Phonk Melody Sample

[Hermila Farquhar]

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With over 150 individual phonk samples the Gamma sample pack offers producers endless possibilities for creating new and innovative phonk beats. Even if you are new to Phonk beats, Gamma provides you with the tools you need to bring your musical ideas to life.

Overall, Gamma is an essential sample pack for anyone looking to create dark, futuristic phonk beats with a unique and distinctive sound. With its high-quality samples and innovative design, Gamma is sure to inspire producers to push their creative boundaries and create something truly special.

Phonk is a musical genre that originated from the underground hip-hop scene in Memphis. It is characterized by a dark atmosphere, hypnotic samples, and powerful basslines. Phonk producers often use samples from old soul, funk, and R&B tracks, which they slow down, pitch, and manipulate to create unique compositions. This approach gives phonk its lo-fi, raw, and mesmerizing sound.

Notable artists in the genre include DJ Smokey, Soudiere, Trippymane, and Lil Ugly Mane. Each brings their own personal touch to phonk, exploring different styles and pushing the boundaries of music production. Phonk has gained a dedicated fan base and continues to evolve, thanks to its distinctive aesthetic and immersive atmosphere.

Drift phonk, on the other hand, is an evolution of phonk that incorporates elements of the street racing aesthetic. Inspired by the adrenaline and excitement of car races, drift phonk blends powerful basslines, captivating samples, and hard-hitting beats to create an intense musical experience.

Drift phonk gains momentum through artists such as Aesthetic Kid, Racing Boy, and Speed Demon. Their productions capture the essence of speed and the thrill of street racing, creating a perfect synergy between music and drift culture. The dynamic beats and hypnotic melodies of drift phonk reflect the intensity and energy of drift competitions, transporting listeners to a world where music and speed collide.

These examples provide a glimpse into the diversity and immersive atmosphere that phonk and drift phonk offer. Their powerful basslines, mesmerizing samples, and captivating beats make these genres unique musical experiences, captivating underground music enthusiasts and street racing enthusiasts alike.

In conclusion, phonk and drift phonk are two music genres that blend underground aesthetics with captivating influences. From the dark and lo-fi phonk to the energetic drift phonk inspired by street races, these genres offer an extraordinary musical experience. Explore these unique sonic worlds and let yourself be carried away by the powerful basslines, mesmerizing samples, and captivating beats of phonk and drift phonk.

It's mostly associated with Hip-Hop, House Music and other types of popular music (such as industrial and electronic music), but can appear in some Fan Work, like Abridged Series (as long as there is no profit, it can fit under fair use laws).

Now it's unoriginal by definition, but it's not copyright infringement as long as the source is either public domain or properly licensed out. And when done right, it can be a great way to add mood to an extra work. Indeed, most early uses of sampling were with found sounds or sounds made in the studio, exploiting Everything Is an Instrument to full effect (for instance, Peter Gabriel's Security liberally included recordings made from playing around in a junkyard). Sadly, copyright law is still extremely murky when it comes to sampling other songs: most rap producers in The '80s ignored the laws without consequence, it wasn't until the Grand Upright Music Ltd. vs. Warner (Bros.) Records Inc. case of 1991 that authorization from the original copyright holders became legally required. The practice of sampling copyrighted songs and performances consequently wouldn't reemerge until the 2000's, when artists and producers could finally afford the immense legal fees.

There are many methods of sampling, but the most widespread nowadays and the one attracting the most Hatedom consists of sampling a part of or even a whole song, throwing what is typically trap percussion over it, turning it into a loop if you're not using the whole song, and then rapping over it. This often attracts criticism because of its "lazy" and "unoriginal" nature from consumers, and from artists who sample more creatively, since if they get sued over sampling, opposing lawyers will point to such songs with incredibly obvious samples in order to prove that the defendant's own use of sampling is the same thing.

Compare, for example, "I'll Be Missing You" by Puff Daddy, with its telegraphed-from-a-mile-away easily recognizable sample (from "Every Breath You Take" by The Police), against the Bomb Squad's work with Public Enemy, with its dense layers of samples that aren't easily recognizable. Somebody That I Used To Know by Gotye is another song that is mostly made up of samples in order to form an entirely new composition.

While sampling in the 2020s is typically done digitally, in The '70s disco era, DJs would isolate sections of a song by finding them on a record and playing them on a turntable. Jamaican DJs would take a favored section of an existing song and have it pressed onto vinyl as a dub plate. A "toasting" vocalist could then improvise boasts and patter over the sample on the dub plate note _(Jamaican_music). The Jamaican practice of "toasting" is the antecedent of American rapping.

Is often confused with interpolation, which is the act of recreating a portion of an existing song with one's own equipment, or singing different lyrics over its vocal melody. For example, Gangsta's Paradise by Coolio is an interpolation of Pastime Paradise by Stevie Wonder, but it's not a sample, because it's not the same audio recording.

Country Cole Swindell's "She Had Me at Heads Carolina," naturally, samples from Jo Dee Messina's "Heads Carolina, Tails California." It both samples the song directly in the opening and closing, and uses the tune with different lyrics and a remixed tempo. Old Dominion's "Song For Another Time" uses the drumline from Guns N' Roses' "Paradise City," which is mentioned in the lyrics, as it's a Song of Song Titles. Sam Hunt's "Hard to Forget" samples Webb Pierce's "There Stands the Glass," with lyrics in the opening...and that's pretty much it. It's an unusual choice, since the two songs are only tangentially related. Hunt's is a break-up song about running into things that remind him of his ex, while Pierce's is a break-up song about Drowning My Sorrows.

Electronic A prominent staple of earlier and even later Industrial music, bands like Cabaret Voltaire and Throbbing Gristle take samples from settings like television commercials, religious sermons, war reports, and other recordings. The album version of "U Don't Know Me" by Armand Van Helden contained a sample from (of all things) a Dial M For Monkey cartoon. Art of Noise made sampling their bread and butter, regularly constructing entire songs almost entirely out of samples with the Fairlight CMI. In particular, their early material on ZTT Records picks from tracks by Donna Summer, Funk Inc., Yes, Toto, and the Andrews Sisters. Virtually every track from the Goa Trance and Psychedelic Trance genres samples a movie, usually a sci-fi one. The JAMS got in trouble for sampling ABBA. So they burned the albums in a field. Crystal Castles often samples songs from other bands, such as Death from Above 1979, Stina Nordenstam, et Beach House. Sometimes they even sample audiobooks ("Air War" has lyrics from Ulysses) or television ("Magic Spells" and "Trash Hologram" sample V1983). "Cola Bottle Baby" got sped up and sampled into "Harder, Better, Faster, Stronger" by Daft Punk. This wouldn't be notable, except that that song got sampled into Stronger by Kanye West, slowing back down in the process. Kanye himself is one of the most prolific samplers in the industry; see his page. Although West only sampled the new Daft Punk vocals, so the original melody is kind of lost. Daft Punk also deserves an award for Most Unlikely Techno Sample: "Superheroes" is based around a sample from Barry Manilow (the song "Who's Been Sleeping in My Bed"). Daft Punk does a lot of sampling, actually. It's fun to try to figure out which parts are samples and where the samples came from. In fact, the reason their album Discovery received the nicknames veryDisco and Disco? Very! was partly because of the sampling on the album. The string intro to "Mothers Talk" by Tears for Fears was taken from an unspecified Barry Manilow song; to this day, nobody's been able to figure out which one it was. Most of Fatboy Slim's best work is the sample-based You've Come A Long Way, Baby era. Later, as part of settlement over a dispute of whether he actually had the rights to one of the samples or not, he released a compilation album consisting of sixteen of the tracks he sampled. It's actually quite freaky in places. The only thing that wasn't sampled in The Residents' The Tunes of Two Cities was vocals and guitar. Their Cover Version of "Kaw-Liga" by Hank Williams is based around a drum loop taken from Michael Jackson's "Billie Jean" - this might have just been a Stealth Pun about Hank Williams' high profile marriage to fellow country musician Billie Jean Horton. The faux-live cover version of "Love Me Tender" that appears near the end of The King & Eye eventually gets interrupted by clashing loops of The Rolling Stones' version of "Not Fade Away", The Animals' version of "House of the Rising Sun", The Yardbirds' version of "I'm A Man", and finally The Beatles' version of "Blue Suede Shoes" - this symbolizing the idea that Elvis was eventually eclipsed by The British Invasion. "Beyond the Valley of a Day in the Life" is a collage piece entirely made from Beatles samples in the style of "Revolution 9". Girl Talk's entire discography composed solely of a dozen or so samples each. A whole host of music users thank the fair use doctrine for allowing him to do so. The German duo Mouse on Mars typically avoid this, with two notable exceptions. "Die Seele von Brian Wilson" samples 'Windchimes' by none other than the Beach Boy himself, and "Stereomission" is built around two samples; one is the instrumental to "Stereomatic (Stereomagic)", a song by the duo's earlier group Yamo, and the other is a vocal sample of a Japanese woman talking about stereo equipment. Neon Indian does this often: Psychic Chasms: "Deadbeat Summer"'s instrumental is the same as Todd Rundgren's "Izzat Love?". Later, on the same album, a sample of Rundgren's "How About A Little Fanfare?" makes up part of the intro to "Local Joke". The single "Sleep Paralysist" samples the theme to Beyond the Darkness. VEGA Intl. Night School: The voice saying "Friday after dark!" in "Bozo" comes from this Cinemax ad from the 80s. The French group Justice do microsampling (Using split-second samples). Their first album has over 400 samples. "Newjack" stands out for using microsampling on a single song; The Brothers Johnson's "You Make Me Wanna Wiggle". The result is almost unrecognizable. The Avalanches are this trope personified, using sampling in all of their songs with varying success. Their album Since I Left You used over 3500 LP samples to make a pice de resistance of sampling. Sampling video game music is surprisingly more common than one would think. "Diplo Rhythm" takes its beat from a most unlikely source: Ocean's NES game based on Platoon. The Ur-Example of this was the first track on Yellow Magic Orchestra's first album in 1978, and their first single: "Computer Game/Firecracker", which uses the band's synthesizers to create near-exact replicas of sounds from Circus, Gun Fight, and Space Invaders (technically this would make these a case of interpolation, but they're often treated as samples due to just how accurate the recreations are). By way of return, their track "Rydeen" has since been used in many, many games since. YMO themselves would later use actual sampling much more thoroughly on Technodelic in late 1981, with a custom-built PCM sampler (the first of its kind, in fact) that allowed them to make songs almost entirely of samples from found sounds or sound effects created in-studio, with even their vocals being used as samples, resulting in the album being treated as one of the Trope Codifiers of this practice. The "cosmic forces beyond all comprehension" line from Buck Rogers in the 25th Century was sampled in the Mixe Plural mix of Stephen "Tin Tin" Duffy's "Kiss Me", and later, Freaky Chakra's "Hyperspace". Basshunter based "DOTA" and "All I Ever Wanted" on Daddy DJ's self-titled song, and sampled Reel 2 Real's "I Like to Move It" in "Saturday", his latest single. As a meta-example, "I Like to Move It" samples the "yeaaaaaaah" vocal from Sylvester's "You Make Me Feel". Covenant's "Shelter" is built around a sample from The Atomic Cafe: "The atom bomb explodes again!" :nuclear explosion:(several times) "Atomic energy." :sirens: :birds chirping: :explosion: :explosion: :explosion: for the rest of the song. The Atomic Cafe was also sampled on KMFDM's Don't Blow Your Top album, particularly in "Oh Look". Todd Edwards' M.O. is taking various samples from different songs - many of them less than a second long - and creating new melodies out of them. The result is something like this. The main riff of "Together" by the House duo of the same name lifts its main riff from the theme song to Beverly Hills, 90210. The vocal clip in the beginning is taken from the movie Pleasantville. Vaporwave is built on this. It's made by taking a section of a song (typically an old Smooth Jazz/Pop/R&B tune from the 80's or 90's), slowing it down, looping it/glitching it up, and when that's not enough, adding various amounts of echo and reverb. For example, LeVert's "Baby I'm Ready", originally a soft Intercourse with You slow jam, was turned into an otherworldly and just slightly off-kilter yet strangely relaxing 80's-sounding synth piece in "GEO" by INTERNET CLUB. Dreamwave is also this, essentially - Washed Out's "Feel It All Around" is essentially just a very, very slowed down loop of the intro to Gary Low's "I Want You", plus some synths and vocals. Electronic band Orchestral Manoeuvres in the Dark used various radio samples from the eastern bloc for their album Dazzle Ships, which was Vindicated by History. Enigma's atmospheric MCMXCAD samples a lot of music from various sources. The Gregorian chant and monastic plainsong used as backing music to the track (and hit single) Sade. Opera singer Maria Callas is sampled for the track Callas Went Away. At one point, even the rainstorm, thunder and lightning that introduces Black Sabbath by Black Sabbath is lifted. Zombie Nation's sole mainstream hit, "Kernkraft 400", samples the "Stardust" BGM from the Commodore 64 game Lazy Jones, to the point where it's better known than the game. The intro of Information Society's "The Prize" uses samples from Impossible Mission. "I Do Coke" by electronic music producers Kill the Noise and Feed Me samples the anti-drug PSA called "I'm Always Chasing Rainbows".

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