drums are nasty on this. I'm rocking with your production man!

wit tha flava

Smuv & Shuko - Dusty Keys

Spotify: https://open.spotify.com/track/41IFWwfQmazoGRI0Uok0Fl?si=388814988411445d
Apple Music: https://music.apple.com/us/album/lifetime-impression-instrumental/1585999527?i=1585999528

Instrumental for: https://soundcloud.com/tapeheadloops/lifetime-impression

I had to go all out when I mixed this beat. The drums are all layered so thick, there’s about 4 hi hats, 6 kicks, and 6 snares which are all mixed together to give the drums weight. The way I chopped this sample left some vocals in for split seconds, which sounded like scratches because of them being right at the end of a chop and cut off, like how a fader cuts out a scratch when the DJ spins a record back. I thought this sounded cool but it only happened once in each 2 bar loop of the sample, so I decided to add some of my own scratches from a few break records I have. I used ‘Super Seal’, and recorded some scratches of snares and the famous ‘yo’ sample at the BPM of the beat. Layered with the drums this sounded crazy to me, it gave the beat a different vibe, I’ve definitely said before how much I love how scratching sounds, and it was cool to incorporate it into this beat in a more permanent, less obvious way, not just something for the hook. I also layered the sample 3 times, 2 filters, one high one low, and a standard mix, which I layered, soloed etc throughout the track. This was unbelievably long to do without quantization (which is how I flipped the sample originally), so all 3 had to perfectly match each other, which took hours to sequence. I fully kept giving up but knew the beat needed the layers on the sample to really do it justice (especially the groove that’s added by filtering the lows), so I just stuck by it, and sequenced each chop individually, so I was hitting the pad at the exact right time, which ended up with the beat sequence being 30 tracks on the MPC (they’re usually 15 or so). It was definitely necessary to do this, because the contrast of the smooth flows of the low end to the scratches and samples really gives the track variation, and gives it a lot more presence throughout, definitely was worth the time and effort.

Peace!

Lifetime Impression (Instrumental)

Spotify: https://open.spotify.com/track/59zSt2aPBMk6PGULiFiSie?si=9544ffca413a4fdc
Apple Music: https://music.apple.com/us/album/dont-sink-instrumental/1588134483?i=1588134484

Instrumental for: https://soundcloud.com/tapeheadloops/dont-sink

I’ve still been listening to a lot of funk and disco since I made this beat. It started by digging through songs to sample but then I was just enjoying it so much I immersed myself in the genre for a bit. This beat samples a disco song, and originally when I first chopped and sequenced it, I pitched down the sample by -90 on the MPC (which is a lot), to make a really grimey sounding beat. However when I revisited the beat this week after listening to a lot of disco, I decided to completely change what I did; the sample sounded too distorted for how pitched down it was, and because of that it was basically impossible to mix it well. Whilst experimenting with how to fix it I decided to just do the inverse of what I’d done, and pitched the sample up by +90 on the MPC, and worked out completely new sequences for the melody and bassline. This made a way more upbeat track.

Peace

Don't Sink (Instrumental)

dug in

Praia do Leblon (from transicional beattape vol.2)

Shout out to https://soundcloud.com/petalboy, be sure to go check him out! 

Keep your eyes open for more tunes coming soon and we hope you enjoy x

T h e  W i n d  B l o w s (Feat petal boy)

[95]

hits

more narrow

dont rap over any of my beats please.

Some REAL hiphop shit. I fuck with the mpc 60, 2000xl, and 2000 classic, and an s900

word is bond..

hits

Sleepyjuice (Side B)

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