Are producers only as good as his records/sound sources: tri

Ima make a few statements see if u feel this

A producer is only as good as his records/sound sources? One of the most important skills a producer can have is sound selection and composition.
If I give a producer some shit records with some cheesy cheap sounds even if he loads em up into the mpc they still gonna sound cheap, he might filter sounds and chop to come up with a good pattern but ultimately the source sounds will shine through and if they are of poor quality than the beat will sound wack.

Why am I thinking about this? cos ive been making beats for around 3 years now and have a vision of how I want my music to sound. I work with samples I have listened to many records in shops and on the net and its been very hit and miss. Some records and artists that I have identified as having the type of sounds i wanna sample i cant find here in London.

So how do i implement my vision? if i can find the right kind of sounds if i cant find the records im looking for that’s gonna impact the amount of inspiration i get when listening to the records and that in turn will effect the style and quality of my output.

Anyone feel what im saying or should i just being too rigid i mean im still finding alternatives here and there but r crate diggers defind the size of there collection and the records in there collection. When I 1st started diggin I neva wanted to be a dude who collects everything I just wanted a small stash of records that r interesting to listen to and have good sounds to sample, now its looking likely I may have to get a bigger collection of records with each record having only I or two sample worthy tracks or getting a synth.

I mean there alot of expensive records in london and sure u can find decent sounds on most records but i dont want just one usable sound on each record i buy. I want to be able to listen to a whole record enjoy it and be inspired and hear different things each time I listen, but it seems like i either asking to much or need to dig way harder.

I know this is a lot of shit to read so if anyone does read this nice one don’t diss to much peace.

a great producer will improvise....just look for the sound you are looking for....sample it......and then work it.......a man like primo sometimes only uses hits...which makes it harder to know the source.....or sampling wack songs.....if you are great you will make that sound good!!........but then again you may have a point....because the least of sounds you access...will be the least chance of heat you will compose(limited)

plus...

dont forget about layering, compresion and eq. remember that a good total song is all about how the individual elements fit together...
just because certain elements sound "weak" in isolation dont mean that it won't sound good when you put it all together...

"just because certain elements sound "weak" in isolation dont mean that it won't sound good when you put it all together... "

see i used to have that mentality but now i wanna eliminate all the weaklinks in my songs so i want every single sound to be hot, the way i see it is if i do that than thats half the battle won all i got to do after that is arrange and make sure the timmings on point

i hear you, but remember: if every single sound on a track is intense and in your face, the human mind (and hearing system) gets used to it and it ALL becomes background noise... this is just fact of human phsyiology.
so if you are going to take this path, you want to make sure that you give your beats lots of room to do their thing in...

a subjectivly weak sound in isolation could be strong in a mix, and vice versa: a "strong" sound in isolation could be weak in the context of the mix. For example, if you put a big heavy reverb on all your sounds they will sound better when played in isolation but all those sounds together are going to be muddy in a mix. if your bass and kick drum occupy the same frequency bands, they will sound good in isolation but lack definition when played together, etc. etc. you know this...

at the same time, experiment and do what you want, but i think you should remember what makes a track good is the whole, not just the parts.

i second descartes's point. this point details what issues instrumentalists normally have --- b/c it's that depth which comes back to haunt them/becomes a technical nag when trying to make each sound have distinct definition. However, it's this same depth that makes efforts sound complete and dense b/c though everyone has their own plan of attack, a track should be thought of on the whole level, not just parts === like descartes said.