hello and welcome to busy works beat.com today we continue the sample series
right here busy works beats calm slash sample we're gonna dig into the mind of
Kanye West because he produced on the Nasir album and man I love those beats
Kanye was really in his mode working on these albums I'm really impressed by his
production you know as of late so what we're gonna do the sampling you know
style is to take multiple songs and make them blend and make sense together
so sampling is it's a way to get into music if you don't have the resources or
know how to play music but at the same time it's very advanced because you have
to know how to solve problems on various songs and do a bunch of different things
from mixing the music theory so it's both beginners and advanced it's one of
those things where it's just both I don't how to explain it's a paradox but
what I have here a vocal chance we're gonna figure out which one sounds best
with this song and I'm gonna show you how to process that vocal chant then we
have what is this a melody section that I like so let me turn off the vocal
chance for chops for a second so this reminds me of like Illmatic type of you
know those bells then mallet percussion it just sounds it reminds me of Illmatic
for some reason even though the melody is a little playful it's not the exact
notes I would play now if you want to get super super specific you could take
that to Melodyne and change out the notes actually I'm gonna try that on
this sample I really that that will take the sample series to the next level if
we change the notes of a sample via melody and that will be something to put
in our cap because I haven't tried that yet but we can do it on this sound
because it's so open there's nothing going on it's just that sound then I
have the chance I like the yeah chance yes I like the last one yeah so I'm
probably gonna use that last one yeah cuz it reminds me of the Kanye chant
that he uses from a different song but this is a blues singer
then this reminds me of you know if we just loop don't I don't know I have so
many ideas but at the same time I want to incorporate that mallet but then we
have percussion sounds out of like maybe we'll loop that like boom that reminds
me more of jay-z but we'll see so there's a lot going on this is four
different styles from four different songs so we have to figure out a way to
blend this stuff so first let's start with my idea
actually I'm trying to decide what that make or break this sound I think we
should start with the chords first because it's easier to change a melody
than it is chords so let's start with the chords first this pad idea I kind of
just wanted to repeat that first section
and I also like that change up so I'm gonna be very very fast with my chops
here let's go to snap to grid slice mode I used to do chops in Edison the reason
I don't do it anymore unless I have to get very very very precise is because
it's easier to line stuff up and time stretch it right on the playlist in
Edison it's great if you need to edit clicks and pops and different things but
I don't need Edison at this moment so I'm just gonna count one two three or AM
boom okay so right here where the volume dips is where we need another cut and
we're going to hold shift left click and my snap to grid is on none so I can
slice as precise as I need so it's 1 2 3 4 and ok so you need to learn how to
count music that's another thing producers aren't doing they're just
chopping randomly and trying to stretch the music to match and it just sounds
offbeat later 1 2 3 4 2 2 three four and three so this is the
change-up I need right here let's delete this stuff in between move this to the
left and then we'll lock it into the grid in
a second right now I'm just listening to the music I do like that part so that
will be our alternative a part a so this is a this is gonna be B we're gonna have
an alts a all to be probably one two three four and we're gonna slice it
right there as the motorcyclist rides by and interrupts the whole video one two
three four and boom so right where the volume dips is a clear indicator that's
where the slice ends so you need to get in habit of making stuff unique because
because if you time stretch this it will it will time stretch to this unless you
make it unique making it unique makes it a separate thing so if you're doing
something to this it doesn't effect this you don't have to make it unique as a
sample and I would actually unless you really have to I wouldn't do it as a
sample make unique a sample because then you lose the information of the audio
from the left and right so yeah just time stretch it and it moved both this
and that it's because they're the same thing
so we need to tell it to not be the same thing by making it unique so again if
you make it unique a sample it will actually cut off the audio so if I drag
it to reveal more audio there will be nothing there because you're made a
unique is its own sample instead of its what it was before so we don't want that
so now with that then put it on their sign wave delay
arpeggio so let's find the downbeat one two three or and that's a little hard to
see this one cuz there's more delay signal it's very hard but that's where
it begins that next bar and again getting the habit of making this stuff
unique as you go and just will save a lot of headache now we're looking for
the alternative B the key change and on that one it didn't have the the sine
wave delay so we just have an alternative a but we can still use B as
a switch up so musically speaking we have three sections but we can create
four sections okay so these are the four sections a you can even rename it if you
want let's just call this chord a just so you can get an ID you know an
understanding what I'm doing chord B and then chord a - just so you see how
things are switching up over time now we need to time stretch so you know okay so
you need to pick a tempo so Nas is probably gonna be wrapping in 91 bpm you
know the old-school hip-hop notice everything is moving it doesn't
matter if everything else is moving right now because we're gonna time
stretch it regardless so let's switch just the 91 BPM let's go back and this
is also why like slicing in the playlist now because I can manually stretch it to
be perfectly in time there's just a couple steps so firstly you need to go
to your playlist and then the top left you see the focus it says audio clips
make sure that's highlighted then click on stretch now I like to change my snap
to grid back to a bar so I can see those vertical lines and then hold the alt
button and left-click and you'll be dragging the sample out and if you zoom
in it will see it locks in now one thing you have to do from this point is re
tune it so click here go to channel settings go to your mode and go to
stretch mode that will pull it back to its original pitch
because if you don't do that it will time stretch with a weird pitch because
you changed the timing of the sample so I'm hitting alt to micro move that and
then I'm going to the end it's a micro nudge this bad boy over and again if you
listen to it's not gonna same like the same blah in tongue twist it's not gonna
sound like the same key unless we put that stretch mode on it's a little out
of key so click here channel settings pull it back to stretch mode so it keeps
its original pitch okay so we're gonna do that for each it's pretty simple just
use the alt button left click drag it make sure it lines up with the vertical
lines I'm using my mouse wheel to zoom in and out hit alt left click and drag
then you want to click here go to channel settings and go to mode stretch
mode okay now the last one all we need to do we already time stretched it all
we need to do now is just align it with the grid at the starting point so zoom
in with your mouse wheel in that black bar
it alt left click and just line it up so now that's perfectly time stretched
already so this should all match up so I'm probably gonna do stuff to that
sample to make it feel different and that's why I said you need to know a lot
to get into sampling if you want to sound different now that doesn't mean
you can't do it so let's go to our channel rack and where's that sample we
have chord a listen that to mixer channel - let's turn the volume back up
so I'm hitting right click and hit R to reset now things can get loud so I'm
gonna pull the fader down so the question is what I want to do with this
sample let's try using creative effects first things like filterfreak
this has a velocity sensitive filter movement
so with this threshold based on its volume that red dot it will move the
filter so it's a very unique movement of the filter and you can change the
resonance let's go back or the frequency the frequency focus so I'm just adding a
little resonance so you can feel the movement so it sounds a little bit
different so here's without now sounds good without and it already has some
kind of volume automation on it but here's our thing it makes it a little
more R&B esque I'm going to add a multiband compressor again this is where
mixing kind of takes you beyond the scope
of simple sampling go to all the bands just link them on up to rid the low end
so it doesn't overly compress even though it doesn't have much lower we're
gonna add Auto gain compensation I'm just doing this to keep in a nice even
tone because we don't want too many things bobbing up and down too much
dynamic can actually sound terrible okay so now let's figure out how to add up
well the vocal chant let's do that third now let's figure out how to make this
melody work so firstly before we get into the chords well actually we need to
listen to it because they can be here's two things we're listening to yes we can
change the notes possibly with Melodyne but firstly we want to listen to is the
scale even similar okay so to do that the first I'm trying to think of a
simplest way you can do it is simply to transpose the notes so that the first
note is the same note as the chord which is so so that's that first note should
pull down so before we get into all that let's chop up the melody for what we
want so one two three four two two so slice it at the bars one two three four
and so visually you can see the next note starts right there one two three
four and and then they start again right there so again we're gonna do the same
time stretch technique I'm gonna get rid of everything else cuz I don't want it
time stretch we're gonna move a little quicker here again hit alt left click
drag it so it lines up with those vertical columns so you know it's two
bars grab the second one hit alt if you're on bar mode that way you can
micro nudge it around didn't zoom in make sure you're grabbing the tail alt
left click and you know what I forgot to do make these unique so there so there's
that time stretch one it's time stretching the other way which is not
what I wanted to do so I have to go back and retime stretch the first one because
I was time stretching both that's why I said you need to make stuff
unique and get in the habit of doing that so now we're gonna go to each
sample go to channel settings go to mode go to stretch mode so it keeps its
original pitch and now we can mess with the pitch knob and try and transpose it
to match our chord and we'll see how many notes the scale has in common so
I'll pitch this down one semitone at a time which is a hundred cents that
doesn't sound the same now that sounds good to me pitch down
two semitones so 200 cents is two semitones now the second half does not
match at all so I might just repeat it
or I just thought of something let's make this unique and pitch it up a
half-step let's pull it up 100 cents still not
there let's go up 200 still not there you know we're missing the majority of
notes
so here's where I think I'm gonna try and see what Melodyne can do as far as
reordering that now again I've never done it before on an instrument I've
done it on vocals but we'll see how melody and picks up on that sample now
for now I'm just gonna leave I'm gonna omit it they can hear the time it goes
boom boom boom boom boom boom and it's very early so here's where you need to
use your ears and get the timing right I think the timings a little fast towards
the end you could slice it and make it a separate thing but I'm just gonna move
the clip as a whole a little to the right so I'm gonna hit shift right
make sure your snap to grid was on none or you can hit alt if your snap towards
on bar or something hit alt highlight these hit alt and just left-click and
drag see that it's too early for me so to make that blend I'm just gonna delay
it sounds more natural now also at this point I might as well just cut off the
ends
now see if we can fit in this percussion so you can see how it's just to process
the blend the stuff together you have to know what stuff about stuff it's not
just like chopping a loop and putting it with another loop you know especially if
it's from a different song a whole different key so I'm probably gonna
slice this into different pieces but first let's get a loop for the
percussion and then I'll slice up it part so let's figure out where it starts
so I want to go doomed so let's figure that out so right here the doom that low
note right here I'm gonna hit shift grab that
I want to move this one away so I know it's something just to grab go back back
to the beginning and then we're gonna slice it right at the beginning and then
we have our loop get rid of the rest unless you really want those drums I
only want it for the percussion again it's easy the time stretch so you just
go in make sure your time stretch is on under focus audio clips stretch mode hit
alt now I'm zooming in a little bit closer make this bigger so you can see
hit alt left click and just drag that so it lines up with the grid now go here
channel settings to keep the original pitch go back to mode stretch mode let's
see how that groove fits in now remember the melody has that swing to it on those
last couple of notes I might slice those out or rearrange it let's just hear what
this sounds like together now the to me the percussion is too fast again we need
to move stuff to the right 1 2 3 4
now we're getting somewhere we're gonna do yeah alright so now it's getting into
micro slicing so let's figure this out so I'm going to record this
send the percussion to track 4 when I open up Edison
reason I'm opening up Edison is to remember that it's still recognizing
this percussion as the whole track that we just had on the playlist I don't
really want it to read the whole track so what I'm doing is recording this tail
in into Edison so we can so we only have to deal with that piece versus the whole
thing we could make that make it unique as the sample that could also save time
let's actually do a so remember that it still thinks the percussion and this
little section that had that bone part in it is one thing so I wanted to be
separate than this percussion so to do that I'm going to click here go to
channel settings actually no not channel settings we're gonna make it unique as a
sample it's gonna resave this little clip as its own separate thing the
reason I'm doing that is because I don't want to open up you know the audio file
as the whole percussion clip you know it's not what I want so now that I have
it separated I'm gonna send that to the same track unless I want to do something
else with it and I'm gonna send this to a sampler let's click the plus button go
to delete and that will open up a blank sampler I'm not sure why they called it
delete you know whatever how can it criticize we'll just go to the drum chop
and drag it into the sampler okay now that we have this let's call this drum
send it to mixer channel 4 so now we can do we can chop it up as we like so an
easy way to do it is just go to slice X and just drag it into slice X
okay so slice X will automatically chop it up for you so now when I play my
keyboard each thing has a hit to it so it's a lot easier to deal with it that
way versus wasting time trying to slice it on this unless it needs to be super
super precise you can even make tweaks and whatever so now we can get rid of
that clip I just want the vocal chopped at this point so I'm going to leave the
vocal chopped in as is because I don't want to change its pitch or its timing
but unless you got super complicated like where I needed it to be then I
would have to go in and put it in as one of as an element here like in a sampler
so I could just trigger it I might do it that way because if I do it that way
then I'll be able to what's the word like use the hold parameter these are
the things that advance people you know like this is the event sampling this is
not like easy stuff what I'm talking about so at this point let's make this
unique as a sample okay so now we have it as as its own thing I can open up a
sampler the reason I have to open a sampler for this is because audio clips
don't have envelopes like the whole parameter there's no way to use the
whole parameter so we're gonna drag this inside the sampler okay and then we can
do stuff to it like trim out the silence add a fade-out you know little stuff
like that I'm gonna use the hole I'm gonna go to volume I'm gonna go to the
envelopes tab go to volume activate it turn up your hold parameter turn
everything else down or sustain it doesn't matter it could be sustained or
hold yeah now that's too much yeah you know I can always get rid of the
beginning yeah yeah so now we can play it as if it were one of those DJ horns
I'd rather it that way then just play it all the way out on the playlist so those
are the little things that's it you know that's the advanced part yeah so now I'm
just gonna play record notes on automation it's gonna play yet and then
cut it off by letting go of the key
now I should have turned the metronome off because that threw me off
that wasn't the natural timing because everything else is a little after the
metronome so I'm listening to the drums and the melody okay so now we have a
unique kind of Kanye style and it's a whole different song it's not that song
the he sample and we're gonna add effects to the vocals but now we have
all our main elements the hype element which is the chant and the percussion
loop to add the percussion loop back the reason I took it out was now let's find
some drums to create like a boom bass field we can add strings so what we need
now in my head is strings and a bass so let's open up Omni surfacing strings
so I know some strings ago
like some little vibrato let's see if we can find that strings and pads where we
had strings pageant strings types acoustic strays let's find the chord so
we're playing B and then D shock it might not be a full chord it's not a
full chord it would be G minor if anything
okay we could do G minor and then what is a 0 1 2 3 4 that we have a a flat
major do you minor B flat major
now it's not the exact string section I wanted let me see if i type in vibrato
does it pull up anything vibrato or hmm not vibrato tremolo like to say no we
don't tremolo strings so I need a very specific library it's beyond the scope
of this video let me see what lush ambient sounds like so G minor no it's
too dark
I like the sound of this because it sounds mono let's hear what the trek you
actually like that it sounds super cool so they dated the sound on purpose and
that's kind of returning in music so let's record that this is G minor so G a
sharp or B flat then D
so here's what I'm gonna do I'm going to record let's let's do it this way let's
build it up into a chord so that it's simple then it gets complex so that it
has evolution to it so I'm just going to play D D sharp D d sharp and then I'm
going to play the G minor chord then the a flat major chord
so we're gonna play it two more bars for
now we're gonna get ready for the course
so I added a tension note at the end but it's barely detectable so you also want
to try this with higher notes especially with strings gives it that really
classic sound I'm not sure what the chords are gonna sound like in this high
up sounds kind of cheesy so let's pull those down
but I do like the high-pitched strings in the beginning now again everything
can't be loud so we need to start building priorities in the mix same
melody the melody it's bouncing around so we need to add that compression to it
stop bouncing around fix the attack times on these compressions so the
string should overtake the track stand the ball go down again we got to mix
this stuff still and we still need drums in a bass line so let's open up trillion
for the bass line actually let's do it Omni sphere
the reason I said omnisphere is because we can search the trillion library and
go to types it's got a base set electric fingered base send that to a new track
so it's probably best your beatbox first so you get an idea of what your base
needs to do it doesn't need to be like boo the room you know doesn't need to do
a thousand things so so we're gonna do a cos boom it's fine and where's our is
this I didn't choose one let's go to clean
fender for now full range so boom we need to find that tone boom also make
sure it's tuned accordingly it's at four forty so see then we're gonna do an
octave lower this in the play list we could play it along I'm doing high
octave so I can hear the tone it's easy for me to hear bass tones at higher
octaves and also get the time mm-hmm little mutant between the bumble also
the velocity matters here for the wait sounds because it's muted the lower
velocity it sounds too like harsh on the high end so let's switch out the bass
for a studio bass we need a softer tone I might do studio warm if that has full
range it does so now Zack
now again it's right on the grid remember our timings not on the grid
anymore so go to your wrench tool go to time shift pull it up a bit so it delays
the sound to the right now I'm gonna see this if this base has a legato function
don't worry about the terminology just yet all that means is is there a way for
the notes to slide naturally legato we're gonna put on solo mode but it
doesn't make its it's not gonna guarantee that it sounds good it was so
fast I didn't hear it so let's delay it a bit bass is not delayed enough because
it's hitting earlier
the slide so again make sure the notes fill out the gaps or else this is gonna
sound like a digital thing
so that that pause in between made it sound weird wait I go up an octave
because I can't hear it in my head
so a lot of stuff going on so the Mesa scene of the the majority of the groove
so let's pull that back down
so now we've something to build off of let's grab some drums
the beginning I'll give you like a little nods stop not a rapper but the
beginning I'm trying to rap and do stuff I don't know that's the best idea the
Genesis not from the beat
salt but what we sit still come in and talk but here in my co in the Skyway
again with a fresh linen tail a potato or Nestle
gated by the sauce
the dog is not thinking we go that everyone's a did it twice with you
I do it again flex your automatic with
now we need a kick
the kick does not have to be super foamy
that's it lay to it Timeship
little time shift I don't think the double kick sounds
good that sounds kind of cool
I'm gonna leave out the swing for now
beep up the drums in a second
so when a lair drums so once more the impact drum whereas the other is more of
a sound effect drum
I might add some bars to this it's not really expired me take out the base the
base should not be run into your old track well net so it doesn't happen
every single bar that snare bouncing
might lead one in there but not nervous
I had of some sort or a tambourine I like how the drums aren't over the top
they don't need to be super trap drums you know
well
my marriage
so
might be like a Pharrell Neptunes not the left
so so I might do that sounds like it's natural see with the yes we don't want
to like overly do everything we need a little more rhythm so let's add some we
get hi-hat or metallic
fix the tambourine reminds me of the 90s more dad to Stamper Union just delay it
time shift
my head
we do it that way the timing really has the perfect kind of like that bounce
also let's cut these kicks off so they don't overlap so cut nine by nine cut
nine by nine so that the frequencies don't overlap was the kids volume of it
that Kanye kind of bounce swing to it
tiny bit too much
Janine's new vibraslap in there for sound effects transitions
so I think that rhythm can be a little tighter and it's because the percussion
there's too many things trying to dictate the groove if the melody dictate
in the swing then you have it the percussion doing its own swing then you
have the drums doing its own swing that's why that's where it gets
complicated see we don't even need that percussion anymore
okay so since that was so long before I didn't dictate the whole drum rhythm
around it so solo before so now the drums now we can think about the drums
different now that the dum-dum doesn't make sense with that percussion loop
let's hear what it sounds like with just the percussion
pitch the tambourine the mess
I like that groove better but again that percussion got lost so I want to redo
the drum pattern it's go to a new pattern it's fine just kick and snare
patterns so now I'm going to base it around the percussion
to delete
patek clap underneath timeshift
you know what it is the melody
what I'm gonna do is chop off the ends because it's it's throwing off the
percussion rhythm so these are the advanced things that you just
takes time you can't just really jump it to these nuances like that so we're
gonna cut out that last those last two notes
also going to start adding effects to the sounds
cutting out low in that I don't need like this does not need low end
late
none of the stuff needs Lowen so I'm going to EQ it up
it's boost an antipope breathing
also we can micro shift just to the right
Mendeley the bass a little bit more now timing becomes a huge issue with so many
different records trying to find them in two milliseconds can determine the
homebrew
start setting up a reverb so we can blend this stuff together
trying to get the kick right because of Tommy
so many things going on I might just let this be the rhythm
because it's doing too much against the drums - add a clap
snares
we don't have a kick just a little different let's add a kick in here
so our clonus into a poem boom so just to switch it up
we spend all day on the drums start mixing this to get you know a very
unique sound when I first pull up the reverb
try and get the melody to sound different that gross beating here just
doing little things to make it different to make that a simple curve here here
someone a soloist with instruments
I kind of like how it gets detuned at the end I think that percussion is just
trying to override the beat so I'm gonna take that out it's just too aggressive
for this track because it's dictating everything and it's like you can't add
drums over top of it so in that case we're going to take it out
up down a sound volume
start sending stuff to the reverb
pull this beat a little hard to see but I'm gonna pull it to 1/16 so there's a
get to attitude
Negros be first
sending stuff to the reverb so it sounds like one track probably miss without the
kicks
making the kik Shorter's makes a dramatic difference see if we can find a
different game instruments drums kind of
sound different when I pull it in the thing oh that song do
harder
firing stairs
we're going to add modulation to the string say
I'm all set there
tambourine
so I'm gonna take up that last note see
we didn't use Melodyne here because we don't need to think about that for your
future projects
work on this make it a little more flat
there's mid/side eq on this
mm the low end of the mono not stereo so we can keep some definition to it
strings a bit pulling in a lower octave
sounds pretty bad check that out okay for whatever reason it's not going back
I don't know where sounds are so instead of doing the note change I'm only gonna
do it towards the end so here's another technique they do this a lot in haunted
movies horror movies some when I make one long note it sounds a little tense
when the key changes for the chords but
I'm also gonna add gross bee stings moving around too much
and a volume automation to it now if you don't like that add the attack
so kind of swells in
so if it's at the groove of the song
you don't have to make shapes like this but it just keeps the sample sounding
tighter
he's like a plugged into us we're gonna have the DBS actually let's do
I think the kick needs a little more crunch up and at a.m. when I send the
drums to another track on the drum saturated track on my kicks and snares
so we have track 8 through 16 looks like I drum some of them go here
hit ctrl highlight all these and right click and route them to the drum routes
to this track only a preamp to make the drum sound harder
let's get the timing like the chicks too delayed so I'm now I'm nitpicking but
this is the stuff you spend a lot more time on gotta get the timing right
as is drum houses drums are not usually the hard
like this could be a little more thinner
if
if
so I had to mess with the filter effect too because that was affecting the
timing or the perceived timing that's why I said there's so many little thing
so what I'm gonna do is take out the strings and are ya distort are ya bitch
gotta find this yeah it doesn't have any time offsets just a little delayed I
would like it a little bit earlier now I'm nitpicking so again we have the
the basics down here so I might read through the base is it - it's like boo
it's eaten up too much groove space when you hold notes it takes away from the
groove so I'm I do I might kind of wrap the bass around the kick drum now
to me it's there's so many timing issues
is the one difficulty when you get off the metronome it's hard to line up stuff
now the bass sounds too stale
that's why I said it's you can get complicated let's just leave it as this
cuz it was fine before now we're making it work
you might wanna think about side-chaining
tune our drum sound better
just could that's because there's no tambourine guiding our ears and measures
we're at got the tambourine back to stay here whatever sound like
slang like a nas demo verse 2 this still think the drum can be harder maybe
sister drum samples
this might be one song where the mix would benefit from moving the bass to
the left getting stuff out of the way because everything's mono
let's just see what it sounds like we've got pandas stuff like the kidness there
another sounds like an odd concept
but now the bass can breathe a little bit you can feel the groove a lot easier
I might just need to be a little bit faster let's crank this of the 90
I'm gonna take off gross because it's making this song sound like it's out of
cake I want to pull it up maybe a head spell
this sound better fits better in octave
so those are all the little small timing things that were offsetting this beat it
was cuz everything was a mono it sounded too like smooth it didn't sound hard
because nothing could be differentiated
want to filter out the strings good add that for the base alright let's add our
demo verse
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