J Dilla Drum Kit Digital
Stones Throw Records, founded by Chris “Peanut Butter Wolf” Manak, is a record label of a collection of some of the most creative, inspiring, unique artists like Aloe Blacc, Mayer Hawthorne, and Oh No. Three of the most iconic and amazing artists on their roster are included in this free drum kit. There are drum kits from J Dilla, Madlib, and MF Doom – interesting unique boom bap drums from three of the best producers of all time. Also check out this from and r/DrumKits have an extensive collection of trap drum kits and trap sample packs to download for free. Users and have uploaded two great ones that are pretty incredible, shoutout to these awesome users. Find awesome trap 808’s, kicks, snares, hats, and more in these great sound packs linked above. Looking for those raw, vinyl-ripped sounding drums that RZA and the other Wu-Tang producers are known for?
This subreddit has a couple of great ones. The one linked above is probably the most extensive, but another great Wu-Tang Drum Kit is the One of the most extensive sound kits on the subreddit is the AraabMuzic kit from, huge shoutout to this user for uploading such a great kit that I tend to use often. As you could expect from the MPC wiz-kid, the drum samples are sharp, crisp, and loud.
Basslines come from quite few things.one is the microkorg.minimoog voyager.and of course records.if you want the dilla sound.sample records and mess with your chops. And when you sample.sample the records that mean something to you. All those drums and sounds that dilla has are all from his own record collection not sound libraries.but if you understand the concept of chopping a sample then making a dilla bassline thump in your system will be a whole lot easier. U really can't say the man had a routine because his music was very different at different times. Early off when he was by himself/slum and doing work for tribe he was almost exclusivly samples. When he did the royce the 5'9 track and some later slum he was all synth/ drum machine. When he was producing as a collective 'soulquarians' quest love.
James poyser, badu ect. He had musicians at his disposal. This is evident in some of the comons 'like water for choclate'.
Live bass and such in the tracks. As far as his Drum swing In live turn the swing as high as you can stand it, this should help. Or only quantizing high hat but playing kick and snare together w/ no quantize.
Logic has a real nice 'shift' notes function that makes for odd grooves too. MacBook Pro 15', 2.0 i7 quad, 16 gb ram, OS X 10.10.2, Live 9.6, PUSH II.
U really can't say the man had a routine because his music was very different at different times. Early off when he was by himself/slum and doing work for tribe he was almost exclusivly samples. When he did the royce the 5'9 track and some later slum he was all synth/ drum machine. When he was producing as a collective 'soulquarians' quest love. James poyser, badu ect.
J Dilla Drum Kit Digital Free
He had musicians at his disposal. This is evident in some of the comons 'like water for choclate'. Live bass and such in the tracks. As far as his Drum swing In live turn the swing as high as you can stand it, this should help.
Or only quantizing high hat but playing kick and snare together w/ no quantize. Logic has a real nice 'shift' notes function that makes for odd grooves too.
Amen.you put it down proper with that statement. Like water for chocolate is still one of my most played album to this day. Yes I bought the book when it came out. The pictures of Dilla are not his 'real' studio that was just his last makeshift set up.
He had a real deal setup in Detroit before he moved to Cali. Maybe he got too sick and thats why it was never moved. From what I heard he would just go back and get stuff as needed.
Heres some video footage of another? Setup he had (maybe thats the house in detroit??) as far as Baselines. Layer, Layer, Layer. How come when u sample a baseline and filter it it sounds fatter than just a synth preset u played? Did they have Fatter base guitars back then? Its not just one instrument that gives the base sound its the baseline (guitar or synth) mixed with low end frequencys from other sounds in the song. Not to mention the progression in witch u play ur notes u will produce different tones in between the notes as they mix.
Easyiest way to Play stuff would probally be Trilogy because it gives you 2 layers to play at once.ie a acoustic upright w/ a minimoog patch right underneath it blended in. MacBook Pro 15', 2.0 i7 quad, 16 gb ram, OS X 10.10.2, Live 9.6, PUSH II. Yea, but i think his studio in LA really brought a stronger producer out of him, because he had so many constraints that his beats just became more well thought out rather than a simple boom bap. Did you know that he wrote 30 out of 31 tracks in donuts with a turntable and an sp303? Yes, he pulled that album off with a crap sequencer on the sp303.i'm amazed to this day how he did it.
But it all depends on how you sample the bass. If you using an old sampler like the mpc3000 there is a whole lot more punch to it so even if the pitch wasn't tweaked, it still would seem to have a full body sound to it, and of course if you pitch it down you can make that sample even fatter. But my other explaination for the old records people sample and the fatness of the sound is the level of recording. A lot of the time during the 70s they really didn't care about their levels so a good amount of the sounds would distort slightly and just chopping that sound at the right moment would give such a nice level of fatness. Then the way instruments were built back then.
The quality of wood used to develop the basses and guitars back then were crafted with precision to the point that you thought it was a kitana sword. We still have guitars and basses that are made to this day with that craftsmanship, but expect it to cost an arm and a leg and don't expect that kind of rich sound from an epiphone that is made today. Exalted 3rd edition pdf.
There are exceptions to this rule like billy corgan's guitar which had a nice vintage ring to it that he only copped for olike 160 dollars, but finding guitars and well made cheap instruments like this are still vintage. Repitching the kick drum can also give a bit of a bass sound if triggered at the right moment. Your right about the analog siginal being pushed, but I think the rumors about how minimal his production setup was is getting out of hand. I read something about what was used for donuts on questloves blog back in feburary but I can't find it now I did find this though: 'Donuts may be the clearest path to finding his creative genius: a forty-two-minute beat-tape sketchbook of all original material. It showed Dilla?s ability to chop anything he put his hands on and make it brand new. It was also, as revealed by Questlove and confirmed by a representative from Stones Throw, largely made during extended stays at the hospital, using a mess of original 45s, a Numark portable turntable and a Powerbook.'
Its from the link below (1oth paragraph) besides the time streaching on some tracks on donuts could not have been done on a 303. Live would be perfect for creating Donuts! Hmmmm I wonder. Jay Dee, what a guy. Unfortunately it took his absence to get people on his jock like they are now. I only have one disagreement: 'A lot of the time during the 70s they really didn't care about their levels' I actually think the 70s are the best decade for recording quality: Analog studios and boards, unprecedented money going towards recording and musicians, and engineers with experience creating recordings for radio, home, and clubs. Of course, all of this right before the 80s and the digital, home and project studio innovations.
But that's just my opinion. As for the bassline question, the question about 'compression': It's easy to listen to donuts, wonder about the production, hear it was from a powerbook and a portable turntable, and think 'how is it so fat?'
Well, several factors: 1. The man was very good at what he did and had a lot of experience. Many of the sounds are sampled from records, so he's getting the benefit of a mastered, properly compressed, and well-recorded sound from another decade, when studios gave things a 'sound,' be it from the board, the room, or the engineer and what type of pre-amp or outboard gear (compressors, reverb, etc.) was used.
Unlike many of our own home projects, much of what you hear from professionals with a label behind them is MIXED and MASTERED by a professional that focuses on the final audio quality, and has the proper experience and knowledge of how to take a good recording and make it sound as good as it possibly can. That is, if you are ever able to hear a song before it's properly mixed and mastered, you might be surprised to find that it's not that much more silky, popping, smooth, or fat than something you did yourself at home. It's really worth looking into if you really feel your project needs to 'go there.'
Keep all of your stuff multitracked if you can, so it can be mixed by someone if you feel you can't handle it yourself. It's OK, you're not surrendering any 'creative' monopoly if you don't want to, and you have a LOT to gain by having someone more experienced than yourself help if you feel you aren't getting enough 'oomph' from the bass or 'spray' from the highs. So, it's almost a sure bet that Wolf/Stone's Throw took the songs to get them mixed and mastered to give them a final polish before you heard them. It can be different for each project, but I bet that if you look at the credits on ST records, you might see some consistant names, as people generally like to build relationships and understandings with studios and engineers, to get that sound they're looking for, that is, EQd and compressed/limited for maximizing the sonic quality. Sometimes you can do this sort of thing at home, sometimes with the exact same plug-ins the professionals use, but you still might be missing the key element: the mixing engineer's experience and knowledge. This is a great thread, good read fellas. Thanks for the links and info.
J Dilla Drum Pack
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