Beats Composition Approaches

After gathering my initial rhythmic sources of which I will sample in my recordings I conducted further research into composition approaches in an aim to inform my own compositions and provide influence for my tracks. It was during this period in which I discovered a series called Rhythm Roulette which features on the massappeal YouTube channel. 

Rhythm Roulette is a series in which various producers are challenged to make a beat using three random vinyl records, which are chosen by the producers at a local record store whilst blindfolded. Rhythm Roulette gives an insight into the creative approaches of various producers when approaching beat making as well as learning what elements to look for when listening to and selecting samples from a record.

My approach to composition will be informed by the production methods seen on rhythm roulette, however as an inexperienced beat maker I feel it would be counter-intuitive to limit each beat to three random tracks or records. I will however utilise a minimum of one track and a maximum of three tracks per beat in which I will creatively compose a new piece for my project. 

Notable Episodes included; 

(Large Professor - "Rhythm Roulette", 2015) 
(9th Wonder - "Rhythm Roulette", 2015)
(K-Def - "Rhythm Roulette, 2016) 

When examining various episodes of rhythm roulette it is apparent that Hip-Hop Producers are all using very similar apparatus. Most noticeably different variations of the AKAI MPC sampler. It is worth considering the applications of the aforementioned SP-1200 within hip-hop production also.

http://www.vintagesynth.com/emu/sp1200.php (Vintage Synth Explorer, 2016) 

The SP-1200 is a sampler and drum machine unit and is held in high acclaim amongst hip-hop artists prominent in the 1980s-1990s according to Vintage Synth (2016). The specifications are particularly limited; for example it features a sampling rate of 26.040 kHz and a 12 bit resolution which according to this source is ideal for hip-hop production as it sounds like worn vinyl adding a grittiness to productions. As well as this, the SP-1200 originally only featured four 2.5 second blocks of overall sampling time, meaning producers had to be resourceful with what they sampled. In order to replicate this I will try to actively limit the sources I use in order to promote creativity.