“If I’m gonna chop a sample, and it’s a basic sample, I make all the pads cut each other off. If you don’t have your answers, there could be a problem.” You will get into some hot water later if whatever rapper’s hot at the time picks your beat, and the label wants to know where all your samples come from. “If you intend to sell beats on a high level, it’s a good idea to remember and write down all the samples that you use. Learn from my mistakes and label your samples, name your folders. I will say, I’ve had a lot of problems when it comes time to clear your beat. It’s a good idea, but I’m still trying to learn that one. But if you name stuff, you’re the man, and I do recommend it.
To be honest, I go really fast, and I don’t name shit. “If you’re an organized person, I would recommend labelling your samples while you work. But as you add your layers, there’ll be these different elements - but when you mix them all together, the goal is that most people’s ears won’t be able to hear those layers.” 5. So for me the trick is to add as many layers as you can. It’s not blended well enough sometimes, just coming out of this machine. “To make a beat with a lot of layers sound like a finished product is tough to do with the MPC. So we’re already doing something the machine wasn’t made to do. They were made for drums, but we got crafty with it and started adding sounds into it and chopping them up. Then, it’s not so perfect, and those beats are the ones that I’m more gratified by.” When you do that, the record’s not all in time, and there’s moments that’ll happen when you hear something and you’re like - oh shit! Stop the beat, spin the record back, and grab that sample.
That’s a technique that’s more about your ears than your hands. “I play the drum beat, and let the record play. I start with the rhythms, the tempo, and then when I play records over the top, something is gonna land off-beat, and it’s not gonna be so planned. When I make the drum beat first, I don’t know where I’m going, and there’s possibilities there that are beyond what you can imagine. I wanted to make things that were beyond me. “For me, I got to a point where finding a sample and then adding the drums and bass became boring. In those instances, getting the sample first and organizing from there is the way to go.” 3. You might be sitting in a Starbucks somewhere, and a sample comes on, or you might be in the car with somebody and you Shazam something. You can really kill a beat if you have a vision when you take the sample first. Finding the sample first is still a great technique. “In the early days, I used to find the sample first. Because if you’re inspired to create, you can take any piece of noise and make something creative. If you’re not inspired, and it’s time to make beats - you might skim the needle over a record, and find nothing there. Here, we present a selection of ten essential beatmaking tips and tricks pulled from The Alchemist’s Masterclass, released today through Aulart.
#Alchemist kendrick lamar series
The Alchemist has shared his studio secrets for the first time as part of an Aulart Masterclass, an in-depth series of video tutorials that dig deep into his crate-digging ethos, Akai MPC techniques and beatmaking wisdom.
#Alchemist kendrick lamar mac
Making a name for himself in the ‘90s through his work with Mobb Deep and Dilated Peoples, The Alchemist rose through the ranks to become one of the most in-demand producers in hip-hop, lending his skills to a staggering list of rappers that includes Nas, Eminem, Mac Miller, Lil Wayne, Rick Ross, The Game, 50 Cent, Jay-Z and Jay Electronica and Kendrick Lamar - and that’s just scratching the surface.
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