#Kanye mpc | Explore Tumblr Posts and Blogs

Visit Blog

Explore Tumblr blogs with no restrictions, modern design and the best experience.

Fun Fact

Average visit duration of Tumblr.com is 10 mins and 25 secs.

playboyhendrixx · 1 year

Text

Sampling some vinyl into the maschine mk3… we love sampling over here ..

23 notes · View notes

yourboijod · 6 months

Text

Kanye West x the ASR-10

#kanye #kanye west #asr 10 #ensoniq #making beats #beats #J.O.D #rap #samples #mpc #akai #beats by design

22 notes · View notes

fashionablegentleman-blog · 2 months

Text

#HipHop #Hip Hop #Rap #Rapper #MusicProducer #NewYork #New York #LA #LosAngeles #Los Angeles #BeatMaker #Composer #Trap #Beats #NERD #N.E.R.D #Pharrell #Kanye West #KanyeWest #Ye #Metro Boomin #MetroBoomin #FLstudio #MPC #AkaiMPC

2 notes · View notes

it-brought-me-to-my-knees · 1 year

Text

DIGICORE LOVE: MY FIVE FAVOURITE SONGS (AS OF RIGHT NOW) [#1]

recovery girl - "it’s love" / "it's love redux"

youtube

A big Hyperpop Moment for me, the loser who cares deeply about echoes of the past in the art of today: “wow this has the same chord progression as “Because The Night” by Patti Smith, that’s so crazy, I love that s- wait a minute, they’re ripping off the Cascada cover!!!”. The original is so stark that it reminds me of the days when “hyperpop” was often mentioned in the same breath as “deconstructed club music”, but it’s such a perfect pop song that it doesn’t feel like it needs anything more… and yet I’m equally smitten with the “redux” version that fleshes it out from a minimal pop song into a rock song that’s almost too much, the snarling distortion that crept at the borders of the original bursting through the walls: jazzy emo noodling, a roaring half-time breakdown, and a guitar solo that swoops in for just long enough for you to think “holy shit, a guitar solo!”.

Man, that wacky bass intro - get a load of Tony Levin over here!

youtube

webcage - "0M61LY5M"

youtube

Makes me feel old that they namedrop Danger Days as an emo classic in this one. I mean, I like it, but my wife is an I Brought You My Bullets purist so DD is borderline verboten in our household. But we did talk about My Immortal on the night we first met, so I’m sure she’d appreciate a hook as on-point as “Ripped skinny jeans, black nails and a septum / all the preps, all the posers, just forget them!”.

Quite interesting to see how quickly and subtly nostalgic art can warp the recent past - I certainly don’t remember the Scott Pilgrim soundtrack being an emo touchstone, but tbf, the “MySpace rawr x3” vibe that I’m so fond of was already on the way out during my Peak Emo Years (‘10-’12), so maybe I’m equally guilty of sloppy romanticisation. Life is so hard for me, the oldest zoomer (27): the kids are a mess but if I try to join the millennials they might start gushing about “LCD Soundsystem”.

Another big moshy breakdown! Someone really needs to start a clubnight for cringe shut-ins like me, I can’t jump around to this in my bedroom.

SEBii - “STFU…ur done”

youtube

If you’re a fan of rap, you’re probably familiar with a few of the many, many “worst rappers of all time”; there’s a new one every six months or so. You don’t have to actually be a bad rapper to be “the worst”, you just have to somehow represent a threat to rap’s status quo (despite rap’s status quo being… already bad? Don’t overthink it, just open your third eye) - misunderstood innovators like Lil Wayne and Young Thug, “I’m not a fan, but the kids like it” oddballs like 6ix9ine and Lil Yachty, even fairly traditional rappers who committed the mortal sin of rapping over DJ Premier beats while not being Guru, like Group Home (one for the old heads there).

A few years ago, if pressed, I’d probably have said Travis Scott, who is somehow like a less charming Drake - no charisma, no bars, barely anything that even resembles rapping, but his executive-producer role makes his fans worship him like the all-singing all-dancing second coming of Beethoven. It’s galling enough when they treat Kanye like that, and Kanye could actually sit down with an MPC and make great beats, once upon a time.

Nowadays, though, if you shift the goalposts just right and ignore the music itself, I think that SEBii might actually be the worst rapper of all time. In all my years suffering in the rap nerd mines I never, not once, heard an MC namedropping RhymeZone. Not even a self-admitted ex-textcee like Ab-Soul, and that guy once rapped “let me put my mouth where you potty, boo”.

It’s hard to contextualise him, really. There’s a lot of black American artists and a lot of white American artists on this corner of the Internet but very few from China (shout-out to Alice Longyu Gao!). He looks like someone got the word “nerd” during a game of Pictionary and had five seconds to draw it, but he’s not nerdcore (although he does make anime references sometimes). He once intentionally mispronounced “chuckle” as “chickle” so he could rhyme it with “abysmal”... which he then unintentionally(?) mispronounced as “adysmal”. But as Guru once said, “it’s mostly the voice that gets you up”, and what a voice Seb has - a smirking prepubescent squeak, like a mischievous animal companion in a video game.

He’s fully confident and capable with the instrument that God has granted him, flipping dextrously between flows, and thanks to his ear for melody it really clicks with his beats. On paper they should be typical modern trap/drill-influenced material, but they make great use of negative space - the texture of a typical SEBii song is very lean and deliberate without ever feeling *too* sparse, cycling through different combinations of thumping bassline, jittery synth lines and dynamic drum pattern, all three occasionally dropping out completely to let echoes of that voice linger in the virtual air.

There’s a playful, colourful sense of melody to some of his beats—"TiiKKA MASALA" is downright jaunty—that wouldn’t really work with a rapper who was seriously trying to project menace instead of talking about shit like, Idk, Sword Art Online. I know I was shitting on Travis Scott fans for talking like this just a few paragraphs ago but the VVYELLOW EP is quite an impressive work of A&R, if I didn’t know better I could believe that every beat was the work of a single producer. Goofy music, but sleek and charming. Okay I immediately regret picking "goofy" as the adjective here, now I'm wondering if furry R&B is hyperpop (yes, obviously).

This is what real allyship sounds like btw.

threedimensionsapart - “dropdead”

youtube

I like how thin this one is lyrically - the one verse almost immediately shifts back into a chorus that gets repeated so insistently that a line as banal as “you don’t even follow me on Twitter” almost takes on mantra-like significance. And barely audible in the background, those warbling falsetto backing vocals! A stroke of mad genius. Feels like it should be laughable but tbqh he could do pretty much anything on the mic and it’d still be carried by this fucking beautiful glowing summer sky of an instrumental, an “in a dream you saw the pearly gates swing open for just a second and the tiny fragment you gleaned of the sights and sounds of Paradise was forever tattooed on your tender mortal brain” type beat. Dunno how to make those, I’m probably just not adding enough reverb.

wubz - “mania”

youtube

(That cat is so cute lmao.)

So many hyperpop/digicore artists are defined by their high voice - whether it’s trans women voice-training and pitch-shifting for obvious reasons or young castrato-sounding mfs like SEBii and kmoe who just sound Like That, there’s an abundance of countertenors and contraltos.

wubz, in stark contrast, seems to have gone “lol fuck that, I’m going the other way [devil emoji]”. I know “Pitched-down vocals? Wow!!!” is a funny thing to say about a rapper in 2023 but wubz never really sounds chopped-and-screwed to me - the vibe is closer to “original Japanese voice actor for an anime hooligan”, just like the angry schoolboy on the cover art for “walls”.

This description might make him sound less emo than his peers, but make no mistake: he’s emotional as FUCK, just like gruff emo OGs Guy Picciotto and Blake Schwarzenbach. (Those guys hate being called “emo”, which is how you know it’s a real genre. See also: Andrew Eldritch/Robert Smith/Peter Murphy and “goth”, everyone I mention on this blog and “hyperpop”). These emo ties are further reinforced by his affection for beats with prominent guitar - “FE4R” in particular is more like a rap-influenced post-hardcore song than vice versa, with actual (like, actual-actual. Like “skramz”.) screamo screams and violent lyrics that, in this context, feel closer to the noir-tinged moodiness of Senses Fail or Alkaline Trio than… who’s rapping nowadays, who do the kids like… Kevin Gates? Actually now I think about it Gates singing pop-punk hits in his croaky baritone kinda predicted this vibe… ugh, it’s so annoying that someone as deeply boring as Machine Gun Kelly managed to make “what if a rapper… went pop-punk” into a commercial prospect. Should’ve been a Deep South rap crooner. Please Rod Wave, consider recording a Victory Records cover album.

This blog is already dangerously close to me just saying “[new thing] is like [old music-nerd thing], probably a coincidence but pretty wild huh” fifty times in a row but the melodic feedback shrieks on this really do remind me of early Animal Collective. Hurts so good.

And that's all for this week! Maybe month, I find schedules scary! Byeee!!!!

#Youtube #digicorelove

3 notes · View notes

fineartsjournal · 1 month

Text

213341 Art Studio IIIA ⋆ Week 3 - Delaying the inevitable

John Oswald! We're overdue talking about him. While we've made a fair bit of mention towards the second, isolated invention of plunderphonics in the Bronx; John Oswald's definition of the genre saw more 'academic' origins.

With works stemming as far back as the late 1960s, his time at the Simon Fraser University would see him participating in the 1968-onwards World Soundscape Project (an ecologically-focused wildlife sound collage which is quite self-explanatory); using these sound collage methods, and informed by the literary Cut Up Technique popularised by William S. Burroughs, Oswald would perform various sampling experiments from the mid-70s onwards

The week three critique was quickly approaching and I still hadn't the courage to christen the sampler. I was getting pretty used to the (generally finicky) Audacity layout, so I chose to stick with my guns and work from there.

In-line with my IPO, this presentation would demonstrate, through a groovy, sampledelic track, the delight of plunderphonics.

No particular overarching narrative to the samples I would use either - just anything that came to mind to best fit the flow of the track worked for me.

I had casually made mention earlier of presenting my work on the sampler, so I addressed these claims with a prelude - the namesake track begins with the following sentence, constructed entirely from the following samples:

While working on the project, I also discovered a little quirk when it comes to YouTube's video recommendations: If you're looking at a video with not a lot of views, YouTube will recommend videos with a similar view count. This is a really quick way to find some decently obscure material.

Of course, I did none of that for the 24 samples I used here, but I could utilize that later... perhaps.

With not much time to add delicate texture to the track, each sample in the subsequent song played an important role.

Bop Hop provides a soft background beat to keep the rhythm going, the synths from Pacific 202 give a layer of atmosphere, and the Grapefruit Technique Video is....uh... there.

Here's the finished result.

After some technical difficulties, I presented my work to the class, paying little mind to flashiness. I had hooked my laptop to my mum's blown-out Bluetooth speaker, playing straight from Audacity with the computer turned around so that the class could gather around and see the individual track layers.

CRITIQUE TIME, BABY.

Following a single playthrough (plus a readthrough of the list of samples), came the comments:

Immediate connections were drawn to the sampling styles of J Dilla and Kanye West. It was like quickly changing through radio stations, delivering an impatient, intentionally cacophonous, yet confident sound; with an aspect of humor.

Bryce compared the listening experience to trainspotting, letting the ears deduce what sound came where, and with that, my decision to unveil the samples afterwards worked against that experience. The glitchy 'surprises' of my song owed to obscurity, working better with a less technical viewing experience.

Representing sound through video, perhaps in the degree of objectification of sound offered in the metaphor of the bandstand. Other ways that I could go about showcasing this could draw from the swirly graphics that would play on Windows Media Player whenever you loaded music on an older PC:

On a slightly different note, when tinkering around on YouTube later that day, I stumbled this track: Slow by Amanati. I know nothing of the artist, care even less about the song, but GOODNESS ME does it sound good when given the ol' 'YouTube sampler' treatment.

youtube

The resulting chopped composition I got from it is a personal favorite of mine, and I wish to reuse it elsewhere shortly.

A few days later, I found myself with juuust enough time before work to hook up the sampler and get things going. Or so I thought.

Low and behold, there was an online manual, and my preliminary conceptions on how easy it'd be to start making sounds were a fair bit off. For starters, I needed some sort of USB middleman between the analogue line-out jacks, the SP-202, and my computer, to which I had neither, let alone that there needed to be some kind of audio set aside for me to feed into this machine.

It was a learning experience, and most likely one of many.

Made for a good photo, shame that I didn't even get time to turn the thing on before I had to head to work.

0 notes

cruisinmississippin · 11 months

Text

Big fan of A Tribe Called Quest now apparently. Heard the entirety of their debut album, n from then on off to J Dilla n his MPC lore, Questlove's drumming, n I have a lot of studying to do.

I'll say this tho: KANYE WEST bnyak cedok from them. The whole basis of Kanye West's 1st few albums was all that. It is tht obvious there wouldn't be any Kanye if it weren't for these guys.

No fckin idea what they're saying most of the time except for tht 1 song about him losing a wallet. I was way too focused on the beats n everything else. Questlove really is 1 of the best drummers of all time. Like that's too notch time keeping. They all sounded so crisp too!

Not truly digging the flow of old skool rap style cause it sounds elementary, but I feel that's because like my pallette only goes as far as 2Pac n nothing earlier

I dig the Beastie Boys tho. Some sht they talk about is juvenile but it's fascinating tht kids dug them once upon a time

0 notes

dariousdenim · 1 year

Text

Kanye’s custom MPC 2000XL. In a louis vuitton print!!

1 note · View note

mutantes-sinmas · 1 year

Text

Kanye durante la produccion de "808s & Heartbreak" un album entero cuyos beats salieron de una drum machine 808.

Ya que aparrece Jaime XX voy a contar esta anecdota de como llegué a él y el grupo que formó con The XX y del tema que hice de la Intro que llamé Fuga de voces. Fue a través de una pagina de frikis de la MPC 2500 porque el producia con ella, y justo en aquella época yo estaba flipada con la máquina, "No quieras entrar" del 2008 está entera producida con esa machine. Escuché el disco justo cuando salió en verano del 2009 y segun lo estaba escuchando, me puse en loop la intro porque me hablaba la mente y me escribí la letra. Como pegaba mas dos cero diez, que dos cero nueve en la letra lo modifiqué así, (de hecho hay otros temas en los que modifico números para que suene bien, mas que la realidad, pero bueno esas cosas quedan para mi y poco mas) quién iba a decir que unos meses después se pegarían y unos años mas tarde saldría hasta en la sopa. Aun así dejé el tema tal cual y lo incluí en "SIN+". En aquella época subía algunos temas que iba haciendo al Myspace y de esa manera gente anonima que le molaba lo descargaba y lo subía al youtube, antes siquiera de que yo sacara los trabajos completos. Al final me quité el myspace

Bueno he hecho un poco de popurrí y no se si se entiende but... que cada uno interprete a su manera y que llegue a donde le de

youtube

#kanye west #808 #teorias #anecdotas #mixes de informacion #no se si se entiende a donde voy #but es lo que hay #cest la vie #heartist #aprendemosjuntxs #maktub #son fuga de voces #son todas las noches #frecuencias

0 notes

808sicario · 3 years

Text

SAMPLING.

What many people are calling “sampling” today, taking the recording of a whole verse or chorus of a previous hit song or any song or sounds that inspires you and adding some detail like rapped lyrics with hard 808 drums and bass. Nothing is created, everything is transformed. We observe, absorb, and transform things that attract our attention, either positively due simply to their existence or negatively because they bother us. The latter creates a gap, and in order to solve such “issue,” we get an idea (which no one knows how it happens). But we end up thinking of a solution, something that innovates or gives a new perspective to same situation.

The 90s saw an explosion in sampling use, with other makers such as Yamaha and Casio getting in on the game. By the early 2000s, sampling was starting to creep into the features of digital audio workstations, with the increase in power of computers, and the demise of the hardware sampler was inevitable.

13 notes · View notes

slammingsamples · 4 years

Video

Harlow 😷👽 . . . . . . . #hiphop #beats #hiphopmusic #hiphopbeats #beatsforsale #beatsforsale #beatsforlease #beatsforrappers #universal #emi #sony #kanye #drake #schoolboyq #producerlife #producergrind #trapmusic #808mafia #mpc #mpcone #sp404 #maschine #music https://www.instagram.com/p/B9dMJvbnDM9/?igshid=se9gcmc44xji

1 note · View note

yourboijod · 3 years

Video

youtube

Kanye West Interview On Making Beats And Roc-A-Fella Records

#kanye west #making beats #soulful #rocafella records #roc-a-fella #jay-z #beats #asr10 #akai mpc

1 note · View note

ereezay · 6 years

Video

If u want beats just.. Paypal.me/Ereezybeatz . . . . . . . . #paypaL Tag paying artist 🎤 . . . . . . . . . #ereezybeatz#producerproblems#nofreebeats#buybeats#beatsforsale#payyourproducer #hardtrapbeat##newmusic #21savage#kanye#beats#legendary#kodakblack#mpc#buybeats #rappers #musicproducer #hiphop #beats #instrumentals #trap #rap #like4like #beatmaking #dope #freestyle