“The Luv Pack, Vol. 1,” is comprised of samples created by producer, drummer, bandleader, and author of Soundfly’s The Art of Hip-Hop Production course, Charles Burchell. As a bass player, I have been lucky enough to play a little with Charles over the years, and it has always been an instant hook up for me. His pocket is on another level and given that his raw playing features heavily in the source material for these samples, I knew I could get inspired by digging into the drum loops first.
My company, Full English Post, works on all sorts of audio projects including TV shows, films, commercials, documentaries, and podcasts. I produce, record, edit, and mix the Mixmag On Rotation weekly podcast, which keeps me on my toes to yield quick turnarounds and a well-produced product.
In essence, “Mary Had a Little Lamb” is an example of this structure. It’s the same melody again and again, but with different lyrics. Another famous example might be “Blowin’ in the Wind” by Bob Dylan.
Contrary to the beliefs of most musicians who are inexperienced in recording, extra noise isn’t always easily fixed during the mixing process. Besides, wouldn’t you want your mixing engineer to be more focused on improving your song rather than trying to fix it?
Does the solitary fact that Once Upon a Time in Shaolin eschews all forms of distribution and mass-listenability effectively set it apart from its counterparts? I’m not sure the answer is yes, but I would argue that it’s at least a very good step in that direction.
Modes and Key Signatures have a variety of different characteristics and are great for outside-the-box songwriting. Here’s a cheat sheet to remember them!