MAC WE$TERN said:
Are Tritons supposed to be old? I know people that still use the ASR 10. I used to have one of those too by the way. What about the MPC 2000? Thats old too.
Timberland still uses the Triton. Alchemist still uses the ASR 10. Them dudes are bad ass on the beats. Fuckin Madlib still uses the hott damn SP 1200!! It dont matter what you use man.
It does and it doesn't matter what you use.
Cats still use the ASRs, MPCs, and the SP1200s more or less for sampling and arrangement purposes. Even though they're (from a chronological standpoint) old, ASRs and SP1200s possess a
sound to them that makes them valuable still to this day. MPC 2000s aren't
that old in terms of their life span as a sequencer (MPC 60, and MPC 3000 maybe, but not MPC 2000). Since these machines are designed to be either self contained or control other MIDI instruments, their flexibility is endless.
When you start talking Trinitys, Tritons, Planet Phatts, or whatever the latest sound module is, there's only so much flexibility there. You're limited to the stock sounds and the stock effects.
Everybody wants to say, "it don't matter what you use but how you use it" because they feel they're doing something waaaaaaay different than anybody else using the same equipment - but we all know that's bullshit. These modules have their signature sounds that everybody uses. Unless you're of the caliber of a Scott Storch, Rodney Jerkins, Just Blaze, Needlz, etc... you're most likely doing something someone has heard before. Oh, and don't let somebody create a hit record with one of these signature sounds because then you get every "producer" using those sounds over and over and over and over.... "Grindin" (Clipse) is a perfect example of this. Nobody was usin that clap or that "Hooah" sound until that song came out. "Grindin" becomes a hit, all these producers found those sounds and used them to death.
Now, if you're really trying to do this music thing on a major label level with the "it don't matter what you use..." mentality, and you're a nobody, pay attention to this:
Major label A&Rs are very meticulous individuals. At least the one's I've come across. I've been shopping tracks to majors for the last year or so (I'll get a placement one day, lol). You get good insight when speaking to these dudes.
They know what they're listening to. The only time you really catch their ear is when you come with something different. They know the MPC 2000/Trinity/Triton combo when they hear it. They know when you're using the default quantize on the MPC. They know when you're using stock sounds and not editing them. THEY DON'T LIKE THAT SHIT!! They don't like that shit because it's not innovative. You're not doing anything special when you're using the same shit everybody else is using.
Even if you think you're using the MPC/Trinity/Triton combo different from everybody else, you're not. You think you're using it differently, but what/who are you comparing your methods to?
Cesolito #1 said:
bc you can have a 6 million dollar studio if you dont know what you doing then its all a waste.
That's the most overused and irrelevent cliche in the world when this topic comes up. If you have a 6 million dollar studio, you aint worrying about "beats".
