Static in samples

[DaWorldFamous]

James Brown said No Static...lol

I love vinyl and i would rather have the record rather than a cold digital version of it...
But if ur record gets scratched or starts poppin it makes it hard to use...
So I pose this to u intuitive producers on this panel....

If ya came across a fuckin crazy sample that u can't find elsewhere...do u still use it even if the record is dogged?

Digital reproductions loose something to me from the original vinyl recording. Vinyl sounds alot warmer and bassier, MP3's have a "digital chill" to them...

So I would still try to use it and hope I could edit it enuff for it to work...

WWYD?...what would you do?

 

[Sucio]

I would use it and just filter it so it sounds acceptable....if it's that dope I'd look for another vinyl online and buy it again..

But yeah, it's difficult to recreate the sound vinyl brings, which is why it still lingers around moreso than cassettes....

 

[LDB]

If you have plugins like waves Z-Noise static is no problemo! Drop that plugin on it, resample it and still keep the vinyl feel. It just removes the harshness and actually brings out the elements that you want more. I personally don't worry about keeping the vinyl feel because if you got the right effect you can recreate it and the only one that will know what you used is U...

 

[DaWorldFamous]

If you have plugins like waves Z-Noise static is no problemo! Drop that plugin on it, resample it and still keep the vinyl feel. It just removes the harshness and actually brings out the elements that you want more. I personally don't worry about keeping the vinyl feel because you if got the right effect you can recreate it and the only one that will know what you used is U...

Yeah..thats true...u could fuck with it like that...good point

 

[UNORTHODOX]

I'd try to clean it up. if that doesnt work, id just workit into something useful ie. a background undertone sorta thing, and just compose over it.
and Maybe EQ it to death

 

[Shonsteez]

I come across this all the time when I bring home new crates.
Basically, if its absolutely horrible sounding like someone dragged a meat cleaver across it and then left it in the dirt for a week outside your essentially fucked and outa luck so just move on and choose a new sample even tho it sucks to pass up that sample.

Often however, its totally cool to have that static in there and it sorta adds to the flavor of your joints, which I like actually.

If its just a little bad, depending on the sample - you can filter some of it out to the point where its still useable but not "altered sounding" with a Low Pass usually to knock out most of the rumble and low hum if there is any....sometimes a little off the top in the Hi's is good too, just depends on the sample.....you basically wanna carve out all the unwanted gunk. (EQs obviously more surgical but if your working on an MPC, then the Low Pass filter usually does the trick)

 

[2GooD Productions]

I normally try to get my music as clean as possible, but to be honest the pops and crackles can add some real character to a sample. If the pops are distorting the sample just use a wave editor to level them off and go with the dirty sample. It can add to the grimyness, and sound more authentic as a result.

 

[DaWorldFamous]

I normally try to get my music as clean as possible, but to be honest the pops and crackles can add some real character to a sample. If the pops are distorting the sample just use a wave editor to level them off and go with the dirty sample. It can add to the grimyness, and sound more authentic as a result.

U are so right about how it gives the loop some character...Remember the Oh My God joint by A tribe called quest....that drum beat was real nasty soundin' but Shaheed freaked it to sound like it was part of the song....U have to be creative with shit u know?

 

[2GooD Productions]

U are so right about how it gives the loop some character...Remember the Oh My God joint by A tribe called quest....that drum beat was real nasty soundin' but Shaheed freaked it to sound like it was part of the song....U have to be creative with shit u know?

Yeah I agree, sometimes though a click can be in a right fucked up place, throwing off the groove of the track.
When the pop sits nicely in the groove of the track then a pop can be golden.
Its figuring out the little ways of working around problems that make us better producers and we tend to find out tricks by mistake by just trying to acheive the same result in different ways.

 

[LDB]

Clicks are pops are not so much a production issue as it is a mixing/mastering issue! I don't know how many of you have been in a situation where you're dealing with a "real" mixing engineer in a mixing studio but I can tell you this. They know what will or won't fly when it comes to a commercial recording that's going to a commercial mastering studio after. What may not standout so much to you at your average home studio can totally wreck your song at the real mixing/mastering stage. You have to remember that everything gets maximized at the end. It's better to be safe than sorry.....especially when it comes to forking out studio money by the hour. You may have the mixing engineer tweaking that click or pop for hours trying to make it work when at the end it simply won't. Mixing engineer still gets his hourly wage while you have to go back to the drawing board with your production......that sux monkey nuttz....been there done that!

 

[Shonsteez]

Exactly, u just gotta use your best judgement and decide if its a throwaway sample or not.
I usually never use a sample if its just too beat and battered.
If its just "light static" then I let it ride and maybe eq some of it out later in the DAW.
If its severe pops but only in a couple spots, Ill draw the pops out in the sample editor once its tracked into the DAW.

 

[static]

whats wrong with static............

 

[Fury]

i love that ops and cracks in a record...not only does it make the sample seen more vintage but it makes the drums sound dirtier..

 

[DaWorldFamous]

Clicks are pops are not so much a production issue as it is a mixing/mastering issue! I don't know how many of you have been in a situation where you're dealing with a "real" mixing engineer in a mixing studio but I can tell you this. They know what will or won't fly when it comes to a commercial recording that's going to a commercial mastering studio after. What may not standout so much to you at your average home studio can totally wreck your song at the real mixing/mastering stage. You have to remember that everything gets maximized at the end. It's better to be safe than sorry.....especially when it comes to forking out studio money by the hour. You may have the mixing engineer tweaking that click or pop for hours trying to make it work when at the end it simply won't. Mixing engineer still gets his hourly wage while you have to go back to the drawing board with your production......that sux monkey nuttz....been there done that!

For shizzle...cuzzin....we spent two hours once trying to dull a bell sound that was in a jazz bass line that i had sampled. I thought it was fine, but the artist didn't like it. And at the end of the day even using a parametric eq we couldn't dull it enough so it had to ride....at 75 an hour, that was some bullshit....

 

[DaWorldFamous]

i love that ops and cracks in a record...not only does it make the sample seen more vintage but it makes the drums sound dirtier..

Back in the days when I use to cut and scratch break beats, after a while you would get that static sound at the beginning of the break from cuttin it so much and backspinnin' it...that use to be kinda cool