So guys, Â it, it’s going to be a session about making beats. Â This is something that comes up a lot. it quite often and, you know, Â in, in real life scenarios, Â I get asked to, program drums for projects.
You know, I get sent music to produce it  or add something to it. And quite often it comes down to the drums. it’s, it’s a really good jumping off point as well  for writing music to write beats and write grooves. you know, the word beat making is, is a bit of an umbrella term.  It could mean  quite literally  building a beat,  boom, cut,  and I’m gonna do that this evening.
 But it also can  be more than that.  It can mean  getting a bit of a groove going and adding drums to the groove, you know, so for instance, my,  my hero beat maker would be  someone called J Dilla. I’ll put that in the chat here.  J Dilla,  the man,  the godfather of beat making, he’s no longer with us.
 Ah, man. Should have had a J Dilla record behind me tonight.  Anyway,  it’s not to be, J Dilla godfather of beat making.  Look into him if you don’t know who he is. and if you do know who he is, let’s give him a little  nod.
 Good old J Dilla. So he was famous for beat making  and he made it into an art.  And I don’t use that term loosely.  Beat making is an art form, and there is both ends of that spectrum. You know, there’s people that are good at making beats and making grooves,  and then there are people who are at the other end of that scale who adjust.
It’s on another level. And it becomes an art.  Like the likes of Jay Dilla. he’s not alone in that Pete Rock. You know, lots of hip hop  producers would be considered beat makers, but not only  hip hop, but that’s kind of the origins of where it comes from,  I guess in dance music, you know, you’ve also got beat makers.
people like  Deep Diplo, for instance. Diplo would be considered a beat maker, but he’s not really making hip hop. but maybe some of the roots of what he’s doing  lay in that territory. You know, the sounds that are being used  to make the beats  could  be from a hip hop background.  However  those sounds can,  can, be fluid in whatever genres you are making.
 You could be making a, a house beat, a garage beat using those sounds. You could be making  a track for Dua Lipa using those sounds. It’s all about  the sounds  and where you’re placing those beats where you’re putting them in the grid.  Some people don’t work to grid. I’m gonna be working to grid tonight, but then I might move some stuff around.
You’re gonna see, now I thought it might be nice  to  build this beat  from the Michael Jackson track. I was racking my brains today. Shall I find a be, that I’ve been using? should I make one from scratch? And then I thought, you know what? I’m gonna make one from scratch with you guys  using the tools that you have.
So I’m not gonna use anything extra tonight.  It,  I mean, use everything that you’ve got. I just seen Jan say that he tried building a Reggaton beat a few days ago.  Very nice Yann. maybe try building a reggaton beat after we’ve done this  session tonight and see,  see how, what that brings  to your session.
All right,  so  as they say in you on YouTube, let’s jump right in.  So let’s jump right in.  Here we go.  Now stereo sound should be coming at you guys  any minute. Now  let me just make some adjustments in my  preferences.
 Tell me  if you can hear  and see. Can you see my screen? Yeah. Tell me if you can hear this.  Cool.  Wow. I hope you enjoyed, messing around with these stems. By the way,  it’s really special, isn’t it, when you have got a session as famous as, as this, you know, a piece of work as famous as this.
 And then you get to  go in on it and you know, really  pull it apart and see what they used. did any of you look into these instruments? You know, this is how I learned about,  about production, I guess. for instance, here, look, it says CS 80.
 Now I happen to know that that’s a Yamaha synthesizer. I didn’t know that when I was a kid. And so then, you know,  I did the research, I went online  and I went, CS 80  and up it came. Oh, it’s not coming up.  CS 80. There we go. Sim,  there we go. CS 80. How much for cs? 87,000 pounds.
Hmm. Â That’s a bit much. I’ve actually thought they were a bit more than that. Oh, that’s a CS 50. I thought CS 80 were about 20,000 pounds these days. and maybe they are, Â but there’s none for sale. Hang on. Â There are none for sale. Yeah. Shopping. CSAT.
 There’s not one. Alright?  Anyway, that’s also a nice thing about having the parts to such a big track as this is that you can see what machines were used  and then when you start, you know, trying to  move through  the parameters of modern day production, these are gonna be tips here.
