BeatTips Tutorial: Modifying the ADSR Sound Envelope Pattern

Changing the ADSR Settings to Get the Most Out of Your Sounds

By AMIR SAID (SA'ID)

After you’ve chosen your samples/sounds and chopped them (established their start and end points, etc.), there is another series of modifications that you can perform to enhance and customize the character of your samples/sounds: Tweaking the ADSR sound envelope pattern. But to effectively modify the sound envelope pattern of a sample/sound and, subsequently, unleash even more flavor from your samples/sounds, it’s important to understand just what sound envelope refers to.

Every sound (dynamic tone) has three components: attack, sustain, and decay. Taken together these three components (parts or dimensions) are known as the sound envelope. (I should also point out that I like to extend the definition of sound envelope to mean: the entire span—from start to go—of a sound.) With regards to synthesis techniques—synthesizers/samplers—there is a fourth component, release; taken together these four components are known as the ADSR envelope. When you modify or remove any one or a combination of these ADSR components, the sound’s properties change, rendering an array of different effects. Thus, it’s important to understand what each component within the ASDR envelope represents, if you’re to modify them in ways that best serve your beats’ arrangements.

Attack Defined
Refers to the time/distance between a sound initiated—first struck or pressed, via a pad strike or a key pressed, etc.—and when it reaches it peak, the highest level/intensity of a sound. A sound’s attack can be fast or slow. This means that the closer the attack of a sound is to its peak, the faster its attack. Conversely, the further away the attack of a sound is from its peak, the slower its attack. Further note that sounds with a fast attack reach their sustain level quickly; while sounds with a slow attack take longer to reach their sustain level. For example, a sound like a kick or snare has a fast attack; while a sound like a multi-toned sample phrase has a slow attack. In fact, a sampled phrase without drum sounds (particularly kicks and snares) at its start point has a slower attack than a sampled phrase that does have drum sounds at its start point. As such, sampled phrases without drums at their start points often tolerate adjustments of the attack value very well, often producing interesting results, depending, of course, on the sound of the sample and the overall scope of the beat that you’re working on.

Decay Defined
Decay (or “decay time”) refers to the time it takes for a sound to fall from its attack level to its sustained level. “Rate of decay” describes how gradual a sound decays.

Sustain Defined
Sustain refers to the span of a sound that’s audible just after or nearest a sound’s peak (the highest level of a sound). In other words, sustain is what I like to call the “plateau level” of a sound; it’s the level where a sound assumes and maintains its steadiest level or main intensity. Although the sustain actually represents a slight drop off in level from the peak of a sound, it is the “meatiest” (steadiest, most sustained) part of a sound. So for instance, think of a 2-bar sample. The sustain is the level that is reached and maintained the longest during the duration of the sample.

Release Defined
Release refers to the time it takes for the sustain level of a sound to diminish to silence. In other words, it’s the rate at which a sound fades to silence after it’s played.

Modifying the ADSR Envelope

Modification of the ADSR settings not only affect the tone quality of a sound, it also affects how sounds “sit” with each other within a beat’s arrangement. This is an important point to consider with any sound, but when it comes to sample arrangements, it’s even more critical. Why? Because the more instruments/sounds within a sample, the more dynamic tones it will contain. And the more dynamic tones that exist, the more potential for customization/stylization.

Modifying the Attack
Because my style and sound calls for a lot of blending and rupturing of samples/sounds, attack is the most critical ADSR setting that I use. Hence, whenever I modify the ADSR settings on my Akai MPC 4000 or Akai S950, I always begin with the attack, using a method I call “pinching the attack”. “Pinching the attack” of the sample is the process of setting the attack value so that the very front end of the sample is “ruptured” or “cut” into a beat’s arrangement. Because I use the common technique of assigning multiple sampled phrases to various drum pads, I prefer to have more stylistic control over the ways in which the samples I use sound and move within and throughout an arrangement. By “pinching the attack,” I can make samples/sounds “spring”, “rupture”, or “fade” into my beats’ arrangements. For me this is important, because I like to protect the spaces of the samples/sounds that I use. By that I mean, I make arrangements wherein the harsh parts do not drown out or slam the subtle and smooth parts.

Something to Keep in Mind
In addition to the definition of attack that I offered above, I also think of attack in the sense that it controls the value of “fade” at the beginning of a sound. Therefore, the higher the attack value (up from 0), the less presence (force, impact) that the head (front part) of a sound makes.

Effective Uses for “Pinching the Attack”

“Pinching the Attack” is a great method to use when the start point/front end of a sample has a harsh beginning, like a kick drum beneath the non-drum sounds. In a case like this (which is common, because you can’t remove kicks from a sample that contains them), an increase of the attack value can affect the sample in a way that allows it to represent its tonal essence, without having it’s kick slamming with your own kicks and snares.

Now, some might say, ‘Why not just chop (truncate) more of the head of the sample?’ Well, I could do that (whenever suitable, I do). But if I were to simply to chop further into the start point, removing the part of the sample that has the kick in it, I lose part of the character of the sample’s beginning. “Pinching the Attack” allows me to retain the character of the sample (or as much as substantially possible), while “neutralizing” the disrupting kick. Modifying the attack level to the needed value (it’s different for each beat) allows me to hear exactly how much of the unwanted dynamic (in this case, the kick in the sample), fits with my beat’s design.

“Pinching the Attack” is also a great method to use when you want to create the effect of multiple samples/sounds spliced together. Remember, I also think of attack in the sense that it controls the value of “fade” at the beginning of a sound. Therefore, the higher the attack value (up from 0), the less presence (force, impact) that the head (front part) of a sound makes. Just as this understanding allows me to slam sounds together or rupture and cut them into an arrangement, it also allows me to create spliced effects as well.

Modifying the Sustain

Modifying the sustain value allows you to affect how long you want the sustain—the main intensity of a sound—to carry on. Normally, I make very little adjustments to the sustain setting. In fact, I modify the sustain only when I want to do a quick fade of the tail (back end) of a sample/sound or when I want to fade the tail of one sample/sound out so that another sample/sound can be faded in or spliced.

Modifying the Decay

In conjunction with the sustain modification as described above, I often tweak the decay when I want a sample/sound to fade out of a beat’s arrangement.

Modifying the Release
I modify the release to help prevent a sample/sound with harsh tones (i.e. kicks, snares, peak points of bass parts, etc.) from slamming or distorting the drum pattern of the beat I’m composing. In other words, I always modify the release along with the sustain in ways that make the beat’s elements mesh together and sound smoother.

Special Note

All of the modifications that I’ve described in this tutorial are circumstantial ADSR modifications that I make of samples/sounds that are already part of an arrangement. Although these tweaks can be performed on stand-alone samples/sounds (that is to say, sounds that are not yet incorporated into an arrangement), keep in mind that those samples/sounds will not sound “the same” as is, in their default state. For instance, you can increase the attack on a kick drum within a drum pattern, so as to decrease is punch/impact within a particular beat. But chances are, that kick drum, as a stand-alone sound with the tweaked attack, will sound thin and not much like a kick at all. This is why it’s always important to know the default properties of your samples/sounds as well as the particular types of customizations—ADSR modifications—that work for your style and sound.

Furthermore, I should point out that I view the processes that I’ve described in this tutorial as an extension of the chopping process in beatmaking. (For a more comprehensive discussion on chopping, check out The BeatTips Manual, chapter 7.) Also, you should keep in mind that different sample/sound spans (scopes) work best with different ADSR modifications. For instance, sound-stabs, 1-bar, 2-bar, and 4-bar sampled phrases will undoubtedly require different ADSR tweaks, depending, of course, on the drum patterns being used and the style and feel of the beat you’re composing.

Tutorial Music Example

The music example that I’ve included in this tutorial is a beat that I made called “Soulful.”
For “Soulful,” I “pinched the attack” to make the sample spring and rupture. I set the attack at 11 (which is a lot), the decay at (0); the sustain at 75, and the release at 30. Note: at the 0:30 mark, I solo the primary samples so you can clearly hear how I’ve cut, ruptured, and faded them.

P.S., I left open the drum pattern that I made, so feel free to sample the kick, snare, and hi-hat—all custom drum sounds!

The music below is presented here for the purpose of scholarship.

“Soulful” produced by Sa’id

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The BeatTips Manual by Sa'id.
"The most trusted name in beatmaking and hip hop/rap music education."

BeatTips MusicStudy: Stevie Wonder's Version of "We Can Work It Out" Meatier than Beatles Original

Stevie Wonder Gives Popular Beatles Tune Some More Soul; Adds New Punch and Feel

By AMIR SAID (SA'ID)

Although the art of sampling is usually not a complete reinterpretation of someone's work in the same way that a traditional version is (i.e. in sampling, snippets and phrases are literally extracted, recontextualized, and refashioned into a new musical piece), I still see a link—subtle as it may be—between sampling and the ways in which one musician is inspired to reinterpret the work of another. For me, this point is illuminated even more when you consider that the art of sampling is rooted in the long-held tradition of versioning (in The BeatTips Manual I cover this connection extensively).

Indeed, as a beatmaker, particularly one with a strong affinity for the art of sampling, I appreciate when great musicians do their own versions (covers) of equally impressive musicians. Mostly, I'm engaged by one musician's ability to convert the work of another into their own style, feel, and scope, without losing the core themes and structures of the original. More specifically, I'm impressed when one's version (interpretation) remains respectful to the original and adds new nuance and dimension to it as well. This is the case with Stevie Wonder's remake of The Beatles' hit "We Can Work It Out."

As far as creative license goes, Stevie Wonder takes grand liberty with his version of one of The Beatles' most popular hits. There are numerous instances where rock groups have dipped into the blues/soul well, pulling out tunes and reworking them with "rock pop magic." But with his version of "We Can Work It Out," Stevie Wonder is doing the reverse. He's taking a rock number—in this case, a 1960s folk pop tune—and dipping it back into the blues/soul well. And what emerges in Stevie's version is a song that respects the original, while going beyond, adding an entirely new scope, essence, and vibe.

While Stevie Wonder shadows the basic structural framework of the Beatles' original, there are a number of new dimensions that he adds for his version. Stevie's remake starts with an 3-bar organ intro (a signal that Stevie's signature will be all over this version), then the drums crash in. And while the original actually has a nice rhythmic pattern (albeit tucked low in the mix), the Stevie version amps up the drum scheme, making the drums, as well as the entire piece, sound more "meatier" than the original. The kick and snare drums punch and pounce, springing off of each other, while the hi-hat and tamb shuffle throughout.

For the rest of the arrangement, Stevie Wonder makes two other standout changes. First, he strips out the strings that stream through original. This "tightens up" the groove of "We Can Work It Out," effectively making Stevie's cover edgier while rendering the original almost tranquil in comparison.

Second, Stevie Wonder incorporates a milky bass line that "walks" in deference to the priorities of soul more than it does to rock. This, along with the drums as described earlier, also adds to the urgency and aggressiveness of Stevie's version, which makes the original, folksy as it is, sound much more passive aggressive. Here, I'd be remiss if I didn't also highlight Stevie's harmonica solo at the midway of his version.

Finally, Stevie Wonder's treatment of the vocal arrangement is as impressive (if not more) as everything else in his cover of "We Can Work It Out." Six bars into Stevie's cover, and we hear a voice belch out "Hey!" This "Hey!," an added background vocal element that's non-existent in the original, alternates in pitch, giving Stevie's cover a unique swing nuance not found in the original. And with the rising gospel background vocals turn up in the latter half of Stevie's cover, the tune slides briefly into the Black church music tradition.

Then of course, there's Stevie's lead vocals. A comparison of Paul McCartney's or John Lennon's vocals to Stevie Wonder's is perhaps an unfair or misleading one at best, inasmuch that Stevie Wonder and the two Beatles front men are approaching the song from two different traditions, with two entirely different vocal priorities and styles of vocal inflection. Still, it's worth mentioning that Stevie's soulful reworking of the original—no doubt powerful in its own glory—makes it sound more searing; indeed, converting it into a freedom song/black power amalgamation.

In short, Stevie Wonder's version of "We Can Work It Out" is nothing short of a magnificent transformation. And to a certain degree, you could say that Stevie Wonder "flipped" the Beatles original. Does that mean that Stevie Wonder's version of "We Can Work It" is better than the original? I'm not sure if that's a question worth entertaining. Both The Beatles original and Stevie Wonder's version are great
music works. Each shine in their own regard, and each travel along the paths of their creative priorities and influences.

So a far better question at this point might be what do you think enables any musician to pull off a quality version of a fellow musician's work? Well, I'd say that along with music performance skills as well as a broad based knowledge of music history, various musical processes, and music forms, a fundamental respect and reverence for the musician(s) whose music you rework is key. I think Stevie Wonder covers all of these variables. And that's exactly why his version works so well.

The music and videos below are presented here for the purpose of scholarship.

Stevie Wonder - "We Can Work It Out"

The Beatles - "We Can Work It Out"

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The BeatTips Manual by Sa'id.
"The most trusted source for information on beatmaking and hip hop/rap music education."

BeatTips Readers Poll™: Do You Think That Having a Signature Sound is Important?

A Signature Sound, a Uniquely Identifiable Style and Sound, Goes a Long Way in Distinguishing Yourself

By AMIR SAID (SA'ID)

At some point, all beatmakers settle into a style and sound. No matter the methods, processes, or EMPIs (Electronic Music Production Instruments) that you use, you typically prioritize one style or sound. But from here, what comes next? That is, after you find the style and sound that fits you, do you simply work within it as is, with no attempts at furthering distinguishing your version of the style and sound, or do you aim for creating your own signature sound? Indeed, Do you think that having a signature sound is important?

I believe that crafting a unique style and sound should be the goal of every beatmaker. Otherwise, what's the alternative? Knock-offs of other prominent beatmakers who have already developed their own signature sound? Thing is, being able to distinguish your beats from other beatmakers is critical to your ability to build your own music platform. Therefore, I believe that developing your own signature sound goes a long way in this regard.

Still, there are some people who believe that having a signature sound isn't important at all (despite the fact that most, if not all, acclaimed recording artists of the twentieth century had one). For those who take this position, I'm not quite sure if their interpretation of "signature sound" is accurate. A signature sound is a uniquely identifiable Style and Sound, it's a composite music style all one's own. It can be made up of any number of things, subtle or obvious; and it contain a many distinguishable components like, a specific kind of drum style and sound, a certain type of arrangement, even a special kind of mix. Having a signature sound doesn't mean having an inflexible approach to music. On the contrary, it means having a style and sound that's situated within your own unique interpretation of the base style and sound that you're working from. Whether your style is sample-based, non-sample-based, or hybrid, whether it's boom bap, Southern bounce, or an eclectic mix of different styles, you can still carve out your own signature sound.

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The BeatTips Manual by Sa'id.
"The most trusted name in beatmaking and hip hop/rap music education."

Bronze Nazareth's 'School for the Blindman': One of the Best Rap Albums in Decades

Soulfully Hard and Authentic and Loaded with Dope Beats and Edgy Rhymes, School for the Blindman Confirms that Bronze Nazareth and The Wisemen are in League of their Own

By AMIR SAID (SA'ID)

BeatTips Rating: 5/5

"Roll dice in old piss"
—Bronze Nazareth

We often like and celebrate an album because of its power to take us somewhere. The vivid images that it calls up; the memories that it inspires; the emotions that it makes us feel—these are the things that, when present and prominent on an album, take us somewhere.

Hit play on Bronze Nazareth’s enigmatic album School for the Blindman (iHipHop Distribution), and you’re instantly transported to a music world that’s oblivious—thankfully so—to the oversaturated, gutless or otherwise cookie-cutter abstracts that make up most of what we know as mainstream rap music today. But School for the Blindman doesn’t just stand out as an obvious counterpunch to the jingle-filled, 808-dominated rap, it distinguishes itself from all other recent underground offerings as well. In fact, I find School for the Blindman to be one of the best hip hop/rap albums in decades.

Prior to School for the Blindman, the only other hip hop/rap albums that I found that I could listen to straight through with repeat extended plays were lllmatic (Nas) and Supreme Clientele (Ghostface Killah). And like those two classic albums, School for the Blindman also stands out because of it’s stellar, ear-catching production (soul samples & ill drums galore) and concrete rhymes. No beat on School for the Blindman is a mail-in job or simple drum program re-run. Instead, every beat contorts with its own structure and direction.

Truly a “beatmaker’s” beatmaker, Bronze’s production (he produced all but three tracks on the album) illustrates organic drums, well-conceived chops and arrangements, uniquely filtered phrases, and a powerful injection of feeling. As per Bronze’s style and sound, the art of sampling shapes the entire framework of School for the Blindman. And as with his previous efforts, all of the frequencies sampled and flipped make up amazingly hypnotic sonic textures that hold you at attention and demand frequent replays. (Bronze employs a smooth but defiant sampling style that priorities feel over needless complexity; thus the main reason that his beats draw you in.)

As far as the rhymes go, here, too Bronze shines. On “Fresh from the Morgue,” which features a one of the dopest sounding hooks ever and a verse from The RZA, Bronze drops this quotable, “I’m so ill bring in the nurses to see him/my bitch purse is bulimic.” This kind of smart, layered slant rhyme is a staple throughout School for the Blindman. But then there’s the deeply personal “The Letter,” where Bronze’s knack for double (even triple) entendre reaches new stylistic and emotional levels: “I was the worst friend, couldn’t see poison through veins/losing you in vain from making tracks/I shoulda stopped the train.” The verse on “The Letter” and other songs on School for the Blindman cement Bronze’s place among the best producer/rappers of all time.

Although this is a Bronze solo joint, as with vintage Wu-Tang—the Wiseman’s direct influence—The Wisemen show up in force. Salute, Phillie, Kevlaar 7, and June Megaladon are present, each adding their distinct voice and flow to the tracks that they appear on. Each member of the Wisemen carries an aggressive but subdued demeanor. To be certain, they represent a street, workman-like ethos. I’m sure that the labor realities (or lack their of) in Detroit has something to do with this. Indeed, The Wisemen offer up an everyday-man familiarity. Plus, for those who have actually spent time in the streets because of the hard draw of life, and not because of a prospective rap career, The Wisemen are especially refreshing. They paint the scenes of daily life in the hood—the highs, lows, and ironies—with confident strokes of well-stated details.

In addition to Wisemen features, School for the Blindman also gets a literal Wu-Tang assist, as Inspectah Deck, Masta Killa, and The RZA all appear. RZA shows up on four joints (3 of them bonus cuts) and is in top form. Other features include Rain The Quiet Storm, L.A.D. aka La The Darkman, and Killah Priest.

Another paramount feature of School for the Blindman is the level of authenticity that it exudes. The feel of the whole album is as hard as it is emotional, as street gutter as it is fine art. Each song brims with confidence and emerges as an exact, creative and sure-guided piece of art. This is because Bronze is deeply conscious musically and politically (peep the Martin and Malcolm messages), and as such, he’s concerned with recapturing feeling, a specific feeling, one from a soulful and more noble time in Black American history.

With this focus as a guide, there are no bells and whistles on School for the Blindman, only rough-stock beats and rhyme darts! Which means that the level of confidence—even, decadence—on School for the Blindman is the kind of natural confidence that only comes from a certainty in one’s self and chosen journey. And that’s just it: Right now, Bronze and the Wisemen collective are in a rap league all of their own. They draw energy from the essence of their squad; they don’t come off as an overworked caricature of guys from the street. Instead, they showcase an honest handle on their station in life and demonstrate that they’re an authentic and earnest crew, not a fastened together boy band masquerading as a rap clique.

When I reviewed The Wisemen’s Children of a Lesser God more than a year ago, I asked, rhetorically, if The Wisemen match or surpass the Wu-Tang Clan? My answer was no, of course. But I submitted then that The Wisemen’s aim and effort to stay true to their pedigree and influences is what allowed (allows) them to create something authentically theirs—something that would stand for others to attempt to emulate, match, or surpass. This, I continued, was the continuum promise of a dope pedigree. But after listening to School for the Blindman, I no longer think that the question of whether The Wisemen match or surpass the Wu-Tang Clan is applicable. Direct Wu-Tang influences aside, Bronze and The Wiseman have successfully navigated a course that now has them in a league all of their own. In today’s rap scene, there is no collective that is comparable in style, sound, weight, and consistency to The Wisemen.

BeatTips Rating Breakdown

Favorite Joints

“The Letter”
One of the most moving songs that I’ve heard, any genre! This hard-hitting “letter” to a dead friend, taken to soon by the jaws of drug addiction, is absolutely chilling…and beautiful. Bronze is himself on every track for sure, but on “The Letter,” he travels deeper into his heart and taps into a pain that’s made up of a triple cocktail of loss, confusion, and guilt.

The beat (which, by the way gives a clinic on how to pitch up a sample and loop it) holds this sort of smooth rumble to it. So effective is the filtering, the chops, and mix on this joint, it sounds as if the vocal “oooing”—that rides through the better part of the track—is separate and on top of everything. And the drums, which feature a highly tucked, almost muffled kick and a punching snare that features a chorus on every 4th hit, are simply masterful. With three primary sampling elements (as far as I can tell, there could be more) that dissolve into each other, this drum-work scheme sounds even more impressive.

“Fresh From The Morgue” ft. The RZA (This joint is multidimensional dope! Soon as the hook drops, you’re rocking along to the song.)
“King of Queens” (Prod. Ernesto LTD)
“4th Down” ft. Salute, Kevlaar 7, Phillie (Pay attention to the sample flip on this joint!)
“Gomorrah” ft. Killah Priest (Prod. by Kevlaar 7)
“Worship” ft. Salute, Phillie, Kevlaar 7 of Wisemen
“The Records We Used to Play”
“Jesus Feet”

Sureshot Singles
“King of Queens”
“4th Down” ft. Salute, Kevlaar 7, Phillie
“Carpet Burns” (bonus song)
“Gomorrah” ft. Killah Priest (Prod. by Kevlaar 7)
Worship Ft. Salute, Phillie, Kevlaar 7 of Wisemen
“King of Queens” (Prod. Ernesto LTD)

Sleeper Cuts
There are no sleeper cuts on here; all of them will catch your attention on the first listen.

Solid Album Cuts
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Gripes and Weak Moments
NONE

Final Analysis

What ultimately makes School for the Blindman sore is its very nature—a subdued, soulful-beat send-up with authentic rap voices. You get the feeling that Bronze knew what he wanted this album to be—a “school” where the echoes and retransformations of soul music helps to guide the thoughts and imagery of each listener. Thus, School for the Blindman delivers an effect that is more like a savvy, entertaining documentary, than a CGI-laden action feature film. So much authentic nuance abounds on this album that you almost miss the polish and forget that Shool for the Blindman is, afterall, a feature and not a documentary film, if we stick with the film metaphore.

I’ve always been of the opinion that an album should be examined (critiqued/reviewed) on what it aims to do, what it purports to be. By this metric alone, School for the Blindman gets a BeatTips Rating™ of 5. The album is a classic. Still, what makes it superb is not that it excels in what Bronze set out for it to be, but that it goes beyond. School for the Blindman demonstrates a timeless combination of theme and execution through a collection of beats and rhymes that live up to each other. And when the beat and rhyme fit as if they were born together, there’s no tougher combination. This occurs again and again on School for the Blindman.

Afterword
I’m almost puzzled as to why Bronze Nazareth and the whole Wisemen collective do not receive decent, ongoing coverage by rap music publications and even those music blogs that seem to pride themselves on pushing good music to the front, trends be damned. But the Wisemen represent a continuum essence, something held over from the concept of hip hop/rap music as a quality experience that pulls you in with dope beats and rhymes and authentic nuance. The Wisemen do not fit within or defer to a caricature of “pop cool” that prioritizes smedium t-shirts, skinny jeans, fake fun or emo synth-lines. They are not an outfit of over-hyped misfit angst pushing out contrived adolescence over sub-par beats. The Wisemen are blue collar stars, indicative of Detroit, the city they rep. Moreover, they are students and masters of a specific rap aesthetic, an art style and sound that holds meaning to them (and countless others around the world). Subsequently, they’re little concerned with trend-chasing critics who seem more interested in being the tastemakers of only one, often diluted branch of hip hop/rap music.

So the only reason that I’m even slightly puzzled by the lack of coverage that The Wisemen receive is because of what they represent and offer. Listen, hip hop/rap music is an indefinite music form. This means that there is no time—era, nuance, style, theme—in its vast tradition that can’t be summoned up, celebrated, and mastered. But as long as music publications fail to realize this important fact, unfortunately, The Wisemen (and any groups of similar stock and trade) may get overlooked.

Here, I’m reminded of something I learned as a kid, and something I tell my son: To be true to yourself is a blessing and a burden. Fortunately, Bronze Nazareth and The Wisemen have accepted the burden along with the blessing.

—Sa'id

Use Your Drum Sounds to Improve Your Compositional Workflow

Knowing Your Drum Sounds Makes for a More Efficient Compositional Workflow

By AMIR SAID (SA'ID)

Compositional workflow, the collective processes, methods, and time it takes a beatmaker to create a beat, can be improved in a number of different ways. Depending on the individual EMPI (Electronic Music Production Instrument), the steps within most beatmaking processes can be condensed. Likewise, the various methods of achieving particular production goals can be realized, retooled, and/or retranslated in ways that bring about desired results faster and more efficiently. Even the reshuffling of one’s production environment can improve workflow. (Do not under estimate the power of a comfortable chair and/or a good view.) But among the countless ways to improve compositional workflow, often the most overlooked way can be found in the area of drum sounds and drum sound modification.

Most beatmakers—myself included—take pride in crafting their drum sounds, despite the fact that there are also lots of beatmakers who depend (heavily) on pre-set drum sounds with little to no customization at all. For those beatmakers who see their drums as a major component of their overall production identity, individualized drum sound customization is key. But that being said, the processes of drum sound customization can impede workflow whenever they are overly applied during the making of a beat. This is why simply knowing your drum sounds is a great way to improve compositional workflow.

Check it out… Whenever I’m making a beat, I choose my drum sounds quickly because I know them. I know their texture; I know their color; I know what types of sounds they’ll go well with; I know how they’ll sit and sound in the final mix. So for me, selecting the right drums for the right style and sound of beat that I'm working on at the moment doesn’t involve a prolonged scroll through my drum library.

And although I may make a couple of modifications to a drum sound during the process of making a beat, those tweaks are minimum and on the fly, nothing too tedious or vibe busting. Again: I know my sounds, so I reach for the sounds that I think may fit with the current arrangement that I’m working on. I do not, however, embark upon some sort of drum-tweaking journey that can shift my focus from the beat—the entire arrangement—to just drum sounds. Moreover, I do not allow my workflow to be disrupted by a prolonged search of a drum sound folder. This is yet another reason why I like to keep my drum sound library tight with a reasonable number of sounds. In other words, when I’m composing a beat, I’m leery of shifting too far away from composer to drum sound technician, or anything else for that matter.

Compositional workflow determines your ability to harness your creative moments in real time. Therefore, the longer your compositional workflow is disrupted, that is to say, the longer the act of composing is left on hold—in this case, by drum craft or “tech” work—the more you defeat your ability to harness your creative moments. This is why it's just as important to look for ways that improve your compositional workflow as it is to guard against anything that can inhibit it.

Now, technically speaking, any tweak of a drum sound during the creation of a beat makes you a “drum sound technician,” which, in effect, disrupts your compositional workflow. But to what degree? During the “live vibe/feel” of making a beat, should the arrangement and scope of the beat be placed on hold until you tweak drum sounds to perfection? Or should drum sounds defer to the overall arrangement, with little to no consideration of their fit within the arrangement? What I mean here is, is easier to find what fits from a well-known personal arsenal of drum sounds than it is from a big box of endless unknown sounds? Further, isn’t it better to spend time making major tweaks to a drum sound, in a stand-alone context outside of the beat arrangement at hand? I certainly believe there is a time for major tweaks—customization—of drum sounds, in a stand-alone context. This is why I strongly believe that it’s important to set aside time for beatmaking sessions that are solely for the purpose of going through new drum sounds, modifying them to specific taste, and creating a trusted core set of drum sounds.

But implementing extensive drum sound modifications and/or a prolonged drum sound selection process during the composition phase of making a beat can disrupt your flow of ideas, and severely limit your ability to bring about the beat you envisioned. Simply knowing your drum sounds, particularly a core set of sounds, can improve your compositional workflow and cut down considerably the amount of time it takes you to complete a beat from start to finish.

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The BeatTips Manual by Sa'id.
"The most trusted name in beatmaking and hip hop/rap music education."

BeatTips.com Beat Battle, March 2012 Winner Announced

GeeWiz Edges out d.C. and Castro to Win the Third Contest of the Year

By AMIR SAID (SA'ID)

The winner: GeeWiz - ""Give Her the World""

Here's the March, 2012 BeatTips.com Beat Battle breakdown. You can also read it in TBC at: Winner of the February 2012 BeatTips.com Beat Battle Is...
And you can hear all of the beats for March, 2012's battle here: BeatTips.com Beat Battle, March, 2012

GeeWiz - "Give Her the World"

Superb!
The urgency and tension in this joint is incredibly gripping. The emotion, which many beatmakers struggle to infuse in their beats, is thick; and the beat’s narrative structure is precise. The way in which you use progression is very encouraging! There’s a dope build-up, and the ebb and flow of the changes work like cousin motifs talking to one another; yet the rhythm rides through it all, keeping everything tight and consistent. I found every decision within this beat to be a masterful choice.

2nd Place:
d.C. - "Send My Love"

First, I gotta point out the ironic similarities between the title of your beat and that of GeeWiz’s. Both of you have titles that on the surface appear to be about something else. Instead, both titles work as beautiful setups to serious beats!

So, dig it, d.C., this is what I was talking about to you a while back. You’ve recaptured your grittiness and utter wrecklessness with this beat!!! You’re music will always have a smoothness to it; smooth polish is one of the main dimensions of your style and sound. But like I told you before: That’s just one of your chambers. This joint is your hardcore, banger chamber! NEVER abandon this side of your creativity…

Side note… I know someone who may want to use this track for their album. I’ll hit you with the details.

3rd Place:
Castro - "Better Promise"

This beat is HUGE, Billboard/MTV-anthem like huge. You’ve perfected that pop sound while still maintaining your drums. Kudos, brother! It’s good to see here again your exploration with progression and stand-out synth stacking work.

Side note…Listen to me, man: Be very careful with this track. Do NOT put it in the wrong hands. Do NOT allow it to be thrown into a track dump, etc. In fact, I think you should take the track down. Only make it available for serious inquiries. If you want to discuss it further, give me a call.

SPECIAL AWARDS
Segundo Award for Consistency and Contribution

SC Beatz – “Scream”

I didn’t know what to make of this beat at first. I mean, it drew me in, but I was still trying to see the beat’s narrative. This is a very distinct sounding beat. I believe that it could be rhymed over. But it’s now more clear to me then ever before: Your biggest strength is really in film and television scoring. (By the way, there’s more money, consistent work, more appreciation, and less bullshit in that industry.) I strongly suggest that you look into that.
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The DJ Pas Rhyme Award for the Beat that Made Me Write a Rhyme to It

d.C. – “Send My Love"

(For breakdown, see 2nd Place breakdown above)

Get Paid With Heart Award for the #1 Crossover Joint that Still Pays Homage to the Beatmaking Craft

Castro – "Better Promise"
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TBC Most Improved Award
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Honorable Mentions:

Influence210 – “You Got Me Now”
Heavy sound. The pulse of the synth work is nice, not generic or run-of-the-mill. And the sample elements match up well. So many different ways the rhyme could go with this joint.

bigbenbeats – “Brotherhood”
I dig tough loops with straight forward drums. Shows you how effective the groove can be… I almost wrote to this joint.

Smelly Pants – “Human Being”
Like with bigbenbeat’s joint, the loop was good and the drum accents were on point. I could see Ghostface destroying this track!

NOTES.

Phillipic – “Neocrack”
After several listens, I was able to get an idea for where you were going. I dig the smoothness of this track, and it started to grow on me (although, the snare sounds too perfect/mechanical; that may be due to quantizing). At the 2:04 mark, a new motif begins that should have been a major part throughout…That part added a nice ambiance to the entire track.

Upright – “Last”

What happen here, man? This beat is really laid back and seemingly unfocused. Not like the hardness of your previous beat. This beat sounds like you were going for something highly experimental. And nothing’s necessarily wrong with that; experimentation is what we all have to do. The only pitfall with experimentation is that if we’re not careful, we can get away from our core strengths. I noticed that you used that same tom-tom fill that you featured in your beat that won you January’s battle. Is that a trademark of most of your beats? Also, where you attempting to make something that wasn’t meant to be rhymed over?

Uhoh – “Can’t Help Myself”
This of course is another solid joint. One thing though: Your drum programming is starting to mimic itself. Be careful not to get complacent with your sound. You can maintain your distinct drum style and sound and keep it fresh at the same time. And although “drawing in” drum hits may save you time in your workflow, always remember that you run the risk of focusing more on drawing in something where you know something goes rather than playing where you feel it goes. It’s no different using step edit on an MPC to insert something where you know it goes. That's why I limit how much I use step edit to insert events. Playing things out feels more natural.

Don P – “Ojayo”
You’ve returned back to sampling while trying to work in some light synth elements as well. The “knock” style drums work all right. But I can’t help but wonder how this beat would’ve sounded without the sweeps, knock style, or stuttering hi-hat. Just a straight forward tucked kick and classic snare style might work better with this sample. Remember, when the primary sample is dope by itself, sometimes overpowering drums can dull its feel and reduce its overall effect.

steadybeats – “Beat Breakin”
Sounds like you’re working through some ideas. And that’s a good thing. But listen to how lifeless or indifferent this beat sounds. When working through your ideas, try to maintain a steady direction and scope. Otherwise, your beat will sound like a pot-luck of disconnected ideas.

That said, your drums had a level of consistency to them. Build off of that! Also, consider sonically what you want your style to sound like. Take a listen to the beats of Castro, d.C., and S.C. Each one has a distinct style, sound, and consistent direction.

Final thoughts.

Before I get to the final thoughts on March’s BeatTips Beat Battle, I have to make an announcement. Nearly two months ago, I began serving as the Executive Producer of a Marco Polo/H. Stax album, entitled Seize the Day. Because of my obligation to this project, as well as several other obligations (that will be announced shortly), I was not able to get the results in for March’s battle until now. For that, everyone in TBC has my apology!

And now for the Final Thoughts…

It’s a rewarding experience for me to listen to each beat in every battle. I enjoy the analysis part, of course, especially since I know that you all, like me, take the study of the art of beatmaking seriously. But I also enjoy the emotion and determination and growth that I hear in your beats. Overall, it’s quite humbling to see such dedication to our craft on display. And then, I also enjoy the competition of it all! That each person commits their beat to a battle is a constant reminder that hip hop/rap is very much alive, well, and as defiant as ever.

This month’s 1st through 3rd place finishers went in three entirely different directions, yet all three were held together by the bond of fine craftsmanship and the ability to convey deep emotion. That’s what it means to have a quality sound that’s unique and stylistically distinguishable.

Again, my apologies for posting the results of this battle so late. As a result, we’ve lost a battle for April. BUT, May’s battle will be on beginning next Thursday, May 17th.

As always, I want to welcome all of the new members to TBC! Each month we’re growing stronger, and I count on everybody to raise the bar of our discussions and the level of our collective participation. Thank you for doing so.

One more note: The BeatTips.com Beat Battle is for BeatTips.com subscribers and TBC members only. If you have not subscribed to BeatTips.com, please do so before the next battle begins. You can subscribe to BeatTips.com by going to the home page, [url]http://www.beattips.com[/url] and clicking the “Get email updates” button near the top right, just beneath the menu bar. TBC members who are not subscribed to BeatTips.com will not be able to participate in future BeatTips.com Beat Battles.

The May BeatTips.com Beat Battle will begin on Thursday, March 17, 2012!!!

Congratulations to GeeWiz
GeeWiz email me at: [email]beattips@gmail.com[/email], include your full name and complete address for where you’d like your book delivered. Also, include a pic so I can feature you on the home page of BeatTips.com, and a phone number to where you can be reached at for your interview feature.

—Sa'id

The Drawbacks of Technology in Beatmaking

How an Over Reliance on and Over Use of Technology in Beatmaking Might Affect the Beatmaking Tradition Long-Term

By AMIR SAID (SA'ID)

For beatmakers in particular, there’s really no way around technology. It demands our attention because it is the mechanical conduit through which we make our music; it’s the vessel that we use to explore and export the junction of our creativity and imagination as well as our music interests and cultural sensitivities. Moreover, technology dictates the means through which we are able to share our music with others. But considering what the beatmaking and hip hop/rap music traditions are, have been, and may one day be, are there any clear “good” or “bad” uses of technology in beatmaking? More importantly, what are some of the drawbacks of an over reliance on and over use of technology in beatmaking?

I’m not sure if there are any obvious “good” or “bad” uses of technology in beatmaking, but I do have my ideas about when technology in beatmaking is at it’s best and when it is at its worst. I believe technology is at it’s best in beatmaking when beatmakers use it thoughtfully, as a practical tool and as an enabler of creativity, imagination, and originality. But I believe technology is at it’s worst in beatmaking when beatmakers use it as a crutch—with little thought for practicality, creativity, or originality, or as an excuse to abandon some of the fundamental aesthetics of the beatmaking and hip hop/rap music traditions.

Thing is, I overwhelmingly embrace technology in beatmaking. I think it’s good because it levels the playing field in beatmaking. On one hand, it erases the myths about some beatmaking methods and techniques, and it demystifies the “genius” of some often lauded beatmakers. On the other hand, it illuminates the actual skill and musical sense required to make certain beatmaking methods and techniques soar. This is why I believe that technology should be embraced whenever and wherever beatmakers feel that that they need it, and whenever and wherever they believe that it can be most helpful to their style, sound, and workflow.

That being said, I believe it's important to stress that the notion of “keeping up with technology” should never trump the creative goals of a musician; nor should the use of technology take precedent over a beatmaker’s imagination and skill. Technology should be at the disposal of the beatmaker; the beatmaker should not be at the disposal of the technology! In other words, beatmakers shouldn’t use technology to the detriment of their style and sound. Instead, we should use it in the service of our styles and sounds as well as our primary modes for creating beats.

Furthermore, I’m convinced that emerging technologies, particularly in the electronic music production and recording fields, are prompting some beatmakers to expand and explore their creativity and imagination as well as repurpose and refresh some of the fundamentals of the beatmaking tradition. Well-known beatmakers (producers) like DJ Premier, DJ Toomp, Marco Polo, and !llmind (all of whom I’ve discussed beatmaking with in meticuloous detail, in their production environments) have embraced technology—due both to necessity and preference—to degrees that have allowed each of them to expand the scopes of their styles and sounds while retaining the ability to capture the core sensibilities of their music. But while some beatmakers are using technology to climb towards new creative plateaus, there are some who are outsourcing their imagination and creative energy to technology’s automation.

Specifically, my concern is that an over reliance on and over use of technology in beatmaking may be creating a disconnect between many beatmakers and the art of beatmaking itself. As many of us migrate further “into the box” for making beats (some doing so out of necessity, others genuinely for convenience, and yet others solely for the purpose of technology for technology’s sake), I wonder what sort of effects this is having on our approach to even the most fundamental processes of beatmaking, like chopping, sequencing, and looping. Are we losing sight of where our tradition comes from—DJ’ing and the use of pre-recorded music and/or other pre-recorded sounds? And if so, is this leading many of us to ignore hip hop’s/rap’s canon of music—music largely influenced by soul, funk, jazz, blues, reggae, and any other music DJs could get their hands on? Moreover, is this prompting many of us to rethink our views about music elements like riffs, groove, rhythm, harmony, and melody, and their role in beatmaking?

And let’s not forget that as one becomes more accustomed to relying on technology, the work of remembering how to actually create music gradually falls into disuse. And as beatmaking (and all music-making, really) becomes more mechanical and formulaic (than it already is) and less organic, more out-of-the-moment and devoid of feeling, quality standards plunge, rendering the notion of a dope beat obsolete or an afterthought at best.

Furthermore, I wonder how many beatmakers are short-changing their creativity because of their use of technology. More importantly, just as technology is allowing for some old traditions to be discovered and on some levels experienced (for example, through new contexts like “e-diggin” for source material and music history), I also believe that an over reliance on and over use of technology may be causing some beatmakers to abandon key stylistic (and sound) aesthetics of hip hop/rap music in favor of those from other music traditions.

And consider the other drawbacks to an over reliance on and overuse of technology in beatmaking. The most obvious drawback being that it is transforming what should largely be a musical process—one steep with reflection and a sense of tradition—into a manufacturing process that avoids tradition in favor of technological brevity. Because of this, some beatmakers are in danger of becoming effectively much more technician than musician. Because of this, there are some beatmakers who think more about technology than they do about music. (Please remember, having a sustained focus on music—its forms, its histories, its common characteristics—plays a large role in the success of any musician.) And also because of the focus on technological brevity, there are some beatmakers who are more enthusiastic about acquiring and mastering new technology than they are about making new beats.

Thus, when you consider all of the drawbacks of an over reliance on and overuse of technology in beatmaking, it makes you wonder about the future of the beatmaking tradition. If this trend persists, doesn’t the beatmaking tradition stand the risk of becoming a devalued art form? After all, beatmaking is a sub-tradition of a music tradition that has long been plagued by accusations of illegitimacy or faux originality.

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The BeatTips Manual by Sa'id.
"The most trusted name in beatmaking and hip hop/rap music education."

Are You Using Compression as a Friend or a Foe?

Understanding How to Effectively Use Compression

By CUS and AMIR SAID (SA'ID)

Mixing hip hop/rap music offers its own set of challenges. From rupturing kick drums to rumbling bass lines, hip hop/rap music doesn't always fit neatly into traditional approaches to mixing. Sure, the same sonic tools/effects are in play when mixing hip hop/rap music, just like any other music form. But how these sonic tools are applied and used in hip hop/rap music (or any other music form) can mean the difference between something sounding pleasing to the ear or something outright crummy. And there is no other effect that can make or break this difference than compression.

In hip hop/rap music, where the dynamic range is often a blend of sampled sounds, compression is the most commonly misused sonic tool. So to truly understand how and when to use compression more effectively—that is, not abuse and misuse it—, it is important to first get a working knowledge of what compression actually is and does. Fundamentally, compression is about controlling the dynamic range of an individual track or song in a way that keeps everything contained in the same zone, so to speak. Indeed, a good way to look at compression is to view it as a process of effective containment. What compression does, in a basic control approach, is it pretty much takes any sound and contains it from spilling out of a desired range of sound and color. In this way, compression keeps the most common hip hop/rap music production sounds—high velocity kicks, snares, bass lines, samples—from varying too wide in range; it makes everything stick together like glue.

Further, one of the most basic ideas of compression is to boost up the quieter dynamics in a mix and to simultaneously “squash” (reduce/neutralize) the peaks. The aim of this is to be able to turn up the overall track volume, getting the much sought after bang and punch. For instance, effective compression can increase the presence of a thin bass line, making it sound fat and warm. But the misuse of compression can make that very same bass line sound distorted and out of place—unstuck.

Having understood what compression is it’s good to break down how it works. A typical compressor (hardware or software) has basic parameters through which compression is applied to a sound (signal); they are: Threshold, Input, Ratio, Attack, Release, Input, and Output. Threshold sets the level at which a compressor goes into action; it’s the point at which the compressor starts to work. Think of it as a virtual line of decibels (dB), that once crossed, the compressor goes to work. Likewise, whenever a signal falls below the set threshold, compression stops. Because threshold works in tandem with a compressor's input level, which controls the strength of a signal coming into the compressor, the stronger the signal, the sooner the threshold level is reached.

Ratio represents the level (amount) of compression that will be applied to any signal that exceeds the threshold setting. Any sound signal coming in above the set threshold will be affected in accordance to the ratio setting.

Attack, measured in milliseconds (ms), represents the time that it takes before the compression actually happens, once a sound signal reaches the threshold. The shorter the time, or rather the faster the attack, the quicker and/or more harsh the compression. A quick attack is useful in neutralizing kick peaks, which in turn allows the overall level to be raised. Generally speaking, you want compression to happen as soon as possible. But remember, there are no hard rules on this; the sound and vibe of a track that you’re going for will dictate how you adjust compression settings.

Release, measured in ms, determines how long it takes for a compressor to let go of a signal, once it has dropped below the set threshold. With a longer release time, the compression holds on longer to the signal that it’s applied to. A long release time is especially useful for adding sustain and extended nuance to a signal. A too fast release setting can result in “pumping” (where the compression can be heard). Here, it’s also worth noting that’s it’s a good idea to always have the compressor’s meter set to “GR” (Gain Reduction). This way you’re seeing exactly how much the sound being compressed is cutting back. It is also a good view of how fast/slow the compressor is attacking and/or releasing.

Output represents the overall output level of an applied effect.

Through the brief breakdown of the basic parameters of a typical compressor, it’s easy to see the upside of compression. But there can also be a downside to compression. One common mistake is having the threshold a little bit too harsh and pushing towards the negatives too much, resulting in a sound that is smothered or struggling to get light. Perhaps the best way to tell if something has been compressed too much is by checking the velocity of the sound. That is, if the sound is coming off dull or it’s noticeably losing significant volume, then it has been compressed too much. Though volume does increase some during compression, it should not be the source for controlling volume.

Bottom line:

Because of the unique sonic nature of hip hop/rap music, there are really no magic compression settings for any one sound or group of sounds. Moreover, compression can be used in different ways; you’re only limited by your imagination. Therefore, like many processes of beatmaking and recording/mixing, experimentation and trial and error is a must. In order to find compression settings that work well with your taste and style of production/mixing, you have to try compressing different sounds with different settings, being mindful to avoid those things that flatten and dull your overall sound. And with a good grasp of what compression is and how it works, you’re well on your way to finding your own unique default settings. In the end, that's really the best way to make compression your friend and not your foe.

Some useful compression guidelines:

Begin with short attack and release times, then adjust as needed.

Begin with a 4:1 ratio, then adjust as needed.

Because bass, especially in hip hop/rap music begs to be consistent, think heavier compression on bass sounds.

Compression isn’t just a tool for controlling sound; it can be used to add color as well.

As with any sonic tool, use compression in the ways that help you get that sound and feel that you want.

Avoid using compression simply as a tool to make sounds louder.

*Feel free to leave comments and add your own compression guidelines.

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The BeatTips Manual by Sa'id.
"The most trusted name in beatmaking and hip hop/rap music education."

BeatTips Tutorial: DSS Beatmaking Exercise

A Sequencing and Structure Exercise that Increases Your Understanding of Arrangement

By AMIR SAID (SA'ID)

To increase my understanding of arrangement in beatmaking, over the years I've come up with and practiced many different exercises. In this article, I want to focus on one specific arrangement exercise that I do that involves the development of core sequences.

DSS (Duplicate Sequence Structures), the name I gave to this exercise, deals with duplication and experimentation of sequences. That said, the aim of this exercise is to better understand how to build 8-bar (or longer) structures. Why 8-bar structures you might ask? Well, for me it's simple. When creating "songs" in the Song Mode of my MPC, I prefer to deal with 8-bar sequence blocks rather than 2- or 4-bar sequence blocks, particularly because it allows me to better manage any changes (e.g. bridge, breakdown, embellishments, ect.) that I might want to add to the arrangement of the final beat.

Before I continue, I should note that I have in the past (and sometimes still do) literally written down the schedule of exercises for any given practice session (this is very helpful). For instance, whenever I wanted to practice DSS exercises, I would simply write a note to myself like, "DSS, 1hr." This way, whenever I was due to practice for the day (or week), I wouldn't sit down just to make a beat. Instead, I'd set a practice plan of action, then I'd naturally segue into actually making (completing) at least one new beat or more.

All right, on with my DSS exercise...

step 1

I began with a 2-bar sequence of music. Something fairly simple, just a drum framework and some non-drum elements. Please note: Whether I'm practicing with a sampled-based or synthetic-sounds-based beat doesn't matter, because I practice this exercise universally.

Step 2

Having settled upon a 2-bar sequence, I'll duplicate it to give me 4-bars of music. Then, I copy that 4-bar sequence into three "unused" new sequences on my Akai MPC (4000 or 60), essentially setting up three separate "beat starts" or rather "shell beats," all with the same 4-bar structure.

Step 3

I duplicate each 4-bar structure, giving me three "shell beats" (just sparse grooves) of 8-bars each.

Step 4

I work on each "shell beat" one at a time. For the first "shell beat," I'll add in one new musical element. This could be anything, an elongated sound stab, a brief keyboard phrase, a sample of a break of some sort, whatever I'm feeling might work at the moment. But here's the key: No matter what add-on element I choose, I add a modified version of that very same element to each "shell beat."

Step 5

I make modifications to the drum frameworks of the "shell beats." Usually, I leave the drum framework of the first "shell beat" as is. But I always change, in some fairly noticeable way, the drum framework of the 2nd and 3rd "shell beats," making modifications that better match up with the added elements.

Step 6

I build each 8-bar "shell beat" out to fully developed beats, and I listen to each beat to see which one has the tightest, gut-moving feeling—the one that moves me the most. Usually, what happens is that I end up using one of the "developed beats" for the verse section, the main part of the song; and I use another one of the "developed beats" for the hook section, the featured part of the song. If the remain "developed beat(s)" is (are) decent, I'll strip it down to 4-bars and use parts of it as an intro, bridge, or extra change that I add to the final beat.

Final thoughts

Using this exercise, I'm able to better capture the core groove that suits my style and sound. Also, this exercise really helps my timing, and it sharpens my overall understanding of and approach to creating drum frameworks. Finally, I should note that my DSS exercise has always come in handy on those occasions where I used to have beat block.

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The BeatTips Manual by Sa'id.
"The most trusted name in beatmaking and hip hop/rap music education."