I can't speak for anyone else on here, but one of my major inspirations, and a significant factor in me hunting down a 303 in the first place, is Madlib the Beat Konducta. In so many ways he's been a musical inspiration to me, and though I don't want to ape his style, I'd like to understand how he makes his beats to the fullest extent possible.

Now I'm sure his beatmaking has been discussed on on here many times, but I wanted to collect together as many tips and tricks we've all learned about his production style, and the techniques he uses to get such an incredible sound out of the SP-303.

I'll start off: A lot of us use the technique of turning the kick up louder than the other samples, then compressing them together to get a pumping effect (not unlike sidechain). However, I recently figured out that if you turn the snare and hi-hat way down relative to the kick, till they sound too quiet, then compress them along with the kick back up to normal levels, you get a thick, bumping drum sound not unlike some of Madlib's beats.

Any other tips and tricks?

Let's discuss!

First of all, thanks for the tip! Sounds intresting to do. I suggest you take a look at the "Production Techniques" section and check out the "Sampler Thesis" post by Unfolding. In that .pdf file there's a chapter about how Madlib did things with the MPC4000 (maybe you can still try those things on the 303).

And I just thought about it right now.. But if you have your sample, and the same one sped up in your SP, timestretch it to the original sample's tempo (with the BPM knob function thingy) and HEAVILY (this will also be mentioned in the Sampler Thesis post in the section mentioned above that Lib did that) compress it you might get that Madlib bass.

Though on the other hand, and I'm totally NOT trying to offend you (Madlib is also a BIG inspiration to me), instead of of asking for specific techniques about how Madlib actually did it, maybe you can try and find out yourself. Who knows with what kind of intresting techniques you can come up.

Oh well, I know it's hypocrite but I'm still gonna follow this thread carefully and share more thoughts if I get them.

hi
rememeber that madlib uses other effect on editing other than 303 sounds in itself.
he talked also about using some hi-end hardware compressors to put before the roland recorder.

Madlib himself stated: "My studio's basic: mad records, I don't have no computers... I just have my 303 sampler, or SP12 and just records. And a little eight digital board. That's all I need." - 2004 interview with urbansmarts.com; http://www.urbansmarts.com/interviews/madlib.htm

He also uses an mpc 4000, but i cannot find the interview where he talks about those neve preamp or compressor....

I agree with you.Madlib works a lot from mono loops, so this is a challenge. There are a couple of steps to getting a stereo reverb on the snare. First, make two copies of the track. On one of them, boost the midrange where the snare is, but don't assign an output for that track. Just send it out as a bus or assign it to an aux send — it's not a track you're actually going to listen to; you're going to use it to key a gate. Then, you put a gate on the second copy of the track and EQ it the same as the original loop and set the key input on the gate to the same bus as your nonlistening key track.
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When madlib was making albums, I assume his beats were taken to a professional studio to be mastered right? That's something I'm always confused about. I feel like there is some subtle stuff done after his beats get compiled that makes them sound more well rounded before they get put on wax. I'm not sure though, maybe he does all that himself.

That's just one of those little things I think a lot of people (including myself) overlook when listening to bigger artists and trying to figure out their sound.

Swear I saw an interview where penutbutter wolf said he masters the tracks but the tricky ones go to a pro. Might be wrong though

dave cooley does most stones throw stuff. also you should check out the sound on sound article about studio techniques used in erykah badu's new amerykah pt 1&2. they mention one of the engineers duplicating a madlib 2-track six times and isolating frequencies on each track to eq specific instruments

https://www.stonesthrow.com/news/2005/0 ... ave-cooley

interesting article/interview with madlib and his engineer dave cooley. it solved some of my questions about madlib's productions.

from remixmag interview:
Neve 1099 preamp, a GML 8200 EQ, a Universal Audio 1176LN limiting amplifier and finally a dbx 902 De-Esser
http://remixmag.com/mag/remix_madlib/(but apparently the article is disappeared...)

either his use of the MPC 4000 is vastly overstated, or hes gone out of his way to understate it.

yes right.
(it was said before.)
sp1200/mpc400/sp303/sp606 and maybe korg esx1...(and an sp555 lately? can anyone confim that?)

Thanks DobreBity, I had not seen this video. I also enjoyed the one in "Washed Out", great stuff.