has been brought up. Just a few months ago I was approached by a producer to do some digging for him. At first I considered it, but then denied out of principle. I personally think that a good portion of being a quality producer is knowing your music and taking pride in your craft. Plus it upsets me to see someone else getting the credit for someone elses sweat and labor.

Anyhow, when it comes down to it I guess it doesn't really matter where you get the sample from or who finds it so long as it's hot. It does say something about personal integrity for someone to dig for their own samples, but who really needs personal integrity when your bank account has integrity of its own.