-niN wrote:^ Sounds like a dope vid.. Link anybody?
I think it's this one...
By mr_debauch
Wed Oct 09, 2013 7:21 pm
I think it's this one...
MPC-Live/Remix16
By CHOPFYT
Wed Oct 09, 2013 9:26 pm
er nice one debauche but the LP the OP is talkin about is UK producer Lewis Parker not the El-P of Company Flow fame 
SHANK IS DEAD
By MorphManiac
Wed Oct 09, 2013 9:37 pm
imagine the impeach the president break (jus for example) make a perfect 1 bar loop - go to chop (epually) and set it to 8 chops (8 notes) adjust the start and end points accuratly --> make a programm - when you now play the pads from 1 to 8 (same mute group channel on every pad) it is still soundin natural like the original one - of course you can now play it in a row how u want and be able to layer other drums to your sequence and create your own (with natural soundin air)
By mr_debauch
Wed Oct 09, 2013 10:39 pm
shank carvin wrote:er nice one debauche but the LP the OP is talkin about is UK producer Lewis Parker not the El-P of Company Flow fame
ah my bad hahaha....
sometimes I watch beat this on that british youtube channel where they get 10 minutes to make something quick. usually it isn't from scratch though, they seem to set it all up ahead of time. still cool though.
I think that one el-p is on is a bit better though.
MPC-Live/Remix16
By CHOPFYT
Thu Oct 10, 2013 5:21 pm
yeah i checked the others too and el-p got the pick of the bunch, not that the others were terrible he just kept it interesting
SHANK IS DEAD
By Zukan
Sat Oct 12, 2013 10:59 am
tapedeck wrote:Zukan wrote:tapedeck wrote:not trimming them tightly.
instead of ending the sample right where there is no more drum sound, you'd keep some of the stuff that comes after as well.
could be silence, noise, reverb, or even other sounds.
Actually, this is the last thing you want to do. Any processing afterwards will process the dead space too and you'd be amazed at how that damn noise floor can rise.
yea i appreciate what you are saying, but i think it defeats the entire purpose of what the op is talking about.
the point is to keep extra 'stuff' in there for character, noise floor be damned. you want to process / keep the dead space - thats the whole point.
we're talking about a technique developed in bedrooms where an mpc might be the only piece of gear, and dudes were just experimenting trying to make beats in the moment. not a studio scenario where you have access to pre's, multitracks, time, trying to polish it off for the radio, etc etc.
you do make a good point though, if you want to control every aspect of it, then keep it as scientific as possible.
however if you want it looser, more raw, leave some of the dirt in there for character.
I hear you Tape and if it's for colour then go for it. However, there is a problem and that is of anything that controls the dynamics, be it a compressor or EQ etc. It's great to sample and use the silence, hell, I do things like that all day for my products, but mine are all post processing. Try saturating a sound that has air at the end of the sample due to poor truncation and you'll lose the texture and balance between the sound and the air sample.
Like I said, and am in agreement with most of you guys, for colour and effect it is nice but for the 'air' processing, and trust me on this, this is not how we approach it. The air band itself lies above 15kHz and we try to clean the sample as much as possible leaving only what we call the 'sweet' frequencies. That way, when you hit and boost the air band. you are adding presence to your sound and not getting a brittle sound as you would if you had left the empty 'space'.
I am the first proponent of just going with gut instinct but when it comes to sound design and production there are certain things that the science will simply not accommodate. The air band, ie the presence, is as complex as managing low end, so there is methodology in how we process that area. But as an effect/colour, hell, use whatever you want.
The OP asked for what I thought to be how to handle the airing or silence pumping on most modern hip hop tracks and that entails a different process to slicing and dicing segments of vinyl to be used in layering mode or colouring.
By peterpiper
Sat Oct 12, 2013 3:31 pm
Seem to me like this is another case of
"1 word -> 2 meanings"
In the world of audio-engineers the term "air" is most often used to describe a frequency range
In HipHop-music-producer-circles the term (especially the boom bap enthusiast) "air" means the signal "in between" instrument hits. The time when there is no playing instrument but only the reflection of the room the instrument were recorded (or fx processors), a bit of noise from preamps, mixers, microphones.
Its the "color" of room and equipment that was used in the recording process.
Some people also call the noise between two tracks on a recording (may it be tape or vinyl) wich is silence (from the musical point of view) as "air".
Since our ears dont like absolut silence (cause it's unnatural), this noise is sometimes used as sample to fill abolute silence between samples. IMO this kind of noise often need to be shaped (EQ) to match to the other samples.
peace
"1 word -> 2 meanings"
In the world of audio-engineers the term "air" is most often used to describe a frequency range
In HipHop-music-producer-circles the term (especially the boom bap enthusiast) "air" means the signal "in between" instrument hits. The time when there is no playing instrument but only the reflection of the room the instrument were recorded (or fx processors), a bit of noise from preamps, mixers, microphones.
Its the "color" of room and equipment that was used in the recording process.
Some people also call the noise between two tracks on a recording (may it be tape or vinyl) wich is silence (from the musical point of view) as "air".
Since our ears dont like absolut silence (cause it's unnatural), this noise is sometimes used as sample to fill abolute silence between samples. IMO this kind of noise often need to be shaped (EQ) to match to the other samples.
peace
By Morris Cody
Tue Oct 22, 2013 10:47 pm
When I am doing work inside the MPC I use "attack" a lot.
I may have a really dope snare that has no tail. I'll just take the same snare lower the volume and crunch it with a lot of attack or decay. Which ever is needed and put it under the main snare.
Usually for my drums that are very choppy. I'll lay at much lower volumes of other kiks and snares with a high attack so that it only leaves the breath of the snare or kik and lay them underneath the main drums to give'em that life.
It really makes the difference as the rest of the music is played and it really glues together.
I may have a really dope snare that has no tail. I'll just take the same snare lower the volume and crunch it with a lot of attack or decay. Which ever is needed and put it under the main snare.
Usually for my drums that are very choppy. I'll lay at much lower volumes of other kiks and snares with a high attack so that it only leaves the breath of the snare or kik and lay them underneath the main drums to give'em that life.
It really makes the difference as the rest of the music is played and it really glues together.
By Cases
Wed Nov 13, 2013 6:15 pm
When I am doing work inside the MPC I use "attack" a lot.
I may have a really dope snare that has no tail. I'll just take the same snare lower the volume and crunch it with a lot of attack or decay. Which ever is needed and put it under the main snare.
Usually for my drums that are very choppy. I'll lay at much lower volumes of other kiks and snares with a high attack so that it only leaves the breath of the snare or kik and lay them underneath the main drums to give'em that life.
It really makes the difference as the rest of the music is played and it really glues together.
this..
By JamesJeffery
Wed Nov 13, 2013 6:38 pm
Anyone got any links to LP interviews?
My personal blog about trap/hh production: https://trap-drum-samples.com
By penumbra.beats
Thu Nov 14, 2013 1:35 am
mr_debauch wrote:shank carvin wrote:i always thought LP got his drums sounding like that cos of his trusty SP...im pretty sure the 1200 is and has been the centre of his production since C.O.N.
A lot of heads that use the SP carry the same weight with their drums, obviously techniques like those shared here will help to emulate that sound and your sources are always important to end product
he did an episode for that youtube series (forgot the name) where they get blind folded and gotta pick a couple of records.. and make a beat with those randomly chosen records. Anyhow he wound up using the asr, and I think he used a daw and maschine if I remember correctly.
http://www.youtube.com/watch?v=q06UxOKc ... f_3e9fWZzl
MPC 2000XL|SP-404|MPC 500
By 52:1
Tue Nov 19, 2013 10:57 am
tapedeck wrote:not trimming them tightly.
instead of ending the sample right where there is no more drum sound, you'd keep some of the stuff that comes after as well.
could be silence, noise, reverb, or even other sounds.
I just did this last night with a break, normally I would've trimmed it tight but I needed them to space out naturally, left the space behind each instrument and when I manually jammed em' it sounded damn near like the drumloop.
By Eemo1
Wed Nov 27, 2013 1:29 pm
good thing to remember that digital silence is nothing (no digital bits) where analog silence can vary depending on the used device. tape machine, pre, comp, desk all adds up.
Music is one career where you can't fake talent for long.
By hh2.e
Sat Nov 30, 2013 1:15 am
good question!
thanks for the air share fam.
thanks for the air share fam.
peterpiper wrote:with air minus without air = pure air
i might weave a lil bit of magic tonight cause to me imagination is the fabric of life!