mista frieze
New member
Pony_Slaystation said:
So true!!! I found some crazy french canadian breaks for really cheap.I think the most I paid was 4$.
So true!!! I found some crazy french canadian breaks for really cheap.I think the most I paid was 4$.
J
Jai Calypso
Guest
Bluenote is real good, but everyone goes to that, i dont like having the next mans sound, so besides all those labels, i try to go off my hunches on random sh**. another label i dont think that was mentioned is Columbia.
it's all about listning to as much different stuff as possible...old style japanese stuff arabian(jay-z's big pimpin was off a moroccan tune and aliyah's dont know what to tell ya is off some kuwaiti/gulf song i heard a while back)good lookin' and cookie records got some mad sounds going on there bollywood soundtraks are good as well!! the more different styles you listen to the more you can do with your own music.
T
TrebleWitoutAPause
Guest
i dont think sampling 70s/ 60s soul or funk will ever die because the way people sample those songs is always changing. in the beginning of hip hop they just sampled jamaican dancehall breaks for their records.
then there was primo and pete rock and rza (etc..) during the early 90s sampling those songs to get that grimey NY sound.
you also had dre and warren g and daz sampling old funk records records to get the west coast lowrider gangsta sound (let me ride, nuthin but a g thang).
you also had the bombsquad sampling like 10 records per song to get that crazy public enemy number one sound.
and then you had diddy doing all the sampling to get the late 90s party songs (juicy, mo' money mo' problems)
and now you have kanye, jb, heatmakerz and almost everyone sampling with the pitched-up vocals.
the point is, great producers always find a way to innovate sampling.
then there was primo and pete rock and rza (etc..) during the early 90s sampling those songs to get that grimey NY sound.
you also had dre and warren g and daz sampling old funk records records to get the west coast lowrider gangsta sound (let me ride, nuthin but a g thang).
you also had the bombsquad sampling like 10 records per song to get that crazy public enemy number one sound.
and then you had diddy doing all the sampling to get the late 90s party songs (juicy, mo' money mo' problems)
and now you have kanye, jb, heatmakerz and almost everyone sampling with the pitched-up vocals.
the point is, great producers always find a way to innovate sampling.
mista frieze
New member
I couldn't agree more!!I was listening to some heavily sampled songs like Quincy Jones "Summer in the city",and there's 3or 4 samples alone on that song,but the intro(Pharcyde) is the one that most producers sampled.TrebleWitoutAPause said:
My point is that sampling knows no boundaries.And it's not only jazz/soul,there's rock,pop(Kenny Loggins baby!!)
The possibilities are infinite in my opinion
i like old time southern funk and soul
when i pick, this runs in my head:
1 is it old ****? 67-77 depending on the artist... some exceptions
2)are there any black people on the cover? (no joke)
3)look at the artists performing. in those days i notice most of my fave artists played with each other and helped out on their individual solo projects...gaining this familiarity WILL SAVE YOU THE MOST $$$. ie like most know bootsy and pfunk but not eddie hazel, bob james and ron carter but not idris muhammed etc.
4)look at the label (personally i avoid motown cause.. its been heard & youd pay a bundle, its old soul so not much going on anyway get an anthology and see what i mean..beside there a dime a dozen so i dont really count that as digging)
5)price generally if its over 12 cdn i dont need it theres hella more to be uncovered and probably... theyre just charging more cause someones already been there
6)condition - cause if its broke i already remembered it for next time
hope those ideas help u treble u can adapyt them to your style, when i started i wasted enough money. i read an issue of scratch with madlib in it recently. he said no matter what he always tries to take something from a purchase and that philosophy can really push you to create when u get a dud.
in regards to somehting else in this post about global etc yah theres another section outside what you buy to listen to for enjoyment/sampling, basically the weird **** that fleshes out your sound and gives personality like a few samba records/some classical/languages and speeches/kids records/comedy/sound fx etc... get this as cheap as possible but get a lot cause it does add the final touch
totally off topic but that issue of scratch (eminem cover)...in case any other readers here... i hate that mag reason being they dont teach you a damn thing, their tutorials are weak and in that issue they got 4 major producers eminem, dj quik some guy i forget behind 50 and madlib. eminem quik and that 50 guy all mention in their interviews how they got drum cds from dre and how they all used em and want more from him... while he has good beats i thought that was pretty weak all 3 in the same issue... i was on the ****ter thinking damn whers my dre cd? that all it takes?? hehe but the madlib interview was all good and came correct cya
when i pick, this runs in my head:
1 is it old ****? 67-77 depending on the artist... some exceptions
2)are there any black people on the cover? (no joke)
3)look at the artists performing. in those days i notice most of my fave artists played with each other and helped out on their individual solo projects...gaining this familiarity WILL SAVE YOU THE MOST $$$. ie like most know bootsy and pfunk but not eddie hazel, bob james and ron carter but not idris muhammed etc.
4)look at the label (personally i avoid motown cause.. its been heard & youd pay a bundle, its old soul so not much going on anyway get an anthology and see what i mean..beside there a dime a dozen so i dont really count that as digging)
5)price generally if its over 12 cdn i dont need it theres hella more to be uncovered and probably... theyre just charging more cause someones already been there
6)condition - cause if its broke i already remembered it for next time
hope those ideas help u treble u can adapyt them to your style, when i started i wasted enough money. i read an issue of scratch with madlib in it recently. he said no matter what he always tries to take something from a purchase and that philosophy can really push you to create when u get a dud.
in regards to somehting else in this post about global etc yah theres another section outside what you buy to listen to for enjoyment/sampling, basically the weird **** that fleshes out your sound and gives personality like a few samba records/some classical/languages and speeches/kids records/comedy/sound fx etc... get this as cheap as possible but get a lot cause it does add the final touch
totally off topic but that issue of scratch (eminem cover)...in case any other readers here... i hate that mag reason being they dont teach you a damn thing, their tutorials are weak and in that issue they got 4 major producers eminem, dj quik some guy i forget behind 50 and madlib. eminem quik and that 50 guy all mention in their interviews how they got drum cds from dre and how they all used em and want more from him... while he has good beats i thought that was pretty weak all 3 in the same issue... i was on the ****ter thinking damn whers my dre cd? that all it takes?? hehe but the madlib interview was all good and came correct cya
mista frieze
New member
shizifty said:
Very interesting post....
I,too,wasted too much money for records that weren't all that.
And the Madlib interview(in Scratch) was really dope!!But this magazine sucks for the most part.
But I think that there's a lot of undiscovered gems from 78-85 and at cheap prices.
I'd also add to avoid overpriced records shops like the plague!!
T
TrebleWitoutAPause
Guest
thanx ya'll, yeah i read the madlib interview, it was good. i actually like scratch because they ask good questions and i like to see what the famous producers r using. their tutorials do suck tho. o well, thanx for the advice homies.
peace
peace