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This is mainly for those who don’t understand, don’t want to understand or just a bit ignorant to sampling and what’s involved in making a sample based production..Read and learn

It’s Never *Just* a Loop
Truth Is, Creating a Loop is Only Part of the Equation

With regards to sampling, no statement is more misguided (and irritating to me) than someone saying, “It’s just a loop.” Whether sampling and then looping a 2- or 4-bar phrase of music, or piecing together spare-part phrases and sound-stabs, there’s much more going on in the total creative process than some beatmakers care to acknowledge—or that some hip hop/rap bloggers even realize.

The gleaming misconception about sampling is that it’s easy; that anyone can do it. While it’s true that anyone can buy a digital sampler and press record, the notion that anyone can automatically acquire a skill for what goes on before and after they press record on that sampler is ridiculous. Truth is, no matter what any beatmaker samples, no matter how much or how little he or she samples, the total creative process of sampling requires any number of decisions to be made at various levels within the process. And these decisions, prompted by the residue of skill and understanding, are not always easy to make.

The Main Decisions Made Before, During, and After a Sample is Looped

What Should You Sample?

What to sample is obviously (well, perhaps obvious to those who actually make beats) the first decision to be made. And, of course, this decision depends on everything from one’s mood to motive (purpose), to their style and sound preference, to their imagination and individual work ethic. For the purpose of this post, I’ve used the song “Heartbreak Hotel” by The Jacksons.

I chose “Heartbreak Hotel” for a number of reasons. First, it’s a well-known hit—with a great groove—by a popular group. Many people are familiar with the record; so coming up with a beat and song that references such a hit, while still creating something “new” and appealing, is a bit of challenge. Second, I wanted to choose a vinyl record that could readily be found in used record shops or at online vinyl record stores, or in a relative’s basement or attic. Third, “Heartbreak Hotel” has been sampled before, and I wanted to demonstrate the versioning tradition that runs deep in hip hop/rap music’s roots, by offering up my version. Fourth, because “Heartbreak Hotel” has a dominant drum pattern. As such, I wanted to show how even a sample with drums can be tailored to your style and sound. (Also, any seasoned beatmaker knows the type of obstacles drums in a sample can present.) Finally, I chose “Heartbreak Hotel” because I’m a big fan of The Jacksons, and this is as good as any reason to thoroughly listen to one of my favorite songs by them (actually, it’s one of top 10 favorite songs of all time).

What Section or Part Should You Sample?

Now having settled on the song, what section of the song should I sample? The beginning? The middle? Near the end? Either way, it’s gotta be a part of the record where the groove is “open” (well, as much as possible with a record like this). So that being said, it comes down to either the intro, the lead-up, or the bridge. I ruled out the bridge, simply because I heard something before with that part. And the strings intro isn’t the part of the song that most people are familiar with.

So I go for the “2nd intro,” or what I’m calling the “lead up,” as in lead up to the first verse. But exactly where in the lead up? There’s approximately 35 seconds between the beginning of the lead up and where Michael Jackson’s first verse vocals begin. And within that 35 seconds, there are slight embellishments on the basic groove of the song. Not to mention, at one point in this lead up, we hear one of Michael’s signature vocal exclamations. No one wants that in there, right? Wrong! I do. I think it’s dope; so I decided that no matter what, it had to be in the phrase that I would sample. (In my “Heartbreak Hotel Remix” below, you’ll hear it.) Note: If I was using “Heartbreak Hotel” as source material for a beat for another rapper, I’m not sure what section I would’ve used. But since I’m rapping on this joint, I know which part of the song will suit my style, delivery, and flow.

So, How Do You Sample It?

Now that I’ve chosen the section of the record that I want to use, I have to decide how to sample it. Wait, what? You mean there’s noone way how to sample a record? That’s right! Some beatmakers sample in stereo, some in mono. Some sample wet—that is, with effects—, some sample dry, no effects. Some sample in 24 bit, 16 bit, even 12 bit.

For starters, I always sample in mono. Next, I always sample wet. I never sample any audio without its signal first flowing through my Numark DJ mixer (aside from the EQs on my mixer, a DJ mixer makes me feel linked to the earliest roots of our tradition). My DJ mixer routes into my Mackie mixing console, where I do further EQ’ing, like “beefing up” (making a sound heavier or warmer) the sample. Then I run the signal from there—the DJ Mixer’s output on the Mackie—into either (a) My Akai MPC 4000; or (B) my Akai S950. For the sample below, I sampled a portion of “Heartbreak Hotel” into my Akai S950.

What about the pitch question?

Do you sample the audio leaving the pitch as is, or do you turn it up or down? This decision, like others in the creative process, mostly depends on the ultimate beat/song that you envision. For my “Heartbreak Hotel Remix,” I turned the pitch up a bit before I sampled it, then I fine-tuned it as I arranged my drums (and note: NO timestretch function was used in the making of this beat/song).

Did somebody say chopping?

Of course, how to chop something is one of the big decisions in the sampling process. But I supposed the more complete a phrase is, the less difficult it is to loop, right? Not always! In fact, depending on what’s actually in the phrase, getting it to loop “correctly” (according to your own rhythmic standards), it can be rather difficult finding and fine tuning the best start and end points. (In The BeatTips ManualI discuss looping, as well as composition, in greater detail.)

Here, let’s remember that all of these aforementioned creative decisions have been made before the drum arrangement enters the picture. Of course, as those above decisions are being made, one should already be thinking about the ways in which to arrange the drums…

Which Way to Go with the Drums?

Even if one skips most of the aforementioned processes, he or she must still come up with a suitable drum framework. To pull this off takes a decent arsenal of drum sounds, a knack for choosing the right ones, and the ability to arrange those drum sounds into a drum pattern that works effectively with the so-called “loop” sample. So, again, decisions, decisions.

With audio that already has drums in it, you can fall back and let the drums in the sample do the work, only adding in light touches of your own drum sounds. Or you can also add your own drums to completely “mask” (cover up) the drums in the sample. Or you can match your drums with the drums in the sample; but this can be very difficult, especially if you don’t posses the right kind of drum sounds.

Now, with a song like “Heartbreak Hotel,” who could blame someone for going easy on the drums, that is to say, doing nothing much at all. Well, I never sample anything without a base idea of how I’m going to arrange the drums. Moreover, depending upon the extent of the groove—i.e., the feel and the level of kick and snare drums—that I’ve sampled and the ultimate groove that I’m going for, I will usually not only mask and match the drums, I’ll flank everything with my own signature percussion. And this is exactly what I did with my “Heartbreak Hotel Remix.”

*Editor’s Notes:
The construction of the sample(s) is only part of the equation. Diggin’ for the actual source material is another major part of the equation. Also, never forget the matter of the overall sound design. Here, I’m referring to the “color” of the sample that’s achieved through sound modification techniques like filtering and EQ’ing, etc.