dBlue Glitch is an interesting VST effect. It starts with it’s 9 different individual customizable presets, “Tape Stop,” “Modulator,” “Retrigger,” “Shuffler,” “Reverser,” “Crusher,” “Gater,” “Delay,” and “Stretcher.” Now any of these effects alone would be good for a variety of uses. The strength of this plugin is how you can use each of these at different sections of a bar, and come up with some interesting combinations.
Now for those of you who may be confused by what I’m talking about, if you listen to Game’s “Put You on the Game” from his debut album, “The Documentary,” (produced by Timbaland) and go to the end, you’ll hear the beat go through different effects, like reversing, retriggering, tape stops, and the like. Coincidence? I think not. =]
I’ve most recently used this in a house/electronic song I did called “Casa de Luna,” where the lead synth that plays during the beat change/chorus part is put through these effects.
Don’t let the small size of this synth fool you. This little monster comes with a lot of presets and editable filters that can prove to be very, very useful. If you listen to some of Timbaland’s production from a few years back (circa 2007) you can hear sounds/arps/gates very similar to what you can find on this particular VSTi. If you’re a fan of that Timbaland style, this Vanguard VSTi will very much come in handy.
Another one of my favorite producers, Dre is notorious for that West Coast gangsta funk rap music of the 90’s. Interestingly enough, on this kit some of the drums are slightly delayed (in the time sense, not the effect like an echo) to somewhat capture how doc’s drums are not always precisely on beat to capture a bit of that funk.
I am aware that there is a Dre-mendous kit out there, and I haven’t verified that these three kits are the same. It would seem likely though since there are 3 volumes in this bundle as well.
At over 700 samples, how can you go wrong? Start working on that bounce today by getting your drum foundation correct.
Here we are with another Production Vault Wednesday. =]
This bundle has three kits. The first two are inspired by two of the most legendary producers of hip-hop, DJ Premier and Pete Rock. Both of these kits contain dirty vinyl laced drums and some small instrument hits that are reminiscent of their styles. The Pete Rock one has some horn hits that give you a hint of Soul Brother #1.
The third kit is a huge kit, and it’s a collection of drums I’ve cut from hip-hop tracks and other genres over the years. They range from Queen’s “We Will Rock You” to various Neptunes-produced songs, to “Cupid” by 112, to many others.
The kit weighs in at 571 samples, so I’m sure you producers out there can put these to great use.
I remember walking into the Virgin Megastore that was on Union Square on August 25, 2001. It was my first day at my dorm at NYU for my sophomore year. It was a small tradition that I made for myself that each year I go back to New York I would buy a CD at that store. The first year it was Dilated Peoples “The Platform,” and that year it was Canibus’s “2000 B.C.”
I walked up to the counter and while ringing up the CD, he asks me, “Did you hear about Aaliyah?”
I said, “No, what happened?”
He replied, “She was in a plane crash and passed away.”
My jaw dropped.
I admired Aaliyah, because her “One in a Million” album was a classic to me. The combination of Aaliyah on top of Timbaland beats were a match made in heaven, and I had bumped the songs from that album consistently for a number of years, most especially “If Your Girl Only Knew,” “One in a Million,” “Four Page Letter,” and the remix to “Hot Like Fire.” Her voice was just right; she wasn’t a flashy singer, but on point with emotion and delivery with that correct amount of soul. Her harmonies always sounded great.
Most people usually use the word “angel” to describe her, and I’d have to say that description is pretty accurate especially when it came to her voice. There was a smooth feel there that just made you feel, “this girl’s definitely got it.”
And you have to admit, the hair over the eye, shades, and the baggy jeans/pants and tank tops were a good look without sluttiness giving a touch of not-so-feminine but sexy.
She had great versatility too. On that album alone you had ballads like “Four Page Letter” and “How Could the One I Gave My Heart To,” more funky songs like “If Your Girl Only Knew” and “Hot Like Fire” (remix was RIDICULOUS), and sensual sounding songs like “One in a Million,” and she handled her business properly on each.
Couple that with Timbaland’s ingenuity, and you had the perfect combination. Sorry Keri Hilson (even as great a songwriter as you are), but Keri doesn’t match nearly as well with Timbo as Aaliyah did.
Even her later works, like “More than a Woman,” “We Need a Resolution,” “Rock the Boat,” “Try Again,” and “Miss you,” were all really good songs, and I thought Aaliyah opening up “Up Jumps the Boogie” with Timbo, Missy and Magoo was just epic; there was just a feel to it that made you feel something was about to happen.
When I think of female R&B artists now, there’s a void where Aaliyah should be. No disrespect to the Beyonce’s and Alicia Keys’s of the world (both great artists, mind you), but there was something about Aaliyah that was different. The right amount of soul and sweet melody with no gimmicks, no overdone sexiness, and a good amount of versatility.
Here’s just some of my favorites from YouTube so you can enjoy the greatness that was Aaliyah:
Fourth track off of Roll Call ‘10! My contribution, “Casa de Luna [2 Seater].” This will appear on Roll Call ’10, and on ADM’s upcoming album “Chamber Waves.” A mashup version with a rendition by ADM is also in the works and will also be featured on both albums. This is a definite departure from what you’re used to hearing from me, as it is akin to the new house music that’s out today, combined with some elements of trance and other genres. It’s also the first track that I’ve completed that uses Illformed’s Glitch plugin, which people have claimed that Timbaland has used it in past tracks for reverse, gate, tape stop and other juicy mid-bar effects.