Future Music Sample Article

Sampling is a fun and effective way to create music by taking the mood or harmony of something and re-inventing it. Perhaps the most recognizable culture of sampling would be hip-hop, but this craft can be present anywhere else if the composer so wishes.

I made a beat reminiscent of a cross between hip-hop and dubstep. It has a very dreamy, lo-fi nature and has vocals drenched in delay and reverb.

The track is made up of a kick layered twice, a snare-clap with three layers, a bassline, 2 hi hat sounds, 3 sample layers (I’ll refer to them as “Vox”) and 2 FX layers.

The track is entirely composed of sampled material from two tracks:

Eliane Elias – Save Your Love For Me

AK and Direct – Sleepless Nights

I scanned SYLFM for all the sounds first and experimented with all of the different kick sounds I could make from all of the “bumpy” noises I could hear and kick drums I could make out. There were some granted, but all of them were really soft, and even with compression and distortion and layering I wasn’t getting the clean kick sound I was looking to hear. After taking the kick from the other track in hindsight I realized there was also the option to take a bass note and shorten it and add other effects as well. I will attempt this technique in future to test its legitimacy. I ended up taking a kick from Sleepless Nights and EQ-ing it as well as adding other effects and mixing it in. I layered the kick twice for added ‘oomph’

For the snare-clap I scanned the track for a snare drum hit, and I found something that might have been that. I chopped it up, made it shorter, and added a fade in and out to sonically smooth out the clip. I then duplicated the track three times and EQ-ed each one. One was lo-passed, another band-passed and the last was hi-passed. I hi-passed the last one softly and rolled off already at around 3 kHz to make it sound lo-fi to the best of my ability still. Each snare-clap is going through an effects chain that consists of two filters (Audiomatic Retro Transformer) and a chorus effect from Kilohearts. I routed all three to a line mixer and balanced the three levels. The output of the line mixer then went through another audiomatic, a reverb unit, a compressor and then another audiomatic.

The bassline is a sample of a short segment of an extended bass guitar being played in moment of relative isolation from the rest of the instruments. I took this short segment, faded it in and out to smooth out the clip but also to diminish any movement left in the playing of the instrument to make the short clip seem monotonous but consistent. The process holding the clip then went through two equalizers with half of the upper frequencies and harmonics shaved off and then an audiomatic for some warmth and low end on the ‘bottom’ preset with some tweaking.

The second bassline is the same clip loaded into the NN-XT sampler and then run through the same effects processes. I added some automation on the pitch to give it some bounce.

The hats are shortened, tightened clips of the cymbal ringing out in the track. Faded in and out to smooth the clip, but not so much that the impact of the hat is weakened. Naturally they’re hi-passed for “thin-and-crispyness”, but also being put through a gain and reverb unit for presence and flavour. Also another equalizer with a bit of high-shelf emphasis was also added. They are relatively loud in the mix to stand out, and I panned them left and right slightly so that they had room to do their thing.

The vocals are taken from various parts in SYLFM and chopped, arranged and time stretched differently. Regardless of form of excision, the clips run through an audio track that is routed through an audiomatic, gain, delay, chorus, reverb unit, another audiomatic and an equalizer. There are -13.1 decibels of gain at 3.487 kHz with a Q-point of 5.7 to take away the harshness of Mrs. Elias’s sibilance. The delay is set to a step of 4/16 (repetition of a whole note, or one beat every bar). This gives the main sample the magic. Drenched in reverb, and carried on with a delay, it sounds spaced out and magical. It has two layers, one is slightly more high-passed than the other, but they’re not layered on top of each other.

The FX are two layers of air and cymbal after-ring also run through a similar effects chain as the vocals. Still relatively quiet, so they’re loud in the mix. High-passed.

To sell this track legally, I must clear all the samples that originate from the tracks I sampled. It would be easier to get away with not clearing the sample from Sleepless Nights since it is only one instant processed slightly beyond recognition.

However, the rest of the track is sampled entirely from SYLFM. The entity representing Mrs. Elias in the court of law could sue me for unfair use of copyrighted material, and I could be forced to pay all of my earning for the track back to that entity because none of the sounds I used were originally mine. To sell this track completely legally, I would need to clear both samples and presumably allocate some royalties (perhaps all) to the respective artists.

It is important to acknowledge and understand the effort and skill that went into creating the original tracks, and thus it is only fair to pay the artists respect, in the true sense of the word, by allocating the correct royalties.

https://www.mediafire.com/?ctu73lo3qvgt00d — “Wish I knew” – Casj Lee

https://www.mediafire.com/?e5z5o46auo1dt79 — Logic folder

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