i remember some post about resampling to get time stretch to not suck so much. i was womdering what other tricks people have that they do when they resample. maybe this ill be a interesting resample post. im usually just resampling to get the effect on the sample but when i read about resampling different effected versions of the same time stretched sample to get it to sound cleaner i was blown away. like getting the high-mid-lo versions of the sample and putting em back together, thats insane for my newbie ass. now im all spending nights trying to figure out some new "ish".
well, tricks welcome...
peece

I feel your frustration

resampling is a wide open thing

it can be used to eq samples to get uneeded frequencies out, add delay or just generally fuck up the sound

the massive bass sounds in late drum n bass were primarily made by resampling synth sounds over....and over...and over


just start applying effects, then again, then with a different twist, and yet again

you can get ridiculously crazy sounds

hd you seem to know a lot about resampling because i've heard you mention it quite a bit.

i don't resample much (atm) because to be honest i don't really see the benefits of it. does resampling create a certain character due to the degradation of the sound? is resampling not the same as just stacking fx?

btw i am under the assumption that "resampling" is merely sampling like a synth, then altering it, then sampling the result. is this correct? i know this is very common knowledge within electronic production but the majority of the songs i do have been grounded in the fundamentals of hip-hop.

its a technique it doesn't imply what you use it for

there are many benefits over stacking effects. hard to explain though...
its like taking snapshots, so you can muck with the sound....then take another snapshot...etc
you can't arrive at the same sound by stacking effects because (in a daw) you would have to automate between a crazy amount of settings, or on a synth cycle through 20 presets or something.

but on the SP's you may want to resample a hit with delay.
then make a filter sweep on that delay
and then run that through a phaser
and then reverse it
and then chop it...etc

not sure about implications for hip hop, i don't even know what "hip hop" is anymore...

but it would probably be basic things like eq and reverb. I always resample things on the SP to take out low end stuff on samples ...it just conflicts with basslines and kicks and makes everything muddy.

yeah, what is Hip Hop. i dont even think it exist anymore. its branched into so many creative realms(and really bad commercial ones), so to call something hip hop is just limiting.
if i do say so myself (smuck sounding)
peece

haha yea don't even get me started on that...

i will say that its the MC's fault , producers have to be open minded because of what they sample

i think it's still pretty clear what hip-hop is, in terms of a musical genre.

it has distorted that much at all.

i don't see how the name hip-hop is limiting at all and would be interested to hear as to why you feel it is so. as i see it, compared to other electronic music genres, music categorised as hip-hop is quite broad.

thats pretty much what i mean..
not to say that you are wrong for thinking that, but it seems like when stuff arrives on the fringe of hip hop it is no longer "hip hop" and ends up being called something else
like this:
http://www.myspace.com/slugabedmusic
thats pure hiphop to me but show that to a mediocre MC and he'll be like "what am i supposed to do to this?"
MC's would never spit on anything that wasn't simple enough for their rhymes, unless they made the beat themselves or have a close partnership with the beatmaker
even though im from the states, just my perspective from the outside looking in, rappers in the UK are much more open minded about what they rap over, they may not be the best rappers but they wont complain that your shit isn't 90 bpm with sliced funk/jazz records or 140 with chipmunk soul singers.
i mean 90 bpm sliced funk records are obviously classic and hold their own but its almost 2010, people have been doing that shit for over 2 decades...

that may be offensive to a lot of people here, its not meant to be, but its the truth i think...
the producer knows what he/she wants to hear though, so its all good.

see there's a difference between hip-hop instrumentals and instrumental hip-hop. hip-hop instrumentals are meant to be rapped over wheras instrumental hip-hop takes the basic foundation of hip-hop and just uses that as a launch pad for musical ideas, there is no mc.

there is plenty of good forward thinking hip-hop out there.

i'm from europe and grime is pretty much shit. a lot of US heads who are into dubstep think they have a soft spot for grime because they see the 2 as somehow connected, but they are really different scenes. there are some former grime producers who now make dubstep but there isn't anything really holding them together.

if you want to talk about other uk hip-hop, then yes a lot of it is good like american hip-hop, but a lot of it is just the same.

if you think that all rappers want a soul or funk loop chopped at 90bpm then i really think you aren't digging deep enough for good hip-hop.

sure check out dance genres. ie. dubstep. a genre that is almost universally in the 138-140 range, triplets, snare on the 3, heavy bass. seems rather constricting. all the genres of techno that stick with 4 to the floor...

but i digress.

some hip-hop instrumentalists are doing traditional stuff and others are experimenting more. remember hip-hop is a genre, and a rather large one at that.

im aware of this, but upon listening it sometimes feels "held back". depends on the producer though

agreed plenty, but not enough.

correct.
but the beats are much more varied and open to new sounds

a lot of US heads, or me?
no i know they are different genres, i can't stand grime rappers but some of the beats are very good. There is a tie from early grime to dubstep though, Digital Mystikz will tell you that as well.

actually straight up uk hip hop is basically the same as hip hop here, nothing really too different about it

im aware not all want that, but there are very rigid guidelines to hiphop regardless. so base level rappers here wants the same shit, whatever their idol does, people are afraid to innovate. maybe not in europe but in the states very much so.

but those aren't "listening" genres, they are DJ-friendly tunes made specifically for sound systems. Dubstep has gotten stale but look at the genre from 2003-2006, there was nothing but different styles there was no "dubstep" besides sub at 140, no DNB bass either. angry 14 year olds love their distortion and the sound is now hijacked by the same B/S that hijacked DNB. but I digress.

others are experimenting more, but they will not gain recognition for being "hip hop" i will bet money on that. I would go as far as to say that most of the people who buy experimental hip hop stuff don't really follow hip hop

i'm sorry but i think you're taking a very narrow look on things.

grime beats aren't that experimental at all. even early grime beats weren't that experimental. i would call them shit. there are a few good grime producers though and i personally love the grime scene. i am speaking from a personal perspective though. that's because i have a history of liking it, i used to listen to a lot of grime, but i was younger then.

btw i'm not just accusing you of linking grime and dubstep. as i don't even know your feelings on the issues. but i have seen a lot of US heads overplay the whole relationship. early grime was a tiny scene remember, from that it spawned into something larger. remember the roots are still in uk garage, uk drum n bass and mcing elements from jungle and traditional american hip-hop.

wheter a genre is a listening genre or a dance genre doesn't matter when it comes to innovation. it is obviously easier to innovate in a genre where it isn't a prerequisite that the tune be dance floor friendly, but dance tunes suffer the fate of stagnation as people try to appease the dancefloor and DJs.

lots of artists who experiment get props for being hip-hop. dj shadow, dj krush, dj cam, luke vibert, el-p, flying lotus, the gaslamp killer, prefuse 73, joker (dubstep) and a lot of the "wonky" (i fucking hate that word) artists are classed as hip-hop where i'm from.

mqybe im narrow minded but i wouldnt have classified MOST of the peole on that list as anything OTHER than hip hop artists.. (the others i didnt know by ear).. it the intricate sub labeling of all the classes of "techno" is annoying to me and a turn off...i dont want hip hop to end up that way...

the issue isn't needing subgenres its needing fans and rappers who aren't producers to be more open minded

grime is a very minor issue here..


my only point with grime was that they put a spin on something that already exists

it does matter because you aren't producing solely for yourself anymore, so popular opinion means more playtime by the dj....ableton live is changing this. no longer do dance-oriented producers need the DJ middle man asshole
and hip hop tunes can suffer the same fate as people try to appease to close minded MC's
its the same situation.

maybe where you are from but if i showed someone "wonky" or prefuse 73 here, hip hop would be the last thing to cross their mind.

if people were talented and creative enough to write rhymes that match those fringe styles, new trends would be set. The bar is so freaking low that a lot of rappers don't even treat it like an instrument or craft (except for people like Jonwayne ) and just disgrace the beatmakers hard work with something that took a fraction of the time, and gets more respect...
again its not my perception that the fringe styles aren't hip hop, fuck even jungle and dubstep are technically hip hop to me...
and they are all rooted in the toasters at the dub shows. dj/mc toasters, ironically being the middlemen of future genres...

wheres Lee Scratch Perry when you need him?

cant say im the only one to think this either...