What is going on, guys?

Welcome back to the channel.

And if you’re new, my name is covered.

So today, what I’m going to be doing is show you an in-depth sampling guide of how to sample like Kanye West.

And you know, get the old school Kanye feels like in graduation college dropout.

So yeah, before we get into it, please follow me on social media links in the description and subscribe if you’re not already on.

Let’s go.

So step one would be to go on to YouTube and either look up like r & b soul or like gospel samples, depending on like, what you’re looking for today.

I’m going to go for gospel samples.

And you’ll find like playlists, so I’m just going to go through and listen now.

Okay, this is what I’m going to go for.

It’s Billy pole, thank you.

I can definitely just see some bits to chop through and just get it started.

Okay, so finally, we have the mp3 here.

So I’ve dragged and dropped it into FL.

Some people prefer coding it up in Edison.

However, I prefer just coding up on the timeline here.

The advice I would give with any sample is just to listen to the whole thing though because I feel like there are bits that you could miss out on at the end, which could potentially be So, as you can see, there are a lot of songs I like.

So when the frequency hits a kick, like here, you’ll see a spike here, which usually represents a kick like there is there.

So I would chop it there and then just count out the bars 1234 and then take a cut at the end of that one.

So the next step is to get all these on time with the rhythm.

So this is like an old sample, and they probably used tape to record it.

So even though I have a sort of you can tell it’s not perfectly on, you’ll need to do further shots with more than likely every chop in it.

So, as you can see, I have it stretched out to five bars.

But as you can see, it’s a little off.

So you’ll have to make this unique.

This will separate from the rest of the sample does not hit on but put shop and drag it back.

So it is on B and you do this for every hit or snare or something.

Now you can see I have them all lined up to where they should hit.

And as you can see, there are gaps between them and bits overlapping.

Then what you would do is make even each further bit of this unique and stretch them.

I make this one unique turn on this stretch and just stretch it back like that.

And then you would do it for every single piece, make it unique and stretch it back.

So I’m just going to do this with all the rest.

Now one more thing you want to do after you’ve done that with them is always make sure they’re all on this auto mode to keep them on the correct page.

Now I will render this one out.

And that is my first chop done.

So just go to the master click record and click alt R and that will give me this so I can delete that.

And then this is the clip pitched up by 800 just to make sure and then play it through.

And this is what it sounds like in tempo then.

So then you would need to do this.

For every part.

I know it’s long.

I know it’s laborious, but the end product is worth it, trust me.

So once you’ve done that to all the clips, then you have your full length of chops, then what I would do is record all of these out into one big file.

And now that is the hard part done.

Trust me now I would open it in a fruity slicer channel.

You can use many other types of Serato sample and things like that, split it by B, put the attacker touch just to stop it clicking on to pull up all the velocities just to make sure it’s loud and then just try and find some chops real quick.

Okay, so I have my chops here, just clicking through and listening to what sounds good.

These little repeats are very good for like the Kenya bounce.

So put pattern one here and then just render it out and we have a finished chop.

I’m going to click it on stretch again and speed it up to like 92 and also pitch up 600 so you can hear the full thing.

So I have it set out as an intro, a hook, and then the verse at the end.

So I’ll just let you hear it all.

So yeah, as you can see, it’s got a real nice balance to it.

What I’m gon do is pick up 200, send it to a mixer track and just take out the lows just Can you have it going along with the drums just as a first texture to the drums?

So I’m gonna have this going all the way along with the sample and just turn it down a turn and put an EQ on it and just call all the highs and lows.

Next, we’re gonna find a kick, going to record it on my keyboards.


You saw something like that?

I’m gonna tidy up the Li at all.

This cake is just that small low-end shot is hot.

And then we’re just going to go to the wrench icon and just turn up the shift are going to lead on to Step.

Something like that was pretty cool.

And this tambourine called Gong Gong gone mad like that.

I am gonna mix the drums with the bass for the main part.

I’m gonna arrange a novel.

The drums make.

So here are the finished tracks.

I just have the normal interest when the bass comes in.

I didn’t show you the bass pattern.

So I’m going to show you that right now.

This then cuts out into the chorus, which is pretty simple, different base partners just repeat server.

By the end, I have these little boxes change in pitch which is pretty cool and put in right and left.

Then he just comes back in and it’s repeated over on the outro, just an automation clip just so the volume dips out.

So that is how I would flip a sample like can you be pleased like unsubscribe.

If you have enjoyed and to see more content from me, follow me on Instagram and Twitter.

It’s at Kevin Dignam and the links will be in the description and thanks for watching.

I’ll catch you in the next video.

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