Wanna make a 3/6 MAFIA type of beat...what do they use?? just curious

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noodlez012

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just out of curiousity...3/6 has tight beats..and i was wonderin what they use to make beats..
 
actually, since you gotta alotta rude replies:D. if you listen to their music alot they use alotta samples and flip em and add some dirty south elements to it (8o8's etc.).
 
I don't listen to 36 anything, but I say, experiment, and you'll likely find something along the way close, or even better. The latter, you can even call completely your own.
 
I'll tell you what they usually use.
They usually use Roland modules and lots of samples and they usually sample a lot of their own vocals to sequence in the song. I would say you could achieve that Three Six sound with a Roland XV-5050, a JP-8080 a turntable, a mixer, and a MPC. Oh, and a controller of some kind and a nice vocal mic to sample some shouts like they do. They're stuff sounds very Roland to me when you hear the romplers and VA's in the beats. Plus, use a lot of classical and rock samples and one hits.
 
You contradicted your custom "anti mpc" title, motherfuctet. =)
 
Triton, MPC, Roland modules, a nice VA like trusty said, alot of movie samples, alot of piano/orchestra samples. They also use emu modules, I have a proteus and mo phatt and I have heard a good bit of their sounds from those modules. Best of luck, I recommend you use them as your building block and craft something from there.
 
Sense everyone is talkin bout three six, does anyone know were i can get a sample of a bass like theirs??? I love three 6!!!
 
they use simple 808 kicks and sub basses in a lot of their beats.

You can create low end bass like they use with a sine wave.

Peace
 
The funny thing about threads like this is that the real answers are of almost ZERO use to the person that asks the question.

There are very few cases where a specific set of equipment is required to get a particular sound.

Using this thread as an example, you can produce 808 sounds with so many devices that its just plain silly to suggest one of them over the other.

Another example: I was working on a track with a guy (who I didn't especially like, because he had a "I'm a Rock Star" attitude") and he starts bitching about how this particular studio (which is overall very well equipped, BTW) "doesn't have the pro shizzit to bust out the hard beats".

Yes he really talked that way.

So, being the dutiful hired-hand that I am (and being well paid to make him happy!), I inquired - nicely - as to what he felt was missing and why it was important. Hell, this is Vegas, baby! We can make a call and have a rental here in an hour, right?

He comes up with a list that I swear was straight out of some article in XXL and starts in with "Ain't no MPC, Ain't no Try-uhn (which I swear is is how he said it), ain't no samplers an sh!t, just this lame-a$$ Yamaha an a bunch of rack sh!t."

So, I'm hitting the talkback and asking "what sound do you need, because we can rent anything you need if ______ will spring for it." (______ is the record label.)

Rather than answer my question, he starts ranting about "50 Cent don't put up with this BULL-SH!T, nobody can work like this!"

Moments like these are priceless. I got him to calm down "while we make a few adjustments" and have a pepsi.

I walk out to the tracking room, and on a Emu XL7 Command Station and Yamaha Sampler (controlled from the 'cheap a$$" Yamaha KX76 controller), I'm kicking out "In Da Club" in about 20 minutes errr ... "doing a sound check".

I don't want to overstate this. It wasn't a "perfect" cover. My orchestra/string hit was a little too sharp on the attack, and I had trouble getting the guitar-picking part's rhythm perfect ... but pretty much we were there.

"The Next Big Thing" walks back in after finishing his Pepsi and being on the phone for a while. He's like "Oh cool, how'd you mix out the lyrics?" Yes sports fans ... HE couldn't tell the difference.

This is where I earn my money.

I have to explain - nicely - to this guy that the exact equipment doesn't matter, as long as it is of a certain quality. And that he can get as picky as he wants when he sells a couple double-platinum albums. But right now, this studio has evrything you need, and the only limiting factor is your imagination and mine.

And that's truth that none of these "what does XXX use" posters want to hear
 
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Good post Dansgold...very enjoyable read as usual...but that doesn't mean some recommendations can't get a guy close.

And hel...I am PRO-MV and not at all anti-anything. There is a difference...homofuctation-tet. :) Seiously...I used a MPC 2000XL and I am betting that two SM58's going into either the imputs of a MPC 2000 or 2000XL and a gang of fellows around those two mics shouting "yeeee-aaahhh hooooeeee" achieved 50% of their beats... :) the rest sounds like a XP-60/JV-2080 engine.

Assign it to a pad and trigger on the ones and threes...there you go Three Six Mafia. And I AM a fan...but I bet that is how they do it...except that the dynamic mics are buried in dirt for a month before recording...But like Dansgold said...you can do any of that with anything pretty much. Technically, you can do Three Six beats on a D2 (Roland JV engine), oxygen 8, Boss SP-202, a crappy dynamic mic, and a turntable. Costs like $400.00 :)
 
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Dansgold,

I work in a studio also,and that scenario sounds all too familiar ...:-)
I have a friend (multi multi platinum) and up to this very day,his main piece is a Roland 2080. Meanwhile,cats around him are fighting to get the lastest and the greatest,and he tracks discretely with his 2080. Funny.
 
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