Rhythm Roulette: 9th Wonder Part 2 | Mass Appeal (Celebrates 50th Birthday & Picks 6 Vinyl Records)

[Awesome Wells]

It's made me kind of sad the past couple of years, but I've definitely noticed that the type of beats that really sound like someone is really flipping a fukking sample are getting rarer and rarer outside of beat tapes and instrumentals.

Same, bro.

He's still doing his thing on IG and posting beats. At one point, he was posting 4-5 beats a night that he made and people were asking why no one was picking them up. With each beat he would have captions like, "If you want a beat, hit the AOL email". Which is crazy, to me.

 

[TheDarceKnight]

Same, bro.

He's still doing his thing on IG and posting beats. At one point, he was posting 4-5 beats a night that he made and people were asking why no one was picking them up. With each beat he would have captions like, "If you want a beat, hit the AOL email". Which is crazy, to me.

That's fukking crazy.

Also, just another guess. I feel like selling yourself is a big part of the game these days, because everyone and their mother is making beats now, and they're so easy to find everywhere.

I see people like Conductor Williams making a lot of content on youtube and social media, not only posting beats, but engaging with the camera, explaining their process, engaging with fans, and really going above and beyond to network with other artists and producers, and working with younger up and coming artists (this was basically the main thing that kept ALC from becoming a standard old-head producer in the 2010's).

If ALC didn't embrace Q, TDE, Mac, Spitta, Action, Earl, Odd Future, Boldy, etc, back in the blog era then he would not be having this 2nd (or really 3rd) run in his career right now. Now those guys aren't young, but young fans of theirs still want to work with ALC right now that they're older. He added at least 2 more generations that want to work with him.

I think doing all of that stuff above is more important than ever right now.

 

[darealvelle]

Quoting again for a legit answer, or at least a guess.

I've noticed that a lot of the "sample flip" producers where they truly do crazy shyt with a sample and do more intricate stuff seem like they're getting less placements than some of the sample based producers that mostly are finding loops or doing more subtle chops, and leaving a lot of room for the rappers. It seems to me like some of the trend with sample based producers that are doing a lot of projects with rappers (as opposed to just beat tapes) are leaving lots of space in their instrumentals. A lot of them are less focused on making a crazy beat and more focused on creating an aesthetic or an atmosphere.

It's made me kind of sad the past couple of years, but I've definitely noticed that the type of beats that really sound like someone is really flipping a fukking sample are getting rarer and rarer outside of beat tapes and instrumentals.

I agree, I find it odd now that that dopest producers are just releasing instrumentals. Just listen to a Freddie joachim or Diabiase radio station on pandora and you will hear all types of dope ass beats by producers that are killing chopping samples intricately.

 

[TheDarceKnight]

I agree, I find it odd now that that dopest producers are just releasing instrumentals. Just listen to a Freddie joachim or Diabiase radio station on pandora and you will hear all types of dope ass beats by producers that are killing chopping samples intricately.

I'm gonna add both of those stations now

 

[GrindtooFilthy]

Quoting again for a legit answer, or at least a guess.

I've noticed that a lot of the "sample flip" producers where they truly do crazy shyt with a sample and do more intricate stuff seem like they're getting less placements than some of the sample based producers that mostly are finding loops or doing more subtle chops, and leaving a lot of room for the rappers. It seems to me like some of the trend with sample based producers that are doing a lot of projects with rappers (as opposed to just beat tapes) are leaving lots of space in their instrumentals. A lot of them are less focused on making a crazy beat and more focused on creating an aesthetic or an atmosphere.

It's made me kind of sad the past couple of years, but I've definitely noticed that the type of beats that really sound like someone is really flipping a fukking sample are getting i rarer and rarer outside of beat tapes and instrumentals.

I can take a few guesses

1. His style of production isn't in, might seem kinda dated
2. Samples people are starting to sample less and 9th is sample heavy

 

[Jx2]

Im loving that they brought this series back...classic content for beatmakers

 

[Supa]

Quoting again for a legit answer, or at least a guess.

I've noticed that a lot of the "sample flip" producers where they truly do crazy shyt with a sample and do more intricate stuff seem like they're getting less placements than some of the sample based producers that mostly are finding loops or doing more subtle chops, and leaving a lot of room for the rappers. It seems to me like some of the trend with sample based producers that are doing a lot of projects with rappers (as opposed to just beat tapes) are leaving lots of space in their instrumentals. A lot of them are less focused on making a crazy beat and more focused on creating an aesthetic or an atmosphere.

It's made me kind of sad the past couple of years, but I've definitely noticed that the type of beats that really sound like someone is really flipping a fukking sample are getting rarer and rarer outside of beat tapes and instrumentals.

Yeah, beats are more about minimalism and loops.

If ALC didn't embrace Q, TDE, Mac, Spitta, Action, Earl, Odd Future, Boldy, etc, back in the blog era then he would not be having this 2nd (or really 3rd) run in his career right now. Now those guys aren't young, but young fans of theirs still want to work with ALC right now that they're older. He added at least 2 more generations that want to work with him.

I think doing all of that stuff above is more important than ever right now.

Al had to change his style. He's not doing a lot of chopping or that Primo inspired sound anymore. You gotta make a conscious decision to meet the artists on their playing field or you can stick to what you do and get less placements.

9th is set so he probably just wants to do his thing and not chase placements.

 

[KingsOfKings]

@IronFist
@TheDarceKnight
@Piff Perkins
@triple agent

 

[KingsOfKings]

Also that 3rd beat

 

[darealvelle]

I'm gonna add both of those stations now

 

[Awesome Wells]

That's fukking crazy.

Also, just another guess. I feel like selling yourself is a big part of the game these days, because everyone and their mother is making beats now, and they're so easy to find everywhere.

I see people like Conductor Williams making a lot of content on youtube and social media, not only posting beats, but engaging with the camera, explaining their process, engaging with fans, and really going above and beyond to network with other artists and producers, and working with younger up and coming artists (this was basically the main thing that kept ALC from becoming a standard old-head producer in the 2010's).

If ALC didn't embrace Q, TDE, Mac, Spitta, Action, Earl, Odd Future, Boldy, etc, back in the blog era then he would not be having this 2nd (or really 3rd) run in his career right now. Now those guys aren't young, but young fans of theirs still want to work with ALC right now that they're older. He added at least 2 more generations that want to work with him.

I think doing all of that stuff above is more important than ever right now.

Mad true.

You can't just be a producer anymore. You have to make beats and almost turn yourself into a content creator on YT or social media now too. The music alone doesn't seem to be enough, these days. You damn near gotta be on some influencer sh*t to get placements.

 

[chiefdogg]

Quoting again for a legit answer, or at least a guess.

I've noticed that a lot of the "sample flip" producers where they truly do crazy shyt with a sample and do more intricate stuff seem like they're getting less placements than some of the sample based producers that mostly are finding loops or doing more subtle chops, and leaving a lot of room for the rappers. It seems to me like some of the trend with sample based producers that are doing a lot of projects with rappers (as opposed to just beat tapes) are leaving lots of space in their instrumentals. A lot of them are less focused on making a crazy beat and more focused on creating an aesthetic or an atmosphere.

It's made me kind of sad the past couple of years, but I've definitely noticed that the type of beats that really sound like someone is really flipping a fukking sample are getting rarer and rarer outside of beat tapes and instrumentals.

Speaking of Producer Beef? Disregard I took what Craven was saying the wrong way.

 

[TEKBEATZ]

All torch.. I make beats the same way as him and my studio also set up the same way lol...

 

[TV]

I've watched this 3 times today.

 

[Sound (∀√a) Maths]

Quoting again for a legit answer, or at least a guess.

I've noticed that a lot of the "sample flip" producers where they truly do crazy shyt with a sample and do more intricate stuff seem like they're getting less placements than some of the sample based producers that mostly are finding loops or doing more subtle chops, and leaving a lot of room for the rappers. It seems to me like some of the trend with sample based producers that are doing a lot of projects with rappers (as opposed to just beat tapes) are leaving lots of space in their instrumentals. A lot of them are less focused on making a crazy beat and more focused on creating an aesthetic or an atmosphere.

It's made me kind of sad the past couple of years, but I've definitely noticed that the type of beats that really sound like someone is really flipping a fukking sample are getting rarer and rarer outside of beat tapes and instrumentals.

Sometimes a beat that has too much going on becomes a distraction for a writer. This is where Premier's approach works as he makes beats that suit the artist and then builds around it with ideas as opposed to making a beat dense with a lot of tricks. It ultimately becomes a beat for beat tapes rather than one for albums.