This title may be misleading. The point of this is not to tell you what samples might get you sued or what has already been used on previously released song.. No, this is a bit different. My idea here is to list certain red flags you should keep an eye out for when going through a record/records. These things are a quick way for you to know what to skip over and not waste your time on. Basically, this is my guide to shortcut crate digging.
Keep in mind, every producer is different. One mans trash and all that shit…So, this is what I avoid when I’m going through records:
Acoustic guitars
Now, I’m not saying all acoustic guitars are bad for sampling. Sometimes you’ll hear a great riff and it works fine. I’ve certainly used some in my career. However, 99% of the time it’s some boring ass chord progression , weakly played and questionably recorded. Anytime I hear a beat made with one of these as the main loop, I know that motherfucker who made it was just being lazy. It passes off as some emotional , mellow groove but really it’s just crappy. Acoustic guitar chord progressions are for singer/songwriter types to use merely as background to their song writing. They aren’t meant to stand on their own. The second you hear that first wimpy strum, skip over that shit…in fact, be prepared to skip the whole album cause 9/10 times all the songs will sound the same.
Laughing/crying
This is kinda random but anytime a song begins with a person laughing or crying, I’ve noticed it leads into some bullshit. Either some fluffy cornball song about a baby being born or some song about a dead person set to a completely forgettable backdrop. If you hear either of these sounds, skip it. It only gets worse from there.
On a similar note, anytime a song starts with a clock ticking or spaceship sounds, you might be about to hear something awesome.
Loud drums
Unless your one of those lazy producers who simply loops some shit and calls it a beat, samples with drums in them are not your friend. Sure, you can work around them but if they are dominating the loop, it usually won’t work, if you plan on adding more layers to it. I can’t count how many times i’ve heard an amazing loop that I simply didn’t end up using cause they recorded the drums too loudly and no filtering could fix that. I say, look for samples without the drums in them. At worst, samples with some light percussion. But if you hear some that sounds like a finished beat before you even sample it, just let it go or save it for a mix tape track.
Watch the time signature/swing
It blows my mind when I hear a producer try and loop a sample that’s obviously in a swing rhythm and try and make into a boom bap type track. Being a producer is pretty easy. In terms of musical theory, we’re an ignorant bunch yet we manage to get away with it. But we should at least be able to recognize that , sometimes, loops are just not gonna work due to the swing. There are exceptions to this (“Guns and cigarettes” By Atmosphere is a good example of it working out well) but usually it just leads to a confusing track that just doesn’t sit right on the drums. unless you’re making instrumental beats, there’s a good chance you’ll never need a swing rhythm track for an MC. Some can rock that kinda track but they’re few and far between.
The same goes for samples that are not in 4/4 time signature. I don’t care how dope a loop it is, sometimes you just have to accept that it’s not gonna work how you want it to. Unless your name is Mumbles and you’re working with Aceyalone on “A book of human language”, non-4/4 beats are risky to pull off (where rappers are concerned).
Never underestimate filtering
Sometimes you have a loop you like but it’s too crowded. There are drums in it, horns, and all sorts of little sounds. But, really, you just wanna have it as a loop that will be the spine of the beat. So, filter that shit. Make it into a baseline (if that’s possible). Not only will it open up possibilities for layering but it also will hide the sample better from how it sounded originally and you can worry less about getting sued.
Some genres just don’t work
Again, there are exceptions for all these rules….but sometimes you just need to give up on trying to flip that hawaiian hula record. Certain genres just aren’t made for sampling. Let’s go through some:
1)Hawaiian music
2)Polka
3)old country music (though you might find some great vocals in them)
4)most ethnic music heavy in percussion
5)Classical music (not cause it’s unusable, but because it’s just corny to me to sample classical music)
6)Jazz before 1950
7)most opera music
Music that will frustrate you
First off, Fuck free jazz. It’s the most annoying shit to try and sample cause it’s usually atonal and all over the place. I’ve found bits and pieces over the years but it meant wading through hours of pretentious mayhem disguised as music. Skip it.
Secondly, every now and then, you’ll come across an artist who seems like they would have endless dope samples. But, for some reason, they never do. Case in point: Jean Luc Ponty
This dude is an fusion-y electric violin player from the 70′s. His album covers look like acid trips (always a good sign when digging), they’re always in the dollar bin and they always have amazing sounds on them. The only problem is, for some reason, this Ponty motherfucker refused to leave anything open. It’s like he’s constantly got 8 instruments going at once so you can never extract that one little sound you like. It’s extra frustrating cause he would have all sorts of awesome sounds going. I mean electric violin! It’s so perfect for sampling but, alas, no dice. There are tons of artists like this and , at some point, you gotta stop chasing the dragon and just stop buying their records. I’ll admit, I bought like 6 of his records before I finally quit him. fuck that guy.
The “Everything sounds the same” curse
I’ll often come across a record that specializes in one sound. A flute, or a klezmer or a vocal group from Botswana. These records are perfect for finding layers cause they never have drums and they’re full of random little riffs that you can work with. The issue here is controlling yourself. These records are good for one, MAYBE 2 uses. It will be tempting to constantly go back to them cause they’re so ripe for the picking, but just hold you head. the best you can do if go through it and find the best possible part and use that. Another downside to these types of records is that they all sound exactly the same. Every flute song sounds like the last flute song. So, prepare for a tedious journey.
Take it from me. I raped some old flute records when I was coming up and I’m still shaking the “guy who samples tons of flutes” stigma to this very day.
Well, that’s just for starters. hope that helped some of you wet behind the ears beat makers. If you got anymore questions about this kinda shit, feel free to ask below.
Hahahah fuck Jean Luc Ponty. I got a couple decent bites off him, but you’re right, it’s a lot of work. Tons of jazz fusion stuff from the 70s is like that–way too over-arranged to be useful at all.
What blogs you hitting up?
Come ooooooon…… coooome ooooooon.
Great points man, sincerely! I’ve been dying to hear someone successfully sample “Dancing Machine” by Jackson 5. Also, I just discovered an Italian composer by the name of Piero Umiliani. He’s got a an entire library chock full of sampling possibilities. Just stay the hell away from Crepuscolo Sul Mare. It’s mine.
I know about Umiliani. I’ve definitely sampled his shit. Cross your fingers, bro!
me too! Umiliani is the cool!
whoa, this has got to be one of your better posts. Just nice to understand some of the thinking behind production and makes me appreciate good production even more.
What’s your opinion on sampling something that is really well-known? Obviously not for a major label release, but for a mixtape or something? Is that corny, or is it appropriate in context?
I’d avoid it. It’s too easy. Unless you’re making a mixtape song directly related to the sample, it’s corny to me.
rj45 dilla sampled dancing machine
What’s the Dilla track called? I must hear this.
move
My bad, I was at my office when I originally read this and youtube is blocked, didn’t even notice the video. Thanks! I know this track, can’t believe I didn’t realize it was Jackson 5.
3)old country music (though you might find some great vocals in them)
Insomniac Olympics………
Honestly, I have no recollection what that sample was from. It could have been from a folk record too.
Thank you.
One of my greatest compliments ever was being compared to you.
big up.
i found one of my dad’s old jean luc ponty records apparently he used to smoke to it in the 70′s thats funny you mention him
Yo man, I really like your tips and guidance…
I go through loads of random material myself to find the bits I want. Get seriously into just trying to extract as many workable elements (hits and loops) out of each single track.
Can you expand on that whole point about filtering busy ish? Like how you do that kind of thing?
Your blog is quality, and so are your tunes.
Peace
Well, I tend to filter when I want to get high or low end out. If you have a sample that has a dope bassline but it also has drums and high pitched sounds in it, filter as much of the high out as possible and that will often leave you with a really dope , rumbling bassline. 90′s hip hop production was built on that. Other time, you’ll ehar a sample with a dope high part but you won’t want the bass tone in it, then just filter away the lows.
Thanks. I appreciate the tips. I assume EQ’ing is what I should use to do this?
I’m sorry, but I’m still got loads to learn in this whole production thing, so hope I aint coming across too stupid.
Peace
Depends what you’re using. But most software and hardware have filtering effects you can use.
Yeah, look for something that controls the highpass, lowpass, and bandpass. FL Studio has a built in one called Fruity Filter.
Thanks for the help. I appreciate your help
“Some Genres Just Don’t Work” reads to me like a list of challenges. Although sometimes you gotta learn the lesson the hard way.
Good shit block. I’m still kinda weary of sampling in general. I mainly wanna sample people singing and not necessarily instruments, though I’m not opposed. What’s your take on that? Obviously I couldn’t do like Kanye and sample tons of stuff cuz he pays for the rights haha, but yeah.
Lol @ the Ponty dis. Good write up.
Free Jazz is a good source for small sound pieces that you might have as just some extra noises over a filtered loop. Filtering never gets old, there’s always a use for it. I only wish I had that rack piece EQ/Filter joint that Akai stopped making years ago, for my MPC.
ALso agree on the acoustic guitar shit. I automatically don’t like a rap song if I hear a guitar and I automatically completely skip records if they have acoustic guitars in the background. Can’t count how many times a guitar in the background, no matter how minimal, has ruined loops for me.
I do think certain producers can and have pulled off certain loops without adding drums though. But it really has to be some other shit that can really stand on its own. Comes off as raw sometimes. I can’t think of any examples off the top of the head, maybe RZA has done this a few times in the past?
Here’s a tip: Don’t chop and re-arrange stuff just for the sake of doing so. I was listening to something a little while ago and noticed all these chops done for absolutely no reason. Sounded annoying and stupid and like they were trying to sound like Primo and failing at it.
Good point. That shit is mad corny.
I can’t get away from that because sometimes I have this problem using a loop straight up. I dunno. I’ve always been like that. I think it’s because i idolize DJ Premier so much that I want to try and transform everything. I remember the first time I heard the Guitar Watson sample I was pissed. Das EFX “They Want EFX” was one of my favorite beats of all time. When I realized they took the loop straight up I felt like they cheated. There seemed to be no effort in it to me. But I guess the idea is, it doesn’t matter what you did or didn’t do. All that matters is how it sounds when it’s done. I am trying to be more like that instead of chopping the hell out of things. I also tend to try and make a beat of anything instead of being selective about what I sample. I am making the torn towards more atmospheric beats.
There’s nothing wrong with loops. Just don’t loop some shit and call it a day. Add drums, bass lines and other sounds and samples. Build a beat. In my eyes, a beat should have changes…not just a repetitive thing that never switches up at all. Back in the day it was okay but it’s 2011, step it up and try and make it more musical.
Great read. Never had the patience to learn the mpc, but definitely appreciate the art behind it.
Does MF Doom break all of your rules?
Nah, He gets a pass cause he’s a proven beat maker who’s made al sorts of tracks over the years. HE’s also just generally a weirdo. He can do whatever he wants.
true dat!
and as well try to avoid pink floyd, frank zappa, king crimson… no way with those guys
(i definitely sampled King Crimson and forgot about it…then put that song out)
Zappa has a million, trillion dope and underutililized joints.
And they’re all dangerous to sample!
interesting read. You’ve used some amazing classical guitar samples in the past. Acoustic Thug is the first that comes to mind, the end of Attack the Doctor, etc.
Oh, I sample guitars like a mad man. In just avoid the folk strumming. I hate that shit. Every now and then, one will sneak through but , in general, I’ll skip right over the entire record if I hear three of those type songs in a row.
just wanted to say very impressive the way you flipped that percussion around the world record for the cage joint on hells winter( cherubs something?) daps. Also what do you think about the new way people acquire music (downloads mostly) as relating to not getting a physical copy and reading liner notes? I mean does this stifle potential interest in the producer, do artists like yourself feel less sought after? are these questions to backpacky? hah
People not buying physical copies or caring about liner notes is just a way of life now. I don’t like it but it’s pointless to complain. On the bright side, only people who really cared read the liner notes back in the day anyway. i’d imagine the same people still are curious as to who makes what and look online to find out.
what percentage of your beatmaking is done on hardware vs. software? could you still make music with one and not the other?
I did have a question about basslines for you. Do you generally find a dope sample and turn it into a bassline like you said, or sample a bass guitar/synth, or do you compose the bassline yourself? I’m fairly new to the sampling game and basslines have always been my weak point. The bassline from Only Sequences change is so sick!
I will admit, I’m guilty of the guitar sampling as well, but not so much a “folky” sound, just riffs and stabs here and there. Great post. I really enjoy your music so it’s cool to see you throwing those tips out there for everybody!
I do a little of all that. I either sample a bassline loop, play it myself, or have someone come in and play it live for me. It all depends on the beat.
i’m an mc so i don’t get too involved in the production process aside from hunting for sounds, but if i’m looking for some emotional guitar that doesn’t sound corny, how can i narrow down my search to fewer choices? i’ve heard eyedea sample the song “is there anybody out there?” by pink floyd on the oliver hart album, i also think that ant made some really dope beats with emotional guitar on god loves ugly. any suggestions as to what i should look into and what i should avoid? thanks, great post too, i’ll show this to my friend who makes the beats.