Boon Doc's sampling technique. You tube link.

kebzer wrote:I feel kinda strange because I fail to realize the "greatness" behind this thread. No way I'm dissing on Boon Doc, I love his stuff, but ppl please, that sampling technique is probably the very first thing someone will learn on an MPC. It breaks down like this:

-Get a sample, don't give a **** about BPM's or if it loops correctly. The only thing that matters is if the sample contains clean notes stabbing. What I mean by that? Find a sample that when you chop it, each chop will contain one single stab or sound on it. A very good example of such a sample is the Tears sample used by The RZA on the infamous Wu song.

-Make good chops. Again you don't need to bother about how many there should be. Normally I would chop it in no more than 16, so that I can get everything on one pad set. I use Recyle for doing that. Mad easy and fast. The only thing you should take care of is to start each chop exactly from where it starts and not having spaces in the very start or end. That way you'll get your chops to be triggered instantly by your pads.

-Spread them out in no particular order and start improvising by using different compinations. Normally you will end up with something nice after about half an hour.

-After that play your sequence. If chops are going one over the other that means that you're playing everything too fast. Slower your tempo. If again you hear gaps between your chops, then you need to raise your tempo. If you break down your sample into single stabs, then you don't even need to care about your tempo.

The only thing that is time consuming for me is the proccess of turning everything to Monophony so that no chops are going over the others, resulting in a **** up sequence, because normally I will use only fractions of my chops from there to there and and then compine them with their full length. Sounds complicated but still mad easy.

Ppl you only need to play with your babies. Don't treat MPC's like you're some kind of a classical music composer. That piece of equipment was designed for pure fun.

PS Later I'm gonna post one of my beats which demonstrates exactly that technique.

lol, that's exactly what i was explaining if you look at one of my post from earlier.

i also quoted "what I'm doing in those videos is not really complicated at all. It's pretty much one of the BASIC sampling techniques that a lot of sample based producers do (Pete Rock, Ski etc.). Simply slicing loops and playing the chops in whatever order you see fit."

Yep, I read your posts and I really liked your diggin from the videos, but still it amazes me how some ppl in these forums find these techniques "super difficult" and try to discover the secrecy behind me. Probably some of these guys have had their MPC's just sitting in front of them for too long...lol!!

Still, the only true technique for me is diggin. If you have a mad nice sample, then definetely this sample will also sound amazing chopped. That was the thing I noticed on your videos and that why you have my respect, because you dig the right joints. Word!

Oops, no secresy behind me, just secrecy behind them..lol, free post!

kebzer wrote:Yep, I read your posts and I really liked your diggin from the videos, but still it amazes me how some ppl in these forums find these techniques "super difficult" and try to discover the secrecy behind me. Probably some of these guys have had their MPC's just sitting in front of them for too long...lol!!

Still, the only true technique for me is diggin. If you have a mad nice sample, then definetely this sample will also sound amazing chopped. That was the thing I noticed on your videos and that why you have my respect, because you dig the right joints. Word!

I definitely agree. It's the person's ear and imagination that counts.... and that alone is something that can NEVER be taught. I've even had TONS of people email me asking how I "go about finding samples". I mean... how the hell else can I answer that besides, "Listening... and grabbing what I like" lol.

Or they'll ask... "what are some good artists from back in the day to sample?"..... You're supposed to find out the same way I had to find out... RESEARCH! Dig in the crates... look up the names of artists from the 70's or before on the internet. That research is important for not only sampling... but for MUSICAL KNOWLEDGE... learning HISTORY... Half of my records, I don't even try to sample... I just like to the play the sh*t out of them lol.

kebzer wrote:probably the very first thing someone will learn on an MPC. It breaks down like this:

-Get a sample, don't give a **** about BPM's or if it loops correctly. The only thing that matters is if the sample contains clean notes stabbing. What I mean by that? Find a sample that when you chop it, each chop will contain one single stab or sound on it.


-Make good chops. Again you don't need to bother about how many there should be. Normally I would chop it in no more than 16, so that I can get everything on one pad set. I use Recyle for doing that. Mad easy and fast. The only thing you should take care of is to start each chop exactly from where it starts and not having spaces in the very start or end.

Yeah, man-- the technique YOU'RE describing is probably the first thing I learned on my MPC. The thing is that Boon Doc's technique discussed here is different, as the chops aren't really clean, nor trimmed in a "logical" way.

I tend to chop my samples like I chop my drums-- into clean hits/stabs, paying close attention to the start and end points. 95% of the time this gets the job done, but some samples are so busy that you end up with a bunch of short chops which are a pain in the ass to reassemble in a smooth way (and leaving the chops bigger means more restrictions while programming, obviously).

Boon Doc's method (and a lot of other producers' too, I'm sure), which is so simple that it initially felt counter-intuitive to me, is not only time-saving, but as the samples are identical in length (<- main advantage) playing the chops live is easy as pie. You have to mess with the attack and decay of some chops as sometimes you can hear some "noise," but that's a small price to pay. Sure, I could've figured this out on my own a whole lot sooner, but it's not like I didn't bang out dope beats with my regular chopping techniques. All in all, it's most definitely a welcome technique in my arsenal.

Example: I had this busy stereo jazz loop with two different basses playing at the same time. I tried chopping it, knowing the sample wasn't that chop-friendly-- didn't like the result. I ended up looping it-- it was ok, but kinda boring. Now I went back to the sample, used Boon Doc's method, two minutes later I had a funky sequence going. So THANKS Boon Doc for helping make a nice beat happen and for reminding me to "keep it simple stupid" like Diamond D.

stinktank wrote:Example: I had this busy stereo jazz loop with two different basses playing at the same time. I tried chopping it, knowing the sample wasn't that chop-friendly-- didn't like the result. I ended up looping it-- it was ok, but kinda boring. Now I went back to the sample, used Boon Doc's method, two minutes later I had a funky sequence going. So THANKS Boon Doc for helping make a nice beat happen and for reminding me to "keep it simple stupid" like Diamond D.

No prob fam. I went through the same thing on a lot of busy samples before too lol.

People fail to realize that in the very beggining all that counts is the sample source. You dig a good spot, you're 90% there. Most of the time I see ppl trying to create a song out of useless samples. That's no way for you to get there. All we need, us the hiphop producers, is the tempo inside us and some nice taste over music. I mean, most of the time you'll see ppl trying to dig funk and soul joints. Well, actually there are about some millions of other recordings out there which are equally dope. All we need is to dig. Anyway, here is my technique demonstrated. All I did was to chop the sample which was something like 82 BPM and then I played it over a 93 BPM beat with no time stretch or pitch shifting. Straight chopping!

http://www.zshare.net/audio/4298589acb4797/

*I hope no sucka is gonna bite it. lol! If anyone wants it, its on sale, double LOL!!

Boon, I'm happy I've talked to a true head. Keep on busting those subs!

make a drum sequence 16 bars long... after it's created.. get your favorite sample and chop it up into 16 pads... so tap the pads, you can basically tape them at damned near any tempo without it sounding too choppy.. or just adjust it to the tempo of the 16 bar drum sequence you made. ... while the drum sequence is playing.. tap the chopped sample pads in any form shape of fashion you feel.. and.. VOILA!.. you're making spaghetti.. i mean... beats.. What the BOON DOC dude is doing isn't really spectactular, but the way he is doing it makes it spectactular.. people used to take a straight sample.. and just tap drums over it.. change the drums here and there with a drop...drop the sample sometimes or filter it so it has an underbass sound... so boon basically showed yall chopping to the next level..but as a real producer.. most people would already know how to do this.. correctomundo!! $50 to the lady breast feeding the baby in public.. whoaaaa mommaaa, stay right there, i'll be back with some cookies!!

After the change up the sample seems to go on forever.

How can I learn to sample like this guy? Are there any video tutorials on sampling like this for the 2000xl?[/quote]

make a drum sequence 16 bars long... after it's created.. get your favorite sample and chop it up into 16 pads... so tap the pads, you can basically tap them at damned near any tempo without it sounding too choppy.. or just adjust it to the tempo of the 16 bar drum sequence you made. ... while the drum sequence is playing.. tap the chopped sample pads in any form shape of fashion you feel.. and.. VOILA!.. you're making spaghetti.. i mean... beats.. What the BOON DOC dude is doing isn't really spectactular, but the way he is doing it makes it spectactular.. people used to take a straight sample.. and just tape drums over it.. change the drums here and there with a drop...drop the sample sometimes or filter it so it has an underbass sound... so boon basically showed yall chopping to the next level..but as a real producer.. most people would already know how to do this.. correctomundo!! $50 to the lady breast feeding the baby in public.. whoaaaa mommaaa, stay right there, i'll be back with some cookies!!



After the change up the sample seems to go on forever.

How can I learn to sample like this guy? Are there any video tutorials on sampling like this for the 2000xl?[/quote]

djobserv wrote:is this guy the next damu (boondoc that is), but damu is much nicer

damu is so fluent... and doesnt say stuff like this http://www.youtube.com/watch?v=P4jAllTGFUM

I thought it was a joke at first because it looked like he was wearing black pantyhose over his head. It looked like it was tied in the back. But then he looked at the camera and I was kind of able to see his face...

You know,


after reading all this, what stumps me is how we get so caught up in how things are done.



As an emcee I get a lot of positive and negative critic from other emcees amongst my group,

such as

yeah that sounds hot, but its not enough of an intricate rhythm your spiting it in,
and then some of these cats I work with will get stuck on the fact that even though sometimes the complicated rhyme is
hard to understand, its worth putting on a track because it sounds complicated and they spent hours on it,


what it sounds is

stupid,


Dont think because you spent 10 times the amount on your beat, it will be 10 times better.


what matters to me when listening to a beat,
is not so much if it was looped or chopped up and morphed into something else,



what matters is the words that follow after the beat resonates in me.



sampled or composed

underground or mainstream

hip hop or rap


its all about the context to me.


Beyoung

myspace.com/inbeyoungwetrust
hiphopi5.com/forum

jel will wreck your shit.

http://www.youtube.com/watch?v=twHhcB4D-po

evacuee. wrote:jel will wreck your ****.

http://www.youtube.com/watch?v=twHhcB4D-po

That was really, really good. Although, I could give a **** about the "live" aspect. Live drum machines never impressed me for some reason. The actually beat was really good, though. Most of his other stuff, sadly, is... sh*t

alistar-

his skill / knowledge of an mpc far exceeds 90% of the producers out there; trust me. if you aren't into the live aspect, thats fine. having the ability to fully maximize its (mpc) use, vs. merely knowing your way around it is what seperates the greats from the dude no one cares about.

Just because you know how to use your mpc better than Most people doesnt mean you make better beats than most people. FACT!