Why aren't you making your beats like this??

j.troup said:
I played it...poorly. Was gonna bring in a guitarist, but I'm gonna save that budget for this blues track I'm working on.
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You're working on a blues track? Nice.

Feels like there is no core audience for blues genre (atleast not around where im from)
 
Just Clauz said:
You're working on a blues track? Nice.

Feels like there is no core audience for blues genre (atleast not around where im from)
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A modern "blues" feeling song, in the same way that Amy Winehouse put a modern twist on Motown.



It's called "You and That B!tch". Got a singer in ATL that I'm writing the song for. I'm pretty sure this is gonna kill em, so I'm taking my time with it, making sure it's perfect before I present it to them.


Got some dirty blues style shuffled and swinging drums, that octave shuffling blues bass line, and I'm doing some nice things with some blues vocal samples.


I'm studying a lot of blues music to see what makes it tick, trying to build this track right (chord structure, progressions, instruments and elements), but have it sound modern. I'm thinking of putting an organ in there, some piano, and AN 808 KICK.



And yeah...nobody's really brought back that blues sound, so i figured it's market that's ripe for the picking. And it goes perfect with the "side piece" epidemic going on in music and media, the cheating, etc.


We'll see how it turns out...



Here's a template tho...



 
That sounds like a dope track Troup.

On another note, producers don't make beats like that because they are so use to seeing how everyone else is doing them and believe they have to yield to a certain standard... it's monkey see, monkey do mentality. It's not really about "letting the artist breathe" or any of that shit lol, those are copouts... the truth is most producers/artists are not forward thinkers, they are not innovative enough to think or start something new... if they were there wouldn't be so few producers/artists at the top.
 
Zonic said:
That sounds like a dope track Troup.

On another note, producers don't make beats like that because they are so use to seeing how everyone else is doing them and believe they have to yield to a certain standard... it's monkey see, monkey do mentality. It's not really about "letting the artist breathe" or any of that shit lol, those are copouts... the truth is most producers/artists are not forward thinkers, they are not innovative enough to think or start something new... if they were there wouldn't be so few producers/artists at the top.
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I was just wondering...because for as much emotion as rappers try to add to some songs, the looped instrumental is limiting the effect on the listener.

I mean, how are the lyrics supposed to take the listener on an emotional roller coaster ride, when the track just goes straight?




That's was just my thought. Hip Hop could benefit from the occasional deviation from the loop, and make proper pre-hooks, hooks, bridges, etc.
 
j.troup said:
This is the instrumental for my next record (pre-mix, of course). Rapper in the sig just approved it.


It has a proper pre-hook (4 bars), a post hook of 4 bars, and a bridge of 8 bars.


Gonna put a white rocker chick on the hook...just gotta find one!




If it comes out well, i think i'm going to start doing most of my rap records like this....well the ones that are actually ABOUT something. The "swag n brag" records will still be loops, and let the percussion work bring the drama.









Should have this record recorded and out by the end of Feb...if the artists finances work out.



Hey...at least she's investing in herself.
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This beat is pretty good.. would take it over the edge with some dope hip hop synths though..
 
Troup

Interesting you should post that track and the comments regarding the style as I am currently working on a fully sampled track with this idea in mind. I am still figuring all this stuff out so it will be a while before I publish it, but I agree that the soul of focusing solely on beat production with no body is damming to the genre and limiting to the sound as a whole.

This may be why I prefer paying attention to sample musicians as opposed to hip hop producers generally speaking because the artist is creating entire songs with what they are sampling and focusing on taking the listener on a journey from start to finish instead of playing the backup to a vocalist.
 
Nightshade said:
Troup

Interesting you should post that track and the comments regarding the style as I am currently working on a fully sampled track with this idea in mind. I am still figuring all this stuff out so it will be a while before I publish it, but I agree that the soul of focusing solely on beat production with no body is damming to the genre and limiting to the sound as a whole.

This may be why I prefer paying attention to sample musicians as opposed to hip hop producers generally speaking because the artist is creating entire songs with what they are sampling and focusing on taking the listener on a journey from start to finish instead of playing the backup to a vocalist.
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Isn't the point of a beat to BACK UP the vocalist??


And don't most samplers usually 2-4 bar loop a sample through the entire song?
 
j.troup said:
Isn't the point of a beat to BACK UP the vocalist??


And don't most samplers usually 2-4 bar loop a sample through the entire song?
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Yes but it doesn't mean it has to remain that way.

I suppose I am looking at it morre from the viewpoint of a sampling artist as opposed to a beatmaker though.
 
Nightshade said:
Yes but it doesn't mean it has to remain that way.

I suppose I am looking at it morre from the viewpoint of a sampling artist as opposed to a beatmaker though.
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You gotta look at it from the vantage point of the producer. Your job is to make the ARTIST shine.


If you've overshadowed the artist on a record, then you've failed.


It's not your name on the front cover, it's theirs.
 
Hip-Hop vocals are more rhythmic & percussive by nature than melodic. So for the most part, the beat is there to create a groove and bounce for the artist. Like someone mentioned above as well, it's less restrictive to rap to that than to ride progressions I would assume. Doesn't make it impossible, but obviously makes sense that that type of vocal is best fitted to something percussion-centric where drum switchups sometimes play the role of bridges and such.
 
j.troup said:
Not quite. You just rearranged the same 3 chords. Bb minor, Eb Major and F minor. The chord structure never really changed. All you did was change how long you hold the chord out for.
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Allright. I see your point, but can you show us an example then, to get better understanding of it?
 
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j.troup said:
Not quite. You just rearranged the same 3 chords. Bb minor, Eb Major and F minor. The chord structure never really changed. All you did was change how long you hold the chord out for.
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Welp, just looking at it, I would establish Bb minor as my key, change that F minor to a ii7b5 to V7 sequence, then I'd replace it with a tritone sub of F7, so our chord progression would look like:
Ebmaj9--->C-7b5--->B9--->Bb-9
...if you wanted to get kinda jazzy with it, lol
 
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j.troup said:
I'm serious. How did it change? Changing the melody sequence doesn't necessarily change the chord structure.
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So youre saying 2 or 3 changes in melody like a musical or something? Wouldn't that be totally chaos to write a flow to that?
 
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