Sharing this from Emergencyfm Dnb. It gave me a good chuckle.
All posts for the month March, 2013
Well everyone, just to let everyone know (in case there are still any clickers on this page) the sale is now over. You can still get all of these samples and products at a pretty reasonable price, however. Click on over to the ‘store’ tab (above) and get ’em. Thanks to everyone who came by and bought a few things during the sale, it was a lot of fun, I enjoyed it. Stay tuned for some fun new sample packs coming in the near future. Got some really fun stuff planned!
This sale is going to go on for three days (and three days ONLY!) and no, it’s not to celebrate Good Friday or Easter or any of that, it’s to celebrate all the dope-ass super trilladelic crack beats & bumps and jams & gems you guys are going to making when you buy these samples :) :)
So what makes this sale so stoopid? Thing is – StrangeFlow must be stoopid or something to put out a three-day sale. That goes against rule # 1 in online-business. But, whatever. You want samples, we’ve got ’em, we want to make a little money, but we want to get the samples out there, too – and anyone who’s been with us since the beginning knows that we’ve never ripped anyone off by charging stoopidly high prices – in fact, there is a good amount of free content on the site, and we also do giveaways. This is sort of a halfway between a giveaway and a discounted price.
So, here’s this awesomely stoooopid sale for ya guys!
So here are StrangeFlow’s stoopidly stoopid Sales for this stoopidly-huge celebration of savings.
HA! Celebration-of-savings is the stoopidest phrase ever. But stoopid the name of the game for this sale, so, maybe it’s appropriate? Hmm…
ANYWHO: HERE THEY ARE:
StrangeFlow’s New Ebook – Guerilla Blueprints for Creative Passive Income
1000 Trap Samples Bundle
Strangeflows Ultimate Juke Samples
One Hundred Wonky Beats
150 Moombah Beats!!!
For some reason (either StrangeFlow was taking stupid-pills again, or he’s just feeling way too generous) there has been an epic pairing in the trap music samples world… That’s right, that’s right: you can now get an awesome Bassadelic.com bundle of two of the most popular sample packs we’ve produced so far!
The 1000 Trap Music Bundle is a combination of two previously released sample packs:
– 500 Trap Music Vocal Samples &
– 500 Trap Music Synth Instrument Samples
The two have combined into one, and if you buy this package, you save some money! Its really that simple. This is only for a limited time, however. A sale like this, with one thousand samples, won’t last.
These samples are all in .WAV format. Some of them are one-shots, but there also loops. All of the loops have been sequenced perfectly and are ready for use with:
& any other program that runs .WAV files (which means almost all of them)
Run the fucking trap as hard as you like with this one.
You can check out these two sample packs individually (they’re both still individually available for purchase, if you prefer your trap ala carte. Just click here and go to the store section of the site.)
Only $27 USD
Below is a preview that was made specifically for the “500 Trap Music Vocal Samples,” package, but it’s everyone’s favorite video, so I thought I would post it below:
I find myself listenin’ to this one again and again and again and fuckin’ again. It’s really fun, and very motivational. I’m sick of half-assed motivational quotes that reflect some sort of ‘barely-hanging-in-there’ mentality (or a, ‘fuck it, I’ll settle,’ mentality) which is a very scary thing to get involved in, and I recommend settling for second best FOR NOBODY (least of whom being my loyal Bassadelic followers, who deserve ONLY THE FUCKIN BEST!)
Find what motivates you and exploit it.
This one is by an incredible producer named DJub, “Fuck what you do!,” off of World Wide Juke Volume Eleven – & it’s very motivational shit.
He recently wrote in a track description for one of his dope juke jams, “this might be the last juke track I ever make,” which I hope is not true, and I encourage any and all jukers out there to hit him up and tell him to keep getting turnt up and killin’ the 160 !!!!
If you want to download shit like this, and other awesome juke tunes from this compilation and a dozen other free compilations like it, head on over to World Wide Juke.
Yes, the “Five Dollar” Studio… How to create an electronic music studio setup on the CHEAAAP, and look like a champion while doing it.
Here’s a fun motto: if it can plug in, you can play it. All I need is something with buttons and a USB chord, and I don’t even have to re-engineer it!
So, before I get into this article, I would like to point out a couple of things – first of all, yes, five dollars for an entire studio might be a bit of an understatement – but, not necessarily. And also, it might help to have a computer or a laptop to start out – but, again, it’s not completely necessary. It IS possible to build a somewhat decent music-making set up on the cheap! There are many different avenues to explore for setting up a recession-era music factory, and I’ll explain some of the ways this is possible. There have been articles written about setting up cheap studios in the past, but I thought I would expand on this idea, and put all the techniques I could think of into one article.
1.) Gameboys & Chiptune
If you’re so inclined, you might take a look at some of the many fine chiptune songs that are out there. I remember going to an underground club in Lansing, Michigan, that my homie, Angryrancor, told me about. He said the dude was playing a Gameboy, and I was like, “Oh… well, alright…” and he reassured me that, “Actually, it’s really cool, man!”
I was skeptical until the show started and I saw a guy on stage rocking out with his Gameboy plugged in to a sound system – and goddamn! – it was actually really well done and enjoyable. Sequencing was done entirely on a cartridge that he did beforehand, and he had put in that cartridge in the back of his Gameboy and played it out live, improving as he went along. I’d always heard about that kind of music, and I’d listened to songs made that way before, but until I saw it live – and saw how it could truly rock the club – I didn’t really think it was worth its salt. But it IS.
It’s a great example of how you can make music on the cheap – because tons of folks have old Gameboys lying around their house (or their parent’s houses?) and borrowing one, or even buying one, isn’t as expensive as it would have been fifteen or twenty years ago, that’s for sure. There’s even a cartridge for Gameboy specifically designed for music sequencing. You definitely want to get something like that – though that might be a bit pricier to track down – but, you can always get an emulator for your computer, if all else fails.
So, every year, new keyboards are created, and sell for hundreds of dollars. Yet, at the same time, there are tons of keyboards sold for next to nothing, all the time, too.
A used keyboard, bought at a thrift store or a yard sale, can be cheap as hell. With most of ‘em, however, you still get a range of different instrument settings with most of them, and hey – if it looks really beaten up and shitty (which would actually give it more of a vintage/indie look) you can always just cover it with stickers, and make it your own.
Keyboards really range in price, and it depends on who’s selling it to you, how old it is, how good it is, and how badly they want to get rid of it. If you look around with patience and diligence, you can usually find one extremely cheap.
3.) Electronic Toys
I’m not going to get into circuit-bending (though that’s something else that you could do, and a quick google search will give you help there) but even just having some old Spell’n’Speak, or whatever that thing is called, can work. Almost everyone has some old toys somewhere in their house or in their parent’s house – the possibilities with this are endless. Remember those old toys with the string in the back? You can pull it back at varying speeds, and try to ‘improvize’ with that for a little while, providing any tune with some real novelty. It’s actually a lot of fun to mess around with some old toys. All the 90s-Kids have grown up, and we all love being reminded of our childhood by seeing someone whip out an old Bop-It, or one of those infuriating Simon-Says machines with the colorful and huge buttons.
Also, with enough tinkering, you could turn one of those into a fun little midi pad, though it would take a bit more work than the following example of home-made-midi-controllers:
4.) The Number-Pad Midi-Drum
I have one of these, it was given to me for free (my dad had some leftover computer equipment from the last couple decades) and I’ve seen them at thrift stores for extremely cheap “we-have-to-sell-it-for-SOMETHING” – type of prices. Again, like the keyboards, you could put all sorts of stickers on it, if you want to.
Personally, I LOVE it. I don’t know why, but I do. I link it to ableton and trigger a bass kick to one of the buttons, a snare to another button, and a hi-hat to another button, and I can just sit there and make my own grooves, automagically. It’s not as if I’ve never went out and bought an actual midi-trigger before, because I have – but this little thing is still just so fun to have around! It’s got around twenty different buttons, so I can put a whole drum rack on it if I need. You can get these from thrift stores, friends with a lot of excess computer equipment, friends with dads with a lot of excess computer equipment, etc. There’s something extremely novel and fun about having a tiny little midi drum at your disposal.
The number of people who have a turntable might surprise you. What might surprise you even more is how quickly you can destroy a record needle by scratching. Sure, the Qbert’s and DJ Babu’s of the world might use some real high tech turntables that were designed to be durable and hold up against any hip hop improvisation, but that doesn’t mean you can’t have fun with an old record player until you accidentally break it, right?
For real though, it is really easy to break those needles. Just remember that…
The “Scrape Table Geniuses” broke a needle after just an hour of freestylin’ – that’s the name me and a friend of mine sarcastically gave it to our turntablist ‘group’ we started, jokingly, when we discovered it was fun to mess with our buddy’s little record player while he was at work. Well, the band was broken up after not too long, and a new needle had to be purchased.
Many old records are cheap as hell, too (or free)
6.) Boom Boxes & Tape Recorders
Mixmaster Mike originally started out making music by manipulating a tape-player stereo. With this option, it really depends on how in-depth you’re willing to go. If you spend enough time with it, you can really do some cool things. Think of it as an analog to record players. (heh, get it? Because tape players, like record players, are also really analogue? … Why isn’t anyone laughing? …Ok, sorry…)
You can use it as a sampler, you can beat juggle between two different tapes, you can even pitch bend – in fact, DJ Screw, the legendary producer who created a whole genre of a hip hop, began doing his thing by sticking a screw in the back of a boombox to slow everything down.
(Warning: though it’s probably obvious, I should point out that for all these types of technological manipulations, you’ll want to have everything unplugged FIRST before you go in and mess with the wires and bits in the back. You don’t want to challenge electricity in a way that might be physically harmful to you – and that goes double for circuit bending…)
If you have an old tape, and I want to take out a particular sample and start looping it in an authentic and analogue way, you can cut that little 4 or 5 second part of the tape (the actual tape inside the cassette) and tape the end of the sample to the beginning, cutting everything else out, and put that back onto the spindles in the cassette, and then start playing the cassette and hear a single sample, played over and over and over again!
It’s the very same technique that hip hop artists back in the 80s used to incorporate, when they weren’t relying on DJs spinning records. In fact, thousands of releases from twenty to thirty years ago relied on this very process.
Another interesting thing you could try would be to create these basic loop tapes, and have one for every note on the scale – rig ‘em up so that you have access to as many notes on the scale as you deem important for whatever track it is you’re working on, and then play them, improvisationally, behind your vocals. Cut back and forth – speed them up, here and there – tap and re-tap the pause button on rhythm; do whatever you gotta do to make something entertaining.
I always thought it would be cool to create a kind of tape-manipulated blues improv song, using this technique. Plus, if you use your numerical pad as a midi trigger to play one-shot beat drums, you could have a whole performance ready to go! Time to get wonky!
7.) Video Game Controllers & Joysticks
There’s a French glitch hop duo, MC2, that do some insanely sick things with joysticks. I couldn’t believe the level of complex and hi-fi fanfare these dudes were able to achieve with just a few devices designed for a game like Flight Simulator. Remember that motto? “If it can plug in, you can play it.” There are tons of buttons on most video game controllers these days, and many of them plug in with USB, which makes everything so much simpler! If it doesn’t have USB capabilities, you can get converters – or you could just keep looking until you find a controller that has what you need to plug it into your laptop.
Don’t forget, you can attain tons of samples for very little money too. Many samples are free (and there are links for them throughout this site – especially in the store section) and there are other samples that cost money, but if you look around, there are usually samples available that don’t cost too much (again, uh, there are links for them throughout this site – especially in the store section…)
When it comes to creating a cheap studio, it’s really about using your imagination. Entire genres have been created by manipulating old technology. That’s not an understatement, either – to put it another way: entire careers and fortunes have blossomed because of musical structures that were developed by using pre-existing technologies in ways that were not originally intended.
Acid house was created by messing with a TB303 the “wrong” way; hip hop came about by manipulating old funk records; turntablism came about by GOING EVEN FURTHER to manipulate old funk (and rap) records; chopped ‘n screwed music was developed by messing up a tape player; 8bit and chiptune were musical styles created entirely with Gameboys; grime rap is what happened when the British tried to make hip hop (I kid the British! I love grime!) but really, if you think about it, most forms of art and music come out of rearranging or reinterpreting older forms of art and music from the past.
Now, I don’t want to get into this point too much more, but I just want to point all this out, because if you really try out some of the things I’ve mentioned, maybe you’ll find some new form of music, or carve out your own creative aesthetic and give the world something truly “new,” keeping in mind that everything “new” is really just a different version of something old. Or, hell, maybe you’ll just find some entertainment with some of these musical techniques and ideas, for a few hours. That’s cool, too.
Happy mixin’, everyone!
So, I heard a song today, randomly, on Youtube… It was by the Electric Sound Group. The song is called, ‘Happy Station,’ (and I’ve posted it just below) off of the album, ‘Come N Do Electric Boogie Break Dance,’ which was released in the Netherlands in the 80s. Beyond being a fun, albeit seemingly-goofy (in retrospect) little synth tune, it provides a great example of something I’d like to refer to as ‘musical sandwiching.’
So what is this process of ‘sandwiching,’ you ask? Well, let’s start by taking a listen to this song for a moment… It’s definitely got some real and undeniable disco elements to it, whilst at the same time, it goes a bit further into the electronics department than, say, ‘Funky Town,’ or anything by the Beegees… Which isn’t to say that other disco groups of the time didn’t incorporate electronic elements (‘Funky Town’ definitely had a cool vocoder, for example) but this tune seems a little bit more futuristic a lot of it’s contemporaries. Yes, it’s labeled, ‘synth-pop,’ so what’s the confusion? What’s the problem? Well, here’s the deal…
The middle ground between disco and acid house
By the end of the 1970s, America was sick of disco – and when I say ‘America was sick of disco,’ what I mean is, basically, that the macho and homophobic AC/DC fans who couldn’t stand the sight or thought of gay minorities dancing to synthetic drums and electronic beeps. Now, that’s not to say that EVERYONE dancing to disco was gay, or a minority – and it’s also not to say that every anti-disco dude was an AC/DC fan… But there was definitely enough of that ‘Disco Sucks’ hatred in the mix to force a syncopated electronic genre like disco back into the underground, and fast!
So, what happened to disco? Did it really die? Well, yes and no. The 1980s was a time of unprecedented advance in technology, meaning old disco artists could trade in their TR68’s for something more modern – something more slick, and something that, all in all, could generate weird alien dance sounds that no one had ever heard before – which is always a fun thing to do, isn’t it?
Enter, acid house.
No wait, back up… Before disco made it’s complete transition into acid house, it went through a period of time that anthropologists now refer to as, ‘The Early Eighties.’ Reagan was just getting into office, America was just getting out of a recession, a younger generation was starting to get involved in music and culture (with a real anti-70s zest) and, for some reason, everyone fucking thought that neon colors and huge glasses were cool (and they weren’t being ironic about it, either)…
Acid house made it’s way into the clubs, made by fucking around with a TB303 drum machine in a way it wasn’t meant to be fucked with… Acid house music was born. It was really just disco, but… disco, five years later…
So, anyway, getting back to it, the song I played, a few paragraphs back, shows definite signs of being as disco-ish as it can possibly get: the syncopated rhythms, the retro-synth sounds, and, what we would now refer to as ‘diva vocals’ (but what were referred to, back then, as just, ‘contemporary vocals’)…
But, at the same time as the song fulfills many of the structural aesthetics of what was considered a ‘disco’ tune, it also incorporates slightly more modern synthesizers, the vocals sound (at times) manipulated) and there are those casual double-up’s in tempo right before the break (I mean, ‘drop’) and it has that kind of cold and ominous pulse that really typified a lot of synthetic dance music in the 80s… It sounds like a halfway between disco and acid house.
So, it’s a great example of music that would’ve barely received any play, whatsoever, after that brief but interesting segment in music history between the two time periods where: 1.) Disco was considered lame, and 2.) A new generation was ready to enjoy disco again (but this time, calling it house music)
There is a lot of “synth-pop” in existence, but hearing some synth-pop with as much authentic 70s hustle-down-disco-spirit as this is more of a rare treat. Like a thunderstorm on the West Coast, or the hot girl at the lingerie-espresso drive-thru telling you she likes YOUR outfit. It doesn’t happen often, but when it does, it’s great.
So, are there any other examples of this type of thing happening?
Well, the subtitle of this article references the, ‘Bossa Nova Effect,’ so I might as well explain that one to, eh?
Bosss nova and tropicalia
Baby boomers have always struck me as somewhat arrogant. But you know who else was just as blustery? The generation that came before the Baby Boomers. In fact, this older generation was SO arrogant, they have the gall to call themselves the “Greatest Generation.”
Ok, maybe that’s just something that folks in the cutting room stick on the title screen to get old people to watch their awful World War 2 documentaries… But still, there was a real feud between these two generations – they each had a lot of baggage, and they each resented one another. There was a gi-fucking-normous gap in between the two, with one of the only things they shared being the fact that they both went off to wars that took place on other sides of the globe (a tradition that we’ve kept alive in America to this day). Culturally, the two also differed in their preferred styles of music. While the Baby Boomers would eventually take to rock music, r&b, folk, and unnecessary psychedelic tunes that went on for twelve minutes, the Greatest Generation enjoyed everthing from swing to big band, and Frank Sinatra-style crooning.
So, where the fuck does bossa nova fit in?
Bossa nova was a Brazilian style that took off in the 1950s (the phrase, ‘bossa nova’ literally translates to ‘new trend’) and it could be described, more or less, as a kind of samba-jazz-pop music… Very easy listening, indeed. But, the problem with bossa nova (and it’s sister style, tropicalia) was that it was never as big as big band, and it certainly wasn’t as big as rock music, which showed up a few years later, squishing and absorbing everything in it’s path like some giant ball of silly putty with no real plan.
Sure, rock music is hailed as the big “American Music” trend of the century by rock aficianados, and most members of the Baby Boomer generation, but for the FIRST fifty years, that “American Music” would’ve been jazz – or, perhaps, the blues… But regardless, bossa nova, a wonderfully delicious piece of the musical pie, was left out in the cold; very few got the chance to really bite into it before a newer, and more arrogant pie was to show up and splatter itself all over everyone’s chins in a delicious, sugary mess.
That last metaphor got a little out of hand, I think… Ah well.
Bossa nova is a great style, though, but it’s no surprise it got sandwiched. Two gigantic empires of music and culture forced it into oblivion. Sure, you can still find it if you look, but it’s mostly confined to jazz stations – which, you might say, should be ‘good enough,’ eh? But the thing is, it could’ve been huge. Most people don’t even know what bossa nova is. Brazillian music in general had a lot of interesting and entertaining concepts going for it, especially in the 1960s – (like Os Mutantes and a myriad of psychedelic rock, a few years later) but America was too obsessed with itself and with England to notice, for the most part.
Thus enters the, “Engla-Ja-Merican Triangle Theory,” (which I won’t discuss now, because it would take far too long to REALLY get into, but I will briefly say that it concerns the idea that the majority of Western musical attention in the latter half of the 20th century was devoted to styles that came from either England, America, or Jamaica; or a mixture, thereof)
Sample-heavy hip hop from the late 1980s
A third example of this ‘bossa-nova effect,’ happened with hip hop in the late 1980s. Examples include Public Enemy, the Beastie Boys, Tribe Called Quest, De La Soul, Niggas Wit Attitude, and every other super-sample-heavy hip hop group with a record that came out AFTER Run DMC and Kool Herc and Afrika Bambaataa – but BEFORE the early 90s minimalist West Coast gangsta hip hop style ate up everything in it’s path. This period in between early rap and 90s rap sometimes coincides with the ‘Golden Era,’ of hip hop (a term that is always moving forward in time, depending on who you ask…) Personally, I think the Golden Era is sometime between the late 80s and the early 2000s, but I digress…
There were multiple reasons for why hip hop changed so radically since the late 80s, but the easiest reason to cite is legality. It’s far easier to put out a record with some run-of-the-mill staccato violin midi-riff by Dre than to dig up an old sample and risk having to go to court for it. All of these groups I mentioned earlier eventually stopped sampling nearly as much as they did in the late 80s and very-early-90s, which was a shame. Though, it is completely possible to do it, and get away with it – much of the time, anyway – provided you do it in a smart way… Pretty Lights releases all sorts of sample-heavy material, but it’s free. Speaking of sample-heavy dance music, Fatboy Slim made a career out of it – though his label probably paid for most of his samples.
Anyway, the main point of all these musical-sandwiching examples is to show you that, despite the hype that you might hear from some of the “official” music sources out there, a decade of culture is not typified by ONE style of music. In all the documentaries about the early 90s, you always hear the idiots at VH1 talk about how ‘everything was so grungy, OMG!’ when, in reality, YES, there WAS grunge… but there was also a lot of house music… and there was a lot of metal… there was all sorts of hip hop… there was punk, r&b, and there was that awful new-jack-swing bullshit, too. My point is, there are a lot of styles that spill through the cracks. Anytime you hear anyone associate one or two artistic achievements with an entire era of history, just remember, at least a LITTLE bit of what they’re saying is complete bullshit. Entire careers are often sandwiched on the whim of two larger and more arrogant pieces of bread – but in fact, they might not even be arrogant pieces of bread – they might be quite tasty!
There are benefits to living in an age where everything is recorded, but it really makes me wonder how many older styles of music (and art in general) were sandwiched-out and had the bossa nova effect driven all over them that were NOT recorded. Art movements in between bigger dynasties; musical directions from other countries and centuries; creative narratives that have long been misplaced and forgotten… There must be thousands and thousands of examples that we’ll never hear about…
So, whenever you feel you’ve ran out of ideas for a creative project you’re working on, just remember, there are potentially tons of untapped ideas and artistic potentials out there that are probably just hiding between the cracks of culture. Or, to put it in unnecessarily mathematical terms: for every idea you can come up, there’s probably another ten ideas WITHIN that first idea, and each of those ideas has ten within each of them, as well… It goes off in a fractal infinity and it never stops, so you never need feel as though you’ve gotten to the end of something, artistically, so if you really think about it, it’s probably not even possible to really ‘finish’ art. But, at this point, I’m getting far too esoteric and meaningless, and all I’m really trying to say is, ‘keep your eyes open,’ and, ‘be weary of cultural narratives by people in power,’ because people in power usually have an ulterior motive; if a piece of art really spoke to you in the past, no one can tell you that isn’t significant.
End of rant.