Sharris wrote: I understand this is just your opinion & I agree it won't prove much in this current debate, but I disagree that it's only for beginners that don't know what records to select. I'm sure you have done this many times, so you must be speaking from experience, but in my experience, making music rhythm roulette style is a lot more than "not knowing what to sample" all though it can teach you a lot in that regard (learning what to listen for)...... but it also teaches you how to work with ANYTHING. & personally I love a challenge. I love to take songs that people consider hard to flip or just songs that "suck" or sounds that are unpleasant..... & making something beautiful with them. It's a great feeling & the skills you get from this are limitless in my opinion (no matter how much experience you have). I admit I was a beginner, but the first 2 years of beat making this was the only way I made sample based beats. & I had plenty of amazing records, so it had nothing to do with not knowing what record to pick. I want those skills & that knowledge. Taking the easy way out isn't gonna give you much of that.
You not only get REALLY good at knowing what to listen for, but you can take just about anything & make something magical with it. & I guarantee, you can have 20 years of sampling experience & still get something out of making music rhythm roulette style.
If one goes into the Rhythm Roulette, as a way to learn and challenge one self. I agree there is something one can learn from it. When I said beginner, it was more in reference to ear training and knowing lots of songs. I've bought thousands of records, based off the cover, color, and things like that. Yes, I've found some really cool sounds at random. But it was always at random and it was never consistent.
However, once I sat down and studied the music, arrangements, mixer, producer, musicians, engineers, and artist. It really opened up the world. Knowing where to get bass, drums, vocals, strings, guitar, horns, and so on from. Was a much more powerful skill to have. (Like looking for an incredible low end Bass on 1980 Glam Rock Album. Your chances are low. haha) It wasn't just about finding breaks and loops, it turned into finding texture, moods, feelings, instrument layers, modes, chords, time signatures and so on.
I turned my crate digging into sheet music digging. I started replacing records with books of notations. I can hear the bass in Marvin Gaye's lets get it on, buy the sheet music. I then could listen to the album and read the notation at the same time and see what they are doing. Where they are going and when they were improvising.
I then could find the notation of the bass, and replay or rearrange it aka chop up the sample and understand what key the music is in.
Nevertheless, that particular RR was not about learning, but trying to belittle me or tear me down. There was nothing constructive, artistically inspiring, or financially rewarding about it.
Sharris wrote:
Totally agree. But this doesn't mean 1 can't have a passion for sound and the differences in sampler convertors. Personally I like the sound of the 1000 & 2500. I wouldn't buy either for their sound. But I still like what they do to the sound, especially drums. I can't explain it. I didn't really get into this or really notice much until I had experience under my belt. So I don't think beginners that make wack beats really care about this. But it doesn't sound like any of you are really beginners, so.....
I agree, that each machine has a particular sound.
As far as beginners, at some point we all were at one. I go back and listen to the music when I started and I find some jewels, but I also find a whole bunch of wack things and bunch of what the hell was I thinking compositions.
Some people think, if they get the equipment and that piece of gear, they will sound like Dre, Pete Rock, Jimmy Jam and Terry Lewis in 3 months.
