Sorry bout that, I was trying to sound like all those rap remixes where you here someone obnoxiously scream over the mix (many dozens of decibels louder than the volume of the actual lyrics) something like, “REEEMIIIIIIIXXXX!!” So, that’s what I was doing… anywho…
“Jay Z Drumz,” is available now. About fifty one-shot drum samples, I cut them in homage to Jay-Z, who I feel is one of the best rappers alive, and definitely has some of the best beats (Yes, better than any Dre beat – way better…) So, hope you guys enjoy this, and find it useful. The snares are my favorites in this pack.
Be one of the first ten people to leave a comment below (don’t forget to leave your email!) and you will win a free copy of 500 trap music synthesized instrument samples!! :D :D :D
UPDATE!! This giveaway is now over, but you are welcome to consider the buying the sample pack, it’s on sale for a limited time!
Yes, a new sample package is coming out today from Bassadelic, and it includes tons of great trap samples! Scroll down a little bit to get the details! :)
So how’s this work?
Well, the first ten comments on this page (don’t forget to leave your email) will get a free copy of this product. Please give me up to a day to deliver the samples (it probably won’t take that long, but I want to have that 24 hour grace period in case my house burns down or something.. lol)
Ooooh Snippity Snap! 500 all-original trap music melodic synth samples, including over 70 bass samples, almost 50 melody loops, there’s tons of trumpets & trombones, as well as tons of modern EDM high pitched synth notes that you’ve come to expect from trap music today. This package provides the best possible value for producers hoping to get involved in the exciting world of trap music.
This production package was desgined for producers trying to get synth melodies for their tunes – and especially producers who are influenced or inspired by popular trap artists such as Flosstradamus, Baauer, UZ, TI, Wacka Flacka, and many other artists from both the Dirty South as well as the outta’ town rave.
So here’s what’s inside:
– 72 Bass Samples!
– 48 Melody Loops!
– 384 Synth Samples!
– including: trombones, trumpets (sustains and stabz) wobbles, saws, buzzers, beeps, wonky and rave sounds to fuse the middle ground between EDM and dirty south trap hip hop music with these helpful sounds.
Many of these samples (the one-shots) come in scales (with each of 12 notes labeled correctly) to give flexibility to the producer who wants WAV files, but wants to make sure to keep things in key during mixdown, which is obviously very important when layering sounds together and making full tracks and songs properly in the studio.
So, altogether you get 500 premier sounds — actually, the final count was 504, but I decided NOT to delete the last 4.. I mean, would you? (;
If you don’t win a free copy of the samples, that’s ok, you can still get ’em here!
BASSADELIC.COM
This is a demo pack with 18 samples, and they are taken directly from the new ‘500 Trap Music Synth Samples’ package. This production package was designed for producers trying to get synth melodies for their tunes – and especially producers who are influenced or inspired by popular trap artists such as Flosstradamus, Baauer, UZ, TI, Wacka Flacka, and many other artists from both the Dirty South as well as the outta’ town rave.
So if you want to get the full package, here’s what’s in that :
-> 72 Bass Samples!
-> 48 Melody Loops!
-> 384 Synth Samples!
-> including trombones, trumpets (sustains and stabz) wobbles, saws, buzzers, beeps, wonky and rave sounds to fuse the middle ground between EDM and dirty south trap hip hop music with these helpful sounds.
Many of these samples (the one-shots) come in scales (with each note labeled correctly) to give flexibility to the producer who wants WAV files, but wants to make sure to keep things in key during mixdown, which is obviously very important.
So, altogether you get 500 premier sounds — actually, the final count was 504, but I decided NOT to delete the last 4.. I mean, would you? (;
So how much is the full pack? It’s gotta be like ten million billion dollars, right?
Some exciting things to come from the Bassadelic Studios… This one is sure to help many musicians and producers interested in the new fusion of EDM and trap music…
IMPORTANT UPDATE: Musician / super hero, Non Nnon, was kind enough to point out that one of the samples in the new Trap Synths package (specifically, “Phasah Bass – Low Range Scale – Note F1,” was missing. So, you can get that missing note by clicking here. Thanks again, Non Nnon!!
Ooooh Snippity Snap! 500 all-original trap music melodic synth samples, available now! From loops to one-shots, brass to 8bit to dynamic and awesome beeps, you’ll have the melodic scales and sounds to make some KILLER fucking music!
And yes, as always, there is most definitely a demo package to start you out with some of these sounds, so you can decide for yourself if you want to download this package or not :) So why not download these loops and check em out? Watcha got to lose?
This production package was desgined for producers trying to get synth melodies for their tunes – and especially producers who are influenced or inspired by popular trap artists such as Flosstradamus, Baauer, UZ, TI, Wacka Flacka, and many other artists from both the Dirty South as well as the outta’ town rave.
So here’s what’s inside:
-> 72 Bass Samples!
-> 48 Melody Loops!
-> 384 Synth Samples!
-> including trombones, trumpets (sustains and stabz) wobbles, saws, buzzers, beeps, wonky and rave sounds to fuse the middle ground between EDM and dirty south trap hip hop music with these helpful sounds.
Many of these samples (the one-shots) come in scales (with each note labeled correctly) to give flexibility to the producer who wants WAV files, but wants to make sure to keep things in key during mixdown, which is obviously very important.
So, people seemed to enjoy another post I did on Bassadelic (“Debruit is a Motherfucking Champion”) so I thought I’d do another one. This time, it’s Kenlo Craqnuques. This guy makes some of the best breaks, period.
I have been a fan of his for awhile now, and I always made sure to drop some dope Kenlo gems into my sets when I hosted the Wonky Underground last year. If you’re a fan of wonky music, downtempo, hip hop, or just good ol’ sample-heavy grooves, you might want to check this dude out.
His stuff reminds me of Dilla. Oh, and also, you can a lot of his stuff for FREE… Those two points alone should be enough to get a lot of folks interested, but if not, I’ll continue! :) His mixtapes are dope as fuck, and, earlier this year, he came out with an official release, ‘Cailloux Germés’, which you can download here for free.
I found the following write up over at the Error Broadcast site which is where he’s releasing his first official album….
“From across the big waters we are delighted to welcome KenLo Craqnuques in the bosom of the Error Broadcast family. This Africa-born, Montreal-based beat conductor blessed the scene with five beat tapes and just recently debuted under his all-digital moniker Qwerty Musique. He has two tapes with fellow producer Vlooper and kicks a rhyme every once a while. “Cailloux Germés” is the first official KenLo Craqnuques release.
“Stand out amongst the flood of new producers, KenLo Craqnuques manages to inject a huge amount of classic Soul and Boom Bap Rap into his hypermodern beats. His songs breathe the history of Black Music without looking back. What has been true ever since “Noir” is eventually obvious on “Cailloux Germés”: the Craqnuques music pushes the borders of 21. Century beat music. Real big.”
– Error Broadcast
The one I posted above is called, “Copporn,” and its from his Noir and it is definitely one of my favorites. I’ve found that I can listen to Kenlo’s grooves in a variety of situations. Its great when you’re chilling with your friends; its great when you’re by yourself. It’s good when you’re trying to relax, and even better when you’re already chill. Basically, its always good.
The three tunes in the youtube video above are from, ‘Bleu,’ and they are, “Wong”, “Wheels” & “Crizzack” and I think “Wheels” is, so far, my favorite.
Some of these beat tapes are great, and, in my opinion, have an aesthetic that reminds me of something visual… When I listen to to a beat tape by Kenlo, the tracks feel like moments that have been painted on a canvas. You enjoy each one, and then, as soon as the moment and the groove is established, the next song comes in. I like that. If any track you’re enjoying isn’t long enough, you just play it again. I’ve played some of these over and over and over again – unlike the other 90% of musicians on the planet, Kenlo makes an instrumental that is NEVER too long. Ever.
This one’s called, “Floorscraper,” from ‘Orange’. Also an incredible tune to set the vibe.
So, about that official album, ‘Cailloux Germés’, you can listen to it below, and download it for free, and if you dig it, I recommend dropping the dude a couple bucks so that he can keep banging out some of the dopest breaks I’ve ever heard! Put this album on at a party and just wait for people to ask, “What is this? It’s fucking good!”
So that’s about it for now. Kenlo Craqnuques is definitely a motherfucking champion, and his music deserves a lot more hype. I hope you enjoyed some of these beats. Just writing this post was very enjoyable for me! :)
Oh, yes, and before I go, let me continue the tradition I started with the other “..Is A Motherfucking Champion” article, and put a picture of a pin-up model holding onto a record, into this article, before I leave. Enjoy.
You hear some people talking about how hip hop and electronic music are finally coming together. You hear other folks talk about how it was always this way, twenty or thirty years ago… And you hear even fewer folks talking about how hip hop is, fundamentally, a form of electronic music (though it went in a much different direction than the music that we consider to be ‘electronic,’ went in) but here’s something that you don’t hear people talking much about too much…
Prepare for a rant: hip hop is actually a form of trance music; I’ll explain why, now…
Back in the early 1980s (actually, it was the late 1970s…) there was a reformed gang leader, back from a trip from Africa, with lofty and inspiring ideas that certainly went on to help change the face of culture.
He organized hip hop blog parties where folks could hang out and enjoy some good rap music and dancing – and he also defined what hip hop was – a combination of graffiti, breakdancing, MCing, and DJing. It was all about positivity, as the organizer of this movement was trying to help give young kids in the ghetto an alternative to gang life. The man’s name was Afrika Bambaataa.
Now, if you would indulge me, I would like to explain how hip hop and trance music tie together so well…
There was a German band from the 70s, Kraftwerk, who dropped such trancey (…”trancey”..?) gems on the world as “Autobahn,” which goes on and on and on. Or, there’s “We Are the Robots,” which was another fun little number. Africa Bambaataa enjoyed the synthetic European trance pop sounds of the group, and decided to incorporate it into his own tunes, remixing Kraftwerk (and making the beats more interesting) as well as rapping over them, and by doing this, he helped in creating a new musical template.
He helped – though he was not the first to rap over a beat – but the trance link goes even deeper than just Afrika Babaataa sampling Kraftwerk – it goes MUCH deeper…
When DJs took the most danceable section of a disco/funk/r’n’b/pop tune and looped it, they were allowing for the ‘authenticity’ of that 4 second sound (including the tonality, the slightest amounts of reverb, the ‘organic’ variations of melodic and rhythmic quantifications – not to mention any scratches or imperfections in the vinyl recording) to be repeated, over and over… and over and over and over, creating a trance-like groove that was infectious. It was truly a pop-ish post-modern form of trance, in every sense possible.
The DJs realized, early on, that when an MC toasts and boasts over the record, it got the crowd excited… Maybe they realized that playing a hip hop beat on repeat was one thing – and having breakdancers break to it was yet another things – but including vocals made it altogether more whole, in a way (which is something that a lot of edm trance DJs don’t see to realize very often)…
So, when you hear DJs talk about how they’d “stay up for hours, listening to loops,” they’re listening to their own self-constructed trance tunes. Hip hop was, in a very fundamental way, a radical experimentation of sound and culture. Consider this – a whole musical genre was built on the basic premise of taking pre-existing funky tracks and converting them into a trance music structure (while at the same time keeping the original sound entirely intact) – that’s what hip hop music is (or, at least, was… though time has passed and the template is evolving once again, in some ways).
In structure and style, you can call it trance. If you consider the specific sounds of electronic music and edm/trance, hip hop also maintains a lot of the same sounds – the drumboxes, a heavy usage of synthesizers (and, in some cases, like Bambaataa, sampling actual electronic artists).
So, what is my point in all of this? My point is that trance has actually been one of the dominant forms of Western music for about twenty years, it just isn’t recognized as such. It never has been…
And no, not the kind of trance music that’s made exclusively for clubbers/hippies/mushroom-eaters, either. I know that’s the stereotype, but at least one or two of the aforementioned labels probably apply to at least 90% of hardcore enthusiasts of what is considered ‘trance’ (edm-trance) music…
So there you have it… Trance can be created by repetitive funk loops and reciting rhythmic poetry on top.
That’s pretty much it. I feel I don’t need to elaborate much more, as my point has hopefully been understood. I guess the reason I’m writing this is to show that despite what experts say…. (be they the old-guard ‘experts’ at Rolling Stone or VH1 or whomever… or even musicologists in universities who stubbornly refuse to recognize a trend that came along any time after the halfway point of the 20th century…) the experts are often not likely to reconsider their rigidly-held viewpoints, and therefore, are stuck in a bubble of their own creation. Bottom line – everyone is wrong except for me, StrangeFlow.
No, I’m just being sarcastic. Hell, sometimes I’m wrong about music, too! (…uh… occasionally… and on purpose) …
Some people get enraged when you try and label a new form of music – and this is true more often in electronic music culture, as much as anywhere else. I have my own theories on why this is, and obviously, there are good as well as bad implications of having a hundred different styles of music to look through. It can be daunting, to say the least, unless you are an extremely casual observer. But here’s the thing – subgenres are always based on preconceived notions of music style: if one goes back and reconsiders the ‘rules’ of music, the ‘exact’ history of the dynamic between music and culture, they might occasionally stumble upon revelations. Revelations, for example, like the link between hip hop and trance… or the revelation that, by definition, Chicago juke is actually a form of folk music, in addition to a super-fast dance music.
What are these revelations worth? Well, if people start to realize and appreciate a particular influence in a style of music they’re making or listening to, perhaps they’ll view that style of music a little differently… And once they start to view it and think about it differently, they will, invariably, start to go about interacting with it and creating it differently, in the future.
And so, really, what’s wrong with that? Especially considering that the only thing that has changed is one’s perception of an art form… If nothing else, this is just one more consideration / analysis in the ongoing understanding of the link between the artist’s mentality – and their resulting artwork.