It has a multimode filter, an ADSR filter envelope, two LFO’s and an effects section with phaser, bitcrusher, distortion and a reverb. It has two types of amp envelopes, one main envelope, which has effect to all slices, and each single slice additionally has it’s own envelope for more individual tweakings.

Some guy showed up with television cameras and they did an interview, they said it was for the BBC or something. The music in this episode is from of our friends at Musicbed.

I taught from 2000 to 2008 and I loved it.

I realized after I learned how to use the computer, it was one of the most sampled pieces of music in history. Think of the golden era of hip hop music in the mid to late 80s and early 90s, that whole 10, 12 year period is predominantly a period in which hip hop music, particularly, is lifting samples, drum samples (SFX), guitar riffs (SFX), center horns (SFX), all that kind of stuff, from older records. This episode features interviews with artist Nate Harrison and Grammy-winner Richard Louis Spencer.MUSIC IN THIS EPISODEUmber - AetherAll I Know - Stray TheoriesTell Me A Story - Chad LawsonSmooth Talk - Phillip CucciasAMEN BREAK EXAMPLESStraight Outta Compton - N.W.A.I Desire - Salt-N-PepaFuturama Theme - Christopher TyngCan't Knock The Hustle (Desired State Remix) - Jay-Z feat. L'année suivante, E-mu produisit l'échantillonneur SP1200 et les techniques de production hip-hop évoluèrent des boîtes à rythmes vers les boucles rythmiques échantillonnées. Nate did extensive research on the break for an audio art project called, “Can I Get An Amen?”. Si vous disposez d'ouvrages ou d'articles de référence ou si vous connaissez des sites web de qualité traitant du thème abordé ici, merci de compléter l'article en donnant les références utiles à sa vérifiabilité et en les liant à la section « Notes et références ».

More than a decade passed after The Winston’s recorded “Amen Brother” before the break began to show up in hip hop tracks. Richard: I started getting calls from these young men from Great Britain and they almost worshiping that thing over there and it was into that whole jungle and drum and bass thing.

Nate: Sampling was new and interesting. We played in places and played all the hits, and we were very good at it.

Legendary Musicians Hall of Fame. A breakbeat, has a little bit more syncopation on it the down beats would happen on maybe in between sort of beats, and what not. We also put this link in the show description. He's probably one of the pure people I met. And don’t forget to reach out.

Dernière modification le 24 août 2020, à 03:11, Can I Get An Amen?

That’s mainly because sampling music didn’t really come into vogue until the 80s. Nate: He'd be certainly a millionaire if he would have gotten just a few pennies from every time somebody used the 'Amen Break. Imagine like a… four to floor standard beat, like a one, two, three, four.

It produced sounds again in contrast to the kind of synthesized, artificial sounds (SFX). But what Richard didn’t know was that the rest of the Winstons weren’t in it for the long haul.

Nate: It branched out even farther into so called IDM music, or intelligent dance music, which was kind of the response to the rave and dance culture in the UK. Very proud of that.

Les sonorités particulières et le groove du breakbeat conservent leur singularité aussi bien lorsque le sample est joué à son tempo original (137 BPM) que lorsqu'il est accéléré, classiquement ou par le procédé de time-stretching. Musicbed is dedicated to making that a reality. Richard: During that time everybody had drum breaks and we had been doing songs where Greg would play these drum beats. The Amen Break is already sliced up into it's single drum hits. Richard: I said well fine, I had no idea what that meant. You can choose between snares.

It wasn’t “Amen, Brother.” It was a song called “Color Him Father.”. Nate: Samplers were actual, physical boxes, machines.

The amen wasn’t the only breakbeat feature, but it did become the most sampled.