davnnk 4

Spotify: https://open.spotify.com/track/3eF4my1AZU4hQIUnIdEMxL?si=d01f135283c04370
Apple Music: https://music.apple.com/us/album/suite-for-double-k-instrumental-instrumental-single/1580205984

Instrumental for: https://soundcloud.com/tapeheadloops/suite-for-double-k

This was one of those beats that was just mad fun to make. It's always dope when you get a piano sample which is so crazy that you just stay motivated to get it chopped up asap, to flip whatever it was that made it stand out to you. With this beat the sample was so nice I ended up making a couple of loops, pitching my chops up and down to experiment with different sounds. The chops at the normal pitch were shorter, which made for a more upbeat, choppy kind of vibe. To contrast against that, I then pitched the sample down loads for the second flip, which came out more smooth and fluid cause of the chops being much longer, which worked well for the second part of the track. It obviously makes a huge difference having more than one flip in terms of variation and song progression, and it's something I always try and do now when flipping a sample.

Suite For Double K (Instrumental)

@vehmu     @vehmu
             @vehmu                       @vehmu
@vehmu           @vehmu                  
                   @vehmu     @vehmu

part of: https://scooptheloop.bandcamp.com/album/creativealbumtitle

closer (feat. veh_mix)

Written in just over 24 hours. All samples from Joe Hisaishi's original soundtrack to 'my neighbor totoro.'

Art by https://instagram.com/hnnhvrbncc

totoro ep

Spotify: https://open.spotify.com/track/0baelhJnpDMDCzD9aGq821?si=918e4e260b304c4d
Apple Music: https://music.apple.com/us/album/constant-elevation-instrumental-instrumental-single/1584890459

Instrumental for: https://soundcloud.com/tapeheadloops/constant-elevation

I bugged out crazily when I made this beat, I’d spent ages chopping up different sections of one jazz song, which was mostly piano and bassline melodies, but there was also some really nice saxophone playing at the end of the track, which I had recorded into the MPC. I spent most of the day trying to flip the piano and bass melodies though, and completely forgot about the saxophone samples which I still hadn’t chopped up, I just had them recorded ready to chop up. I decided to have a break from the main loops I was working on, where I was spending ages trying to mesh piano and bassline chops together, and thought it couldn’t hurt to chop up the saxophone samples to see if they would work with what I had, seeing as it was all from the same song. At this point I was pretty worn out, having spent 4 hours or so working on the other chops, so I kind of went into autopilot and chopped the saxophone melodies into 16 pieces. This meant that the MPC was completely full: the 16 A bank pads were all piano sounds, the 16 B pads were all bassline sounds, the C pads were all saxophone chops, and the D pads were all drums. The saxophone flip came together instantly, it probably took less than a minute of experimenting with them over the beat for me to know the melody I wanted to make, and it got me way too excited. The maddest thing was the saxophone fit perfectly with the bass sounds that I had already chopped from an earlier point in the sample, which really made the beat work for me, because the lows of the bass worked perfectly alongside the highs of the saxophone, and it just all came together so well. Its always sick when this happens, cause it reminds me to keep persevering when producing, because although I was a bit tired and worn out by the time I’d chopped the piano and bass samples, by just pushing myself to keep on and chop the saxophone sample, I was able to create something I was really proud of.

DB5

davnnk

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