SaintJitterxburgFL

1y

Hey man Graduation is my favorite album of all time. I’m not gonna let that blind me from the fact the man has completely tarnished his legacy socially and musically

GodzillaMinusOne

1y

KTT posters say stuff like this and then you log on to twitter and see Ye is going to be #1 for consecutive weeks for the first time since WTT and that his numbers for popularity are reaching unprecedented levels during the streaming era and you just can't help but do the
irl lol

v12

1y

they should take you and bring back dilla for having music taste this trash

SaintJitterxburgFL

1y

Take Kanye bring back Dilla, God

2words

1y

Not true. The Dilla time book is filled with grey area narratives like this that youtubers then repeat as gospel with no critical thought

The Motown beat tape was inspired by Kanye (also known as Dill Withers)

Donuts was inspired by Madlib

It’s very obvious that donuts is nothing like Ye and more madlibs drumless weird style (done better), Motown is ye’s banging soul style (done better)

The book frames this confusingly and overlaps the two tapes and influence. Which to be fair they were close in time but it’s clear from the sound and other sources that Motown Tape is the Ye/Rocafella response and Donuts is the Madlib/Stones throw album (DJ house shoes said right after donuts came out that Dilla doing madlib’s sound, and Questlove made the Ye connection upon hearing Motown tape)

The book was cool but could’ve done better at being accurate and thorough and clear in certain respects. There’s a lot of BS especially about quantification the MPC. Dan Charnas basically retroactively says Dilla was just a programmer and not a musician and gives the creator of the MPC all the credit for making his time feel possible, ignoring the fact that his time feel was already fully formed before he used the MPC and it was likely more a result of always having some elements played live (often the kick) against other programmed or straight elements rather than the idea of “independently quanitizing” each sound

The book says how quick Dillas process was, 5-10 minutes a beat but still suggests that he’s sitting there tweaking parameters for each sound to get the right timing rather than the quicker more intuitive way which is basically just recording the elements live, or at least some of them. I dont think it’s about him nudging kicks it’s about him playing them with feel on the real time recording

Another quote in the book was from Dillas brother saying “he made music the way he nodded his head, it was just how he felt the music” or something like that, and to me that’s so telling that it was a physical thing and he was playing those grooves live. The whole “programmer” revisionism in the book sucks and is clearly just trying to make a symbolic connection with Detroit, and while the whole “grid” thing connecting the grid of Detroit and the grid of the MPC was cute narratively but it’s not accurate as a music book and kind of didn’t do Dilla justice as a musician

v12

1y

they should take you and bring back dilla for having music taste this trash

2words

1y

Not true. The Dilla time book is filled with grey area narratives like this that youtubers then repeat as gospel with no critical thought

The Motown beat tape was inspired by Kanye (also known as Dill Withers)

Donuts was inspired by Madlib

It’s very obvious that donuts is nothing like Ye and more madlibs drumless weird style (done better), Motown is ye’s banging soul style (done better)

The book frames this confusingly and overlaps the two tapes and influence. Which to be fair they were close in time but it’s clear from the sound and other sources that Motown Tape is the Ye/Rocafella response and Donuts is the Madlib/Stones throw album (DJ house shoes said right after donuts came out that Dilla doing madlib’s sound, and Questlove made the Ye connection upon hearing Motown tape)

The book was cool but could’ve done better at being accurate and thorough and clear in certain respects. There’s a lot of BS especially about quantification the MPC. Dan Charnas basically retroactively says Dilla was just a programmer and not a musician and gives the creator of the MPC all the credit for making his time feel possible, ignoring the fact that his time feel was already fully formed before he used the MPC and it was likely more a result of always having some elements played live (often the kick) against other programmed or straight elements rather than the idea of “independently quanitizing” each sound

The book says how quick Dillas process was, 5-10 minutes a beat but still suggests that he’s sitting there tweaking parameters for each sound to get the right timing rather than the quicker more intuitive way which is basically just recording the elements live, or at least some of them. I dont think it’s about him nudging kicks it’s about him playing them with feel on the real time recording

Another quote in the book was from Dillas brother saying “he made music the way he nodded his head, it was just how he felt the music” or something like that, and to me that’s so telling that it was a physical thing and he was playing those grooves live. The whole “programmer” revisionism in the book sucks and is clearly just trying to make a symbolic connection with Detroit, and while the whole “grid” thing connecting the grid of Detroit and the grid of the MPC was cute narratively but it’s not accurate as a music book and kind of didn’t do Dilla justice as a musician

2words

1y

Not true. The Dilla time book is filled with grey area narratives like this that youtubers then repeat as gospel with no critical thought

The Motown beat tape was inspired by Kanye (also known as Dill Withers)

Donuts was inspired by Madlib

It’s very obvious that donuts is nothing like Ye and more madlibs drumless weird style (done better), Motown is ye’s banging soul style (done better)

The book frames this confusingly and overlaps the two tapes and influence. Which to be fair they were close in time but it’s clear from the sound and other sources that Motown Tape is the Ye/Rocafella response and Donuts is the Madlib/Stones throw album (DJ house shoes said right after donuts came out that Dilla doing madlib’s sound, and Questlove made the Ye connection upon hearing Motown tape)

The book was cool but could’ve done better at being accurate and thorough and clear in certain respects. There’s a lot of BS especially about quantification the MPC. Dan Charnas basically retroactively says Dilla was just a programmer and not a musician and gives the creator of the MPC all the credit for making his time feel possible, ignoring the fact that his time feel was already fully formed before he used the MPC and it was likely more a result of always having some elements played live (often the kick) against other programmed or straight elements rather than the idea of “independently quanitizing” each sound

The book says how quick Dillas process was, 5-10 minutes a beat but still suggests that he’s sitting there tweaking parameters for each sound to get the right timing rather than the quicker more intuitive way which is basically just recording the elements live, or at least some of them. I dont think it’s about him nudging kicks it’s about him playing them with feel on the real time recording

Another quote in the book was from Dillas brother saying “he made music the way he nodded his head, it was just how he felt the music” or something like that, and to me that’s so telling that it was a physical thing and he was playing those grooves live. The whole “programmer” revisionism in the book sucks and is clearly just trying to make a symbolic connection with Detroit, and while the whole “grid” thing connecting the grid of Detroit and the grid of the MPC was cute narratively but it’s not accurate as a music book and kind of didn’t do Dilla justice as a musician

v12

1y

they should take you and bring back dilla for having music taste this trash

X7JQ9L2MF4A8Z

1y

ngl this is some real nasty work

JeffersonSteelflex

1y

aight now wait a minute there are fire albums in here lmao

SaintJitterxburgFL

1y

Lmao u prob don’t even know half of these cuz u need spoonfed music

v12

1y

billy woods sampha and veeze yeah i’ve never heard of these guys so obscure you gotta be so in the know

niketech

1y

bro WHAT THE F*** ARE YOU SAYING

SLUM VILLAGE THEMSELVES JUST SAID IT

you swear u know more than the people in his group about this nigga cause u read some book

niketech

1y

people aren’t inspired by one thing and that’s not the point of the thread

if you aren’t posting dilla beats or old ye beats may u politely escort yourself out of this thread ty

niketech

1y

there isn’t room for argument but yall find a way to argue.

jay dee own group member is telling the story. he is saying “this ain’t the pc version”

yall f***ing losers find ways to discredit hip hop legends telling their truth and denying their reality

notbrock

1y

I don’t think anyone’s giving Roger Linn all the credit for Dilla beats

The mpc was just a tool he used to express himself (he also didn’t even use it for donuts). Programming drums and nudging them can get pretty detailed and complicated so it doesn’t take away from him as a musician

I also believe there’s evidence for the nudging thing because people have tested it and found it lines up with Dilla’s drums. It couldn’t be played in live with no quantization or nudging because there’s no possible way a human could do that

But he did also do live stuff

2words

1y

“It couldn’t be played live by a human”

Says who? What? It’s played one element at a time. He probably would program either a hat or a sample to start as a “metronome” and basic skeleton, and then record the kick and snare and bassline live on top of that skeleton layer by layer. This explains the “programmed contrasting with live” much better than the idea of individual quantize settings or even nudges. And this is why these characteristics are present in early beats like Bullshittin or Runnin by Pharcyde, which were not made on an mpc. He just had a good feel.

My theory on how those were recorded is Dilla would program everything in the SP1200 except for the kick, and then he would record the kick live to the tape on top. The hyperfocusing on the MPC and it’s workings misses the fact that he already had the time feel before he touched the thing. Imo it’s simpler than the charnas theory, he just always used a mix of programmed elements and live elements. Suggesting that the sound is owed to these small things like nudging or quantize feels like missing the forest for the trees.

No matter what you do with nudging or quantize you’re not getting the Dilla feel from that. You gotta have feeling and it’s all about where you play the snare and the kick. It’s an instinct and everyone’s is different. Playing elements live acbsolutely gives me better results than tweaking parameters though. This what happens when rhythmically challenged people try to understand Dilla tbh

His bass lines are a dead give away: they’re clearly played live, not programmed. He’s not getting that crazy bass feeling from a quantize percentage, he’s just playing weird ass synth bass lines on top of his beats and it comes out weird and great. Same with his kicks he’s not programming those sloppy ones i swear. It’s live

The way you nod your head is the way you play an instrument

Dillas beats had his rhythm because he was physically putting the feeling into it. Laying beats down live layer by layer is actually the fastest way to work if you have rhythm too, so it makes sense with his speed of working. Reading the story of how quick he made Doinit for common, he clearly just layed that down live imo. Programming would take longer

2words

1y

“It couldn’t be played live by a human”

Says who? What? It’s played one element at a time. He probably would program either a hat or a sample to start as a “metronome” and basic skeleton, and then record the kick and snare and bassline live on top of that skeleton layer by layer. This explains the “programmed contrasting with live” much better than the idea of individual quantize settings or even nudges. And this is why these characteristics are present in early beats like Bullshittin or Runnin by Pharcyde, which were not made on an mpc. He just had a good feel.

My theory on how those were recorded is Dilla would program everything in the SP1200 except for the kick, and then he would record the kick live to the tape on top. The hyperfocusing on the MPC and it’s workings misses the fact that he already had the time feel before he touched the thing. Imo it’s simpler than the charnas theory, he just always used a mix of programmed elements and live elements. Suggesting that the sound is owed to these small things like nudging or quantize feels like missing the forest for the trees.

No matter what you do with nudging or quantize you’re not getting the Dilla feel from that. You gotta have feeling and it’s all about where you play the snare and the kick. It’s an instinct and everyone’s is different. Playing elements live acbsolutely gives me better results than tweaking parameters though. This what happens when rhythmically challenged people try to understand Dilla tbh

His bass lines are a dead give away: they’re clearly played live, not programmed. He’s not getting that crazy bass feeling from a quantize percentage, he’s just playing weird ass synth bass lines on top of his beats and it comes out weird and great. Same with his kicks he’s not programming those sloppy ones i swear. It’s live

The way you nod your head is the way you play an instrument

Dillas beats had his rhythm because he was physically putting the feeling into it. Laying beats down live layer by layer is actually the fastest way to work if you have rhythm too, so it makes sense with his speed of working. Reading the story of how quick he made Doinit for common, he clearly just layed that down live imo. Programming would take longer

niketech

1y

saddest part of this is that you would treat him how yall treat pete rock

completely ignore his existence until he died and then fake care for a day

niketech

1y

saddest part of this is that you would treat him how yall treat pete rock

completely ignore his existence until he died and then fake care for a day