Beats and instrumentals
Find information on how I created each track below. Everything from my initial inspirations to the gear used can be found. Basic and Premium licensing options are available on my Beat Store. You can also contact me for custom beat production services as well as for exclusive licensing rights to a MSM track.
I created the basis for this track by sampling an old parliament record. Yup, I still sample from vinyl! I picked out some tasty parts that feature Maceo Parker on the sax and Bernie Worrell on the piano. I also believe the vocal is Gary Shider, but they had so many people singing back then, you never know! After getting the chops together I added drums from the Behringer RD-8, which Is a super dope clone of the 808 drum machine. Synth bass is the Moog and I added some drum samples from superior drummer 3 for the drum fills.The fun part for this track was using Ableton live to automate all the effects and filter sweeps. I also use Ableton for cutting and arranging chops to add stutter effects and builds. Overall I was going for high energy with a “morphing” kind of feel.
I don’t remember a whole lot about creating this track. It was done in one session from about 10pm until 3AM. For the first part, I chopped up some vocals that gave it a nice ethereal texture. I then created the arp on the BEHRINGER DEEPMIND 12. I then sampled and processed it with the Akai MPC X
. After I got the sound right, I gave it the stepped LFO rhythm for some extra bounce. That ended up defining the cadence of the whole track. The next part was the hi hat, which is modeled after a marching snare drum pattern, hence the name of the track. There is a melody courtesy the Moog Subsequent 37 and some string arpeggios for ear candy. The pluck sound was modeled after a steel drum and made on the Moog. The bass part is also form the Moog and actually was meant to sound like an electric bass. Even though I could have easily played that part on my bass, it was a cool experiment to see if I could make it sound legit on the synth. Let me know if I did a good job in the youtube comments! . I’m not telling what track the un-reversed sample was used in, maybe you can figure that one out! After the sample, came the wicked bass line featuring the always versatile Moog Subsequent 37 . I enjoyed playing the bass part on this one, especially the fills that break up some of the sections. This track was released as part of the October ’19 Creepy beat series. It is number 1 out of 4 for that series. . I then applied that to a Key group in the MPC X. The drums are a combo of some samples layered with sounds from the Vermona DRM analog drum machine. I definitely had a dance hall type of groove in mind, when creating the drum beat. For the bass, I wanted to keep it simple but hard. I recorded a low bass part from the Moog Subsequent 37 and layered that with a higher distorted part from the BEHRINGER Model D
. The higher part comes in and out for added effect. I finished it off by adding some tape stops and riser effects. . It has a cool reverse effect because of the way the loo is applied to different parameters. It is actually not reversed. My favorite part of this track comes from the Korg Minilogue 
. The heavy distorted, almost electric guitar like, sound is capped off by some cool pitch wavering and digital instability. Overall it is a pretty mellow, down-tempo track but the drums hit super hard. I finished it by adding some glitchy tape stop and beat repeat effects. that sounded like a futuristic stringed instrument, similar to a lute. After finishing the patch, I created the melody and added a beat. The whistle type melody was created on the Moog Subsequent 37 to mimic a “wind blowing” type sound, which is also a nod to the main character in the book series.