That’s what I said but honestly at that point you might as well just nudge them because it doesn’t really make a difference

The swing s*** is hard to achieve bro I been through a lot of trial and error. I have some really bad old experiments trying to do weird drum s*** lol. That’s part of why I’m so weary of these easy explanations. People try to make it like a science but I don’t think we can easily explain his work with a couple features on a machine. There’s too many variables in sampled music to really know what he was doing fr

You could be right for that specific case but what’s your thoughts on how he might have achieved the feel of the Fantastic Vol 1 beats?

Even if we can explain it with features on a machine it doesn’t mean you’ll be able to do it perfectly because we don’t have his brain

You can study music theory for years and still not be able to come up with Melodies as catchy as someone who’s brain just works like that

It’s true

What about my idea that the snares being off by the same amount could be explained by his chopping method and leaving a bit of space at the beginning of the snare so it triggers at the same time and is actually straight on the grid but the attack is slightly delayed, creating the “on but off” effect? A lot of little things like this can happen when you’re chopping drums from records, and even his sample chopping was very human, he would just needle drop to each piece he wanted and record each chop straight to the pads, not actually editing chops for the most part

lmfaoooo

I’m actually not sure

When I get home I might throw some of the beats from it into ableton and try to line it up to see

I’m assuming certain elements are completely quanitized and he played some in live. I honestly don’t know exactly how the sp1200 works tho because I’ve never messed with one

I know a lot of the beats use full breaks tho. Like he didn’t just chop a kick or snare out so maybe it’s just how he rearranged them

insane post

Yeah that works and is a technique people have used

But again that’s just kind of extra steps when you could just nudge it

Dilla, Madlib, Ye, & Al.

The Producer Rushmore.

Yeah there is some full breaks but there’s tracks like Forth n Back too which feels like signature Dilla. Would be interested to hear your thoughts. My theory is basically what I laid out in my last post, I feel like maybe human/imperfect chops could be the way he got the more rigid sampler to feel looser

And is it extra steps tho? What if he kind of naturally developed that style before using the MPC when he didn’t have the nudge option and it just translated. Because he was somehow getting the SP to do that s*** lol before that other option or step existed. To me nudging is actually kind of the extra step when samples usually don’t start truly “perfectly” anyway.

I should’ve made it clear too that I don’t think he was taking that step consciously to make the snare late or something but that maybe it just happened as a near accident of his process. Cause I don’t think he was even thinking of his feel in any way close to the way we do. I don’t think his stuff was “off” at all in his mind. So I don’t know if he ever even consciously had the idea of “let me put the snare late” I honestly feel like he just did it lol

Like what if he just always pressed record on the snare sample a little early to make sure he got the attack, but not so early that it was “too early”, and as a result most of his snares are ever so slightly late when programmed? Honestly makes more sense to me lmao

"MBDTF" & "Fantastic Volume. 2" are the upper echelon of sonics.

"The Chronic" as well.

His chopping on the sp could’ve also helped with that feel because super accurate chopping was almost impossible on those because it was completely by ear

Although I think that just applies to everyone back then and why beats at the time naturally sounded so loose

It’s really why I prefer using an actual old school sampler for sample based work because you can’t really make everything perfectly on time. I been using an s2400 (look it up if you don’t know) and it’s absolutely amazing and easily blows all these new mpcs out of the water

I’ve wanted one of those, maybe one day. The hardware process is definitely great and taught me a lot. when I use a daw these days I actually usually don’t use the tempo functions I use it more like a tape machine but just with editing power.

Yeah you definitely learn a lot with the hardware process and I feel like it really forces you to use your ears more

It just amazes me seeing how much someone like Al can do just on an mpc alone because he really don’t use his computer other than for tracking out and some light mixing

such a lie

i don’t want to compile a topster i’m not fruity like you and music sucked last year i saw people hyping up that trash gunna album with free youtube beats and troye sivan. my taste is fine and i have nothing to prove to people who think larry june is good or some unknown artist