THE EPIC SOUND BLOG

Our collection of bite-size, audio related stories from around the web.

The 10 most sampled beats in history


August 9, 2010


Get ready for a funky ride as the Who Sampled blog explores the 10 most sampled breakbeats in history:

You can’t mention sample-based music and not talk about drum breaks. In the early 1970′s, years before producers had begun chopping up old records on samplers, Jamaican-born and Bronx-based DJ Kool Herc introduced a new approach to mixing records, paving the way for the development of Hip-Hop beatmaking. At the time, when playing extended disco mixes and heavy funk, Herc noticed that it was the instrumental versions, and often the percussion-only breaks in the middle of those records, which sent the crowds wild. He began extending these instrumental passages by hand, switching from one record to the next, chopping from break to break. Bedroom producers soon began looping drum breaks on cassettes, and eventually, the arrival of dedicated digital samplers and drum machines made the job easier, allowing far greater control and manipulation.


Here’s number 10 – ‘Ashley’s Roachclip’ by The Soul Searchers (breakbeat appears at 3:31)



The break from ‘Ashley’s Roachclip’ was made famous by its use on ‘Paid In Full‘ by Eric B. & Rakim. It became a late 80′s / early 90′s chart music staple, famously used on ‘Set Adrift on Memory Bliss‘ by P.M. Dawn, ‘Unbelievable‘ by EMF and even Duran Duran‘s 1993 single ‘Come Undone‘. In 2008, Lloyd and Lil Wayne paid tribute by using it again on ‘Girls Around the World‘.


Hop on over to the site for the remaining nine, and for the full lowdown on these classic beats and their origins.






  Posted by Asbjoern Andersen, Epic Sound - Contact

Category music,recording Tags , , , , , ,

Audio interview with Brian Tyler, composer on “The Expendables”


August 6, 2010

Daniel Schweiger over at Film Music Mag has yet another great, in-depth audio interview up – this time around with Brian Tyler, composer on “The Expendables”.


Given Brian Tyler’s talent for also registering myth-making emotion through the mayhem, it seems a given that his powerful work would catch the ear of the legendary Sylvester Stallone, who enlisted Tyler in the formidable task of following in Jerry Goldsmith’s boots to accompany a new adventure of “Rambo.” Tyler’s mix of ethnic rhythms and a gung-ho orchestra made sure that Stallone would stand vibrantly tall as he wiped out another army.


Now Tyler’s re-upped with the actor-writer-director for his biggest, most knowing salute to all that is macho with “The Expendables,” whose army of Mercs make exhilarating mincemeat out of the villains holding thrall over a Latin American island. And leave it to Tyler to once again do them proud with patriotic bombast, batteries of percussive action runs and a virtual marathon of explosive builds- not to mention some real melodic heart to the high-fiving destruction of lives and property.


Hear the interview right here, or hop on over to the original post:


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Check out the trailer for “The Expendables” below:







  Posted by Asbjoern Andersen, Epic Sound - Contact

Category film sound Tags , , , , , ,

Video: The Prodigy’s ‘Voodoo People’ recreated in Ableton Live


August 4, 2010

Jim Pavloff demonstrates how to recreate The Prodigy’s ‘Voodoo People’ from scratch in Ableton Live 8 – well done!



(via Synthtopia)






  Posted by Asbjoern Andersen, Epic Sound - Contact

Category music,niceties Tags , , , , , ,

Creating the sound for “A Nightmare on Elm Street”


August 2, 2010

Jake over at Designing Sound has an exclusive interview up with the sound team on “A Nightmare on Elm Street”:

DS: Transition stings seem like a lot fun to cut in horror films due to their startling nature. Do the sounds that comprise the sting have to be related to the shot? What makes a perfect transition sting?
AC: Stings are tough. To be effective they need to be shocking enough to jar your nerves. The problem with stings is that they are not a “satisfying” scare. If you have too many of them, the audience will become annoyed. There is a scene where Jesse shows up outside Kris’s window. Initially we had a more “traditional” sting here, but we all felt we were over staying our welcome with stings. So to mix things up, we used a LOUD window bang. This still jars the audience’s nerves, and gives us a shock, but because it is tied to a real world event, it doesn’t feel “stung.” So the elements can be real like the window example, or comprised of all sorts of goodness.


Read the full interview here.





  Posted by Asbjoern Andersen, Epic Sound - Contact

Category film sound Tags , , ,

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