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Clams Casino (musician) - Wikipedia
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Over the course of the past decade, New Jersey's Clams Casino has I used to go to the rehearsals from time to time to see how it was all coming along. Most of my favourite beats that I make are very minimal and have no.


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Michael Volpe (born May 12, ), known professionally as Clams Casino, is an "Joji teams with Clams Casino for new single "CAN'T GET OVER YOU"". "​Clams Casino Talks Making Strong Connections With Mac Miller And A$AP Rocky". The Nutley High School grad first began to tinker with beats as a teen, fooling.


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With tape hiss and Imogen Heap samples, Michael Volpe has become one of rap's most sought-after beatmakers – and now he's finally fronting.


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But it's the beat, and therefore its producers, that are the stars. the Australian producer Flume and the more left-field Clams Casino, The easiest part of making a record is the first 90 percent of the song. It helps financially, because when you sample an artist you don't know if they'll let you use it. If they.


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Pioneering New Jersey producer Clams Casino on his new playing one of the beats that actually turned out to be the first track on this project, and I In the same way that some artists do through sung lyrics and melody, Volpe Sitting at his kitchen island, the thick PC laptop he uses to produce closed.


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With tape hiss and Imogen Heap samples, Michael Volpe has become one of rap's most sought-after beatmakers – and now he's finally fronting.


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Producer Series: HOW TO MAKE BEATS LIKE CLAMS CASINO Subscribe for Your browser does not currently recognize any of the video formats available.


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Cloud-Rap King Mike Volpe, better known as Clams Casino, with hip-hop producers (or the rappers who use their work) and you'll come to Other producers will have 50 beats stocked up and they'll play them with the.


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It's OK to use samples. IMO it's a great way to start out, especially if you struggle with melodies. Anon said he didn't consider it “cheating” like others do.


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After self-releasing the first in a series of now cult instrumental mixtapes back in , Clams Casino was integral in taking the genre to the mainstream. I didn't have much to work with and wasn't fully up and running yet. It came together really quickly and naturally, without much thought at all, which is how I knew it was a special one. This beat actually just sampled a piece of another beat I had made a year or so before. When I got back to my apartment in New Jersey some time after that, I pulled up this long recording of the samples I made in LA and listened through. All the synths are taken from a long freestyle recording I did on a Prophet synth. It felt like it kind of just happened on its own. I was nervous because it was the first time I had done anything like that, but I was excited for the challenge and to see where it would take me.

You see, before Soundcloud rap, there was cloud rap: a simpler genre from a simpler time, before Xanax was rife and when sample-heavy ethereal music was all anybody needed.

We're fans not critics. I used to go to the rehearsals from time to time to see how it was all click to see more along.

I was trying to break out of the more normal and basic hip-hop beat loop zone that I was feeling stuck in. That little part immediately stuck out to me and I started from what does clams casino use to make beats. Most of my favourite beats that I make are very minimal and have no more than 5 sounds in them, like this one -- kick, snare, clap, sample, bass.

The space and tension and feeling of this track seemed to fit perfectly with all of the other newer music I was doing for my latest project so I brought it back out for Moon Trip Radio. Here goes The main sound is a hardware synth through some guitar pedals that I recorded at my favourite studio in LA -- The Ship -- when I was working on my own project.

I sent it out to Drake and he held it for a while but then never ended up using it, so I played it for Rocky when we were working on his first album. I started looking through old beats I had made and started trying to sample parts https://angmama.ru/casino/hotel-near-hollywood-casino-amphitheater-st-louis.html them.

This was an important one because it was kind of a transitioning point where I can hear that I was pushing myself, trying to switch up and add new sequences back to back and really get more in depth in the arrangement.

It had to be a single piece of music about minutes long. We worked on that back and forth for a few months -- I would send a bunch of musical ideas and he would listen and try things out with the dancers, then give me feedback on what was working and what wasn't. I wasn't really what does clams casino use to make beats too many beats out there though, I was mostly just recording sounds and samples to flip when I got back home to my own studio.

The drum programming is kind of funny because I was really just throwing in random samples without thinking about the sounds or where they would go, so that part is super sporadic I was just having fun with it. As soon as I touched down I saw a message saying that someone from Drake's camp was reaching out for beats, but not long before that trip my computer crashed and it wiped out all the sessions and sounds I had worked on and saved up for about the last four years.

It was the first time I what does clams casino use to make beats went to L. The piano was recorded read article my mom's https://angmama.ru/casino/casino-bus-trips-from-tulsa.html -- you can hear her pet birds in the background.

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Having just released his first album in three years -- Moon Trip Radio , a sonic return to his Instrumentals era after a period of vocal-led projects -- we thought it only right to ask Clammy Clams to get reflective and break down the stories behind his favourite productions, and in doing so, reveal the magic formula that goes into his work. The oldest part is the little vocal chops that I took from a beat from seven years earlier.