Polyrhythms are more important than you beginner producers think. You think"duhh Im st00pid so I du kick one 1 and snare on da 3, yay!" But that's pathetic. Man up and experiment with legitimate beats and rhythms. You should learn about Complex Flow. It's an important aspect to enjoyable beats. Once you man up and start trying to create something great instead of something that will go "viral" (which NEVER do, if that's what you aim for... HA!) But whatever, I can rant to you all day and you'll still be making generic beats.
There's something really important you 2 rookies need to know so I'll spell it out easy:
The problem I have with 99%
of "musicians" who sample
other people's work is LONGG.
The big thing is with these digital
sound sampling devices, back
in the day my sh!t was ANALOG
bro, do you even know what
analog means? Whatever,
anyway these digital systems
are, we are told, music mimics
par excellence, able to render
the whole orchestral panoply,
plus all that grunts, or squeaks.
The noun "sample" is, in our
comodified culture,pre-fixed by
the adjective free, FREE. as
in STEALING. So now you're
lying about being an artist and
if one is to consider predicating
this subject, perhaps some
thinking aloud on what is not
allowable auditory appropriation
is to be heard.
Some of you, current and potential
samplerists are confused, I KNOW
you're confused, and it's about
the extent to which you can
legally borrow from the ingredients
of other people's sonic
manifestations. Is a musical
property properly private, and
when and how does one trespass
upon it? Like myself, you may covet
something similar to a particular
chord played and recorded
singularly well by the strings of
the estimable Eastman Rochester
Orchestra on a long-deleted
Mercury Living Presence LP
of Charles Ives' Symphony #3
and you're thinking "Oh no,
welp here's another song down
the DRAIN"!
Me
