The TRUTH about "Atlantis" - LTJ Bukem

[@djb3488]

Sampling is completely valid and is part of dance music culture. From house to hip hop to rave, jungle and beyond , Sampling is at the heart of these genres. The younger generations that don’t agree just don’t understand or see the art in it. Most music made is inspired from something. Sampling and creating something new is awesome and will never die

[@GyuBeats]

Yes!

[@alexbarron1426]

@@GyuBeats change the name of your video then and stop disrespecting LTJ

[@daffy1981]

it's much more older generations that don't agree...

[@wackrapsatire]

clickbating BS no less 💩@@alexbarron1426

[@EximiusDux]

Sampling for digitally made electronic music was a fight that began during the end of the 1980s and the whole 1990s. It were the Babyboomers, mainstream Gen X and big money (copyright owners, labels, music industry) that were against it. Can't blame completely unrelated "younger" generations for wanting to create their own new sounds and material.

[@DeepBass75]

Honestly I don't give a shit where any of the samples came from. Atlantis was and always will be one of the greatest tracks of all time

[@Vincent-Vega24]

Im 50 years old and still to this day, there's nothing like an LTJ Bukem Live Show!!!!!!!!!

[@MLochMusic]

Were all 50 year old now bud haha. Those of us that were there. Or not far short. Id hate to be a youngun nower days. crens screens and more screens. Who would have thought infinite everything would be so crap. In the days of not having everything was so good by comparrrison

[@Vincent-Vega24]

@@MLochMusic I absolutely love this comment!!!!! Im glad we lived through the best part of Raves. Sadly this new generation doesnt know the love we shared through our experience, now its all about the money sadly!!!!

[@MLochMusic]

@@Vincent-Vega24 Hi mate. Yeah its sad how life went to me. I always yearned for a DAW long before I knew what one was. Dunno its just boring being able to do everything in a second. I can only imagine how God must feel? Must be the most mundane existence ever. Knowing everything.

[@chrisbarnett5303]

I'm seeing him in a few days!

[@Vincent-Vega24]

@@chrisbarnett5303 AMAZING!!!!! Where at my man???? Im in NC

[@lebigsquare]

Holy moly just discovered your channel : all of the most iconic tracks I’ve listened to again and again for 25+ years and now you drop an LTJ Bukem track ! Mind blown !

[@skinwalker_]

The most underrated channel on KZbin, this channel should 500k subscribers

[@abuqadimhaqq]

Artwork by me at 6:58 ;-)

[@phug0id]

you're a legend Haqq!!! I have signed copies of both volumes of the Book of Drexciya !! great work... looking forward to your new artbook... just placed an order for 2 copies! will make a good b-day gift to my Detroit techno head homie!

[@ultrajayme]

​@@phug0idain't no party like a Detroit party! I'm from Lansing.

[@whiiteshirt7192]

DJ Shadow's Endtroducing LP wouldn't exist without sampling, and that thing is a masterpiece. You tempted to do a video on that one, Guy? Re: The Surkit sample, WhoSampled does list Surkit as the sample source for the *original* Apollo Two "Return To Atlantis" , so perhaps the iconic sample you tease at 0:16 and reveal at 6:57 isn't *quite* the BIG news you suggest. Good video nonetheless, thanks Guy.

[@thedjfx]

I’m 99% sure the amen is from the Coldcut Kleptomania sample cd too (Track 3- Heavy loops), which was release in 1992, so the date ties in. The processing and tone is identical.

[@GyuBeats]

Ah great knowledge! Thanks so much for telling me, I love learning more about all this stuff.

[@MarkStokes-destinymusic]

That main part is actually a K4r rack module synth owned by Juan Atkins at metroplex studio Detroit and programmed by Martin Bonds himself 👍🎹💣💥🎶🎶

[@GyuBeats]

AFAIK the K4 and the K4r are functionally the same. Can I ask how you know that btw? Cheers for the comment 🙂👍

[@MarkStokes-destinymusic]

​​@@GyuBeatskzbin.info/www/bejne/nKeTi5huq9mZaLs&si=Jp_kQC-HYtDkDip4 read down the comments, the comment with 34 replies has Martin saying about it .....

[@saftpackerl]

martinbonds actually commented that himself on the youtube post of his track. You have to search a bit, its a reply to a comment.@@GyuBeats

[@robertbonds8108]

Martin programed that K4 patch​ at Metroplex. I was there.

[@ness-ee]

@@robertbonds8108🙌

[@Wil_Dsense]

JUst heard the Original...as suprising as it was to hear the main synth bit sampled, it feels like the original tune was a rough template for a LTJ's track, which just perfectly uses the sounds and is a total masterpiece. I think it's a perfect use of sampling. Basically there should be one main rule when it comes to sampling: If you're gonna sample, make sure you do it well.

[@leesiyo]

Totally agree about sampling, its always been my take on it in any art form, be it music or film or fine art or anything. Changing context re-invents imo

[@Wil_Dsense]

💯🔥

[@TheInsideVideo]

Seems a bit snide using that thumbnail. While it may get clicks you're basically calling him a thief (especially to those who don't watch), the question mark doesn't erode that feeling.

[@MrMaclovin]

Whenever a headline ends in a question mark, I assume the answer is “no”

[@mattyg499]

But he is lol

[@mrdweller3099]

@@mattyg499then we all are!

[@Padigo82]

Yeah, I’m surprised at Gyu here. Decent video (as always) really marred by the pretty disrespectful title.

[@bloopbleepnothinghere]

Never heard of this channel but I tend to unfollow or set don't recommend to anyone doing click bait.

[@brightonbackgammon7802]

Legendary... this is creative genius from Bukem to not just gather these samples together, but to find their sacred musical cohesion and infuse them with his own flava. Little tings like the bongo sequence, the Abyss sample, the silence in the breakdown etc etc are delicate icings on the cake. Still astounding - something special was at work heya ❤

[@manwiththeplan4130]

Well said sir

[@IdrisFashan]

I agree. Been sampled myself, and LOVED IT. Recontextualized music is its own reward. If Bukem took one of my jams and made something 1/1000 as good as this cut, I’d be absolutely fine. 😅

[@robertbonds8108]

Martin Bonds.

[@gearwatcher]

The original is one of my favorite tracks to come out from Detroit techno scene, and it's really too bad Marty didn't make more music as the ones he did are all amazing.

[@SamHocking]

Derek Carr & Steven Tang release some work very much inspired by Martin Bonds and that corner of early Detroit Techno.

[@adamjlipper]

Most Jungle baselines of the era came from the sine wave test tone of the Akai S950/1000.

[@alexandermccarthy]

Another awesome video! I totally agree that sampling is an art form, as evidenced by LTJ Bukem's entire catalogue.

[@whyyoumakethissohard]

And jungle music at large ;)

[@Xander_Cruz]

I know im only a teenager and haven't been in the music scene for 20 years HOWEVER I have heard Atlantis at least 100 times and its flawless everytime. Sampling is sampling man, its been around as long as dance, hiphop, jungle, etc has been around. Some just don't see the art in it, man.

[@aarons2632]

That Mitsubishi reference. If you know, you know.

[@EliotBoonHuat]

Top quality as always, thanks Guy. Just a quick fact-check: this tune is called "Atlantis (I Need You) (LTJ Bukem Remix)" and is Side AA, but on Side A is "Return To Atlantis" by Apollo II (Tario 2 + Witty Jnr. who apparently were school mates of Bukem's).... and yes, they use the Real by Real sample on the second breakdown. I think it's likely that Apollo II had a hand in the "discovery" of the sample. Not saying Bukem wasn't there / didn't have a say, because I'd be surprised if they didn't make it in his studio with him.

[@AutPen38]

Indeed. I don't know what actually happened, but I would guess that the two guys in Apollo Two actually had the idea of sampling the Surkit track for their fairly humdrum techno/hardcore house (?) track which they got signed to Bukem's label, and for his remix he basically just added the Amen break to turn it into a DnB track, along with the sample from The Abyss. Bukem's remix got all the plaudits while the original sank without trace, but it was probably the Apollo Two guys that had the initial idea to sample the Surkit track. I see from the label that Bukem took credit as producer for the original, which probably means he owned the Akai, but weirdly he also took credit for "writing" the remix. It was more standard to get credit for "additional production and remix" back then. The writers are usually the people who made the track(s) that was sampled and the person/people who arranged those samples in a new and original way. But copyright clearance was still a bit unclear back then, and smaller labels in particular did all kinds of dodgy stuff, like not paying the actual songwriters or musicians that literally made the original music. kzbin.info/www/bejne/l3arq2aDqr-ae6csi=v_C-WNhbMLGikPJu

[@EliotBoonHuat]

@@AutPen38 you make some good points, but we must agree to disagree on the "humdrum" Apollo 2 track, I think it's pretty decent tbh! And I also love the original Real by Real tune.

[@suitandtieguy]

Whoa. EXCELLENT observation. Thank you!

[@ricardo.pedraza]

Another classic that is very personal to me. I think we all knew that it was all samples and all pretty much stolen, but we were rebels and didn't care! There is something to be said for the arrangement and sample editing though. Plus this was a very early track, he was still figuring out things. I think later tracks were still grounded in sampling (as all D&B was) but the sound matured, the equipment improved and there was some actual synth playing. Nice work reverse engineering this one!

[@GyuBeats]

100 agreed and thanks!

[@chuckcantillon4764]

imagine all of recorded sound drifting together like a vast ocean, it takes an artist to sample that single drop of water, placed just right for a track that may move us to tears ,

[@stevenpayne4261]

30 years and this track still gives me gooseskin

[@tompetty6753]

Reel By Real - Surkit (1990 Original Version) is where the orginal sample came from. anybody can find this out quite easy...

[@RogerWarszawa]

That's a good point about the lack of royalties paid by streaming services means probably fewer lawyers grubbing around for money. So yeah, why not start sampling again like the old days, if you get sued I'm sure we'd all willingly give up a percentage of our Spotify earnings; the lawyers and claimants are welcome to a share of our 17p

[@GyuBeats]

Exactly!

[@djemmay]

Sampling takes time, and the latest generation are a bit less patient and want instant results. The pioneers of sampling had to trawl through vinyl and listen to them in real time to find the perfect loop. Then to record the audio and edit in a sampler with a tiny memory, must’ve painstaking. Their musical knowledge helped them, of course, but in general it must’ve been a slow process to piece together a track made from multiple samples. Respect to these pioneers of an art form.

[@pestleandmortarr]

Yeah I admire the skill to pick out a good sample and make it work in a different context and often enhance the original from where its taken. The amen break always gets me thinking, if they had used a different mic, room, mixing desk etc.. it may never have been plucked out and imagine that .....a world without the amen break and if sampling lawyers where a thing back then.... a complete tragedy.... keep sampling people f' it....for the art

[@GyuBeats]

Yes!!! 100% agree about the amen break, something magical in that recording...

[@roastysprouts8705]

Sampling is a pure art form when done properly. If you think that there is nothing 'original' in most of The Prodigys main bangers, you have to respect that someone can create a complete original track out of samples and no one can recognize any of the components of the track...

[@ringtangting]

Martin Bonds commented on KZbin that the synth is a 'Kawai K4R, if I remember correctly'. He's also not too happy about not being credited. The comments are on the top 'video' of Surkit.

[@SamHocking]

Martin Bonds (Reel by Real) work is amazingly good. My favourite is Serene though.

[@GyuBeats]

I'll check it out!

[@omunitTV]

Blu Mar Ten just sampled that off the bukem tune. The whole pack is just bits off their record collection. its done amazing things for young people but it's so mad hearing bits of old jungle tunes in all kinds of stuff now lol.

[@plimx]

Martin bonds has commented on a video of surkit on here, confirming it is the Kawai K4r. Has been on my wantlist for a while because of this :)

[@SamHocking]

There's a plugin emulation of the K1 (Nils K1r) and iirc he has reverse engineered the K4 ROMS too which he says are almost identical to the K1's, so hopefully at some point there will be a K4r too!

[@GyuBeats]

Thanks for confirming!

[@skinnista]

This has been my ringtone for 15 - 20 years...... Just my opinion but in this case the sampling is ethical, he changed speed / pitch and added his own bass, drums, vocals and samples and took it into another genre. Vibe to the orginal is close but the fact that most tunes at the time were sample based and 'unetihcal' or less ethiical makes it ok for me (:

[@Ninzumecha]

Sampling to me is like audio collage. Recontextualising is the key

[@djtrixydnb4768]

This boils down to how music was in that hip hop jungle era, create digging through records for samples, mostly pitched up or down, giving it a different sound to the original.

[@jays2932]

I seriously couldnt give a shit Atlantis is an absolute CLASSIC

[@davidslater1811]

Love this! What a classic and such a great breakdown. Still have an original pressing of the vinyl release sitting on the shelf.

[@rorz999]

Bruv... Blu Mar Ten sampled straight from the LTJ Bukem record for that sample pack. They didn't find the original sample source lol

[@GyuBeats]

Lol, yeah I didn't think of that!! I'm sure you're right

[@farben_]

@@GyuBeats There's no way Squarepusher would have used a programmed break from a Sample CD for Beep Street, although I found single hit samples that he used, it's amusing to listen to these CD's and then recognizing an instrument sample that was used in a track by Photek or SD.

[@readventurekids]

I grew up as an impressionable teenager, lapping up this music starting in 1992. For me, most of the charm of Hardcore, Jungle and Drum n Bass is the craft of sampling. In my opinion, sampling democratized music production, enabling young enthusiasts without extensive resources to craft powerful tracks and quickly provided them with a platform to get them out onto a dance floor and enjoyed by revellers. The energy and vibe that sampling brings are unparalleled, encapsulating the essence of these genres. Detractors may dismiss it, but in reality, sampling is a nod to the original artists, reinterpreting and celebrating their work in new and dynamic ways. Great video btw! Thanks for giving the music myself and so many others a platform to new ears.

[@inperfectsequence7840]

Ok, I agree with everything you said in this video, but I'm not fooled by an exposition in Ableton live. In 2000 this song was published, but according to LTJ Bukem himself it is a song that was made from a 1998 demo, Emagic Logic Audio v4.0 platinum came out as a novelty and at that time the arrangements of previous versions were compatible with 4.0 , reconstructed this arrangement with the samplers that LTJ Buken made for the guys at Good Looking records. Yes, in that year he had access to virus B and a JP8000, accompanied by a D-50 and an Akai S1100. That was all they used for Emagic LogiC Audio v.4.0 Platinium, with the EXSP 24 sampler under Mac OS9 on a Powerpc G4 and with the emagic Midi system. In 2000 Ableton Live was written from its original idea. The warping engine for elastic audio was then an effect, although this processing, along with the layout of the main elements (the clip view, the device browser, and the lower effects strip), already dominated the panel. Ableton was not ideal to deal with the consumption of system resources, Logic 4 was with the system of freezing midi events and virtual instruments, which made many welcome it as a great solution to the problems of mechanical sircoduro and to heavy productions and ¨Atlantis¨ was more than anything the perfect example, lots of play in the arrangement, but few samples well duplicated and resampled to save tracks on ram and CPU resources. In 1994 and 1995, hardware modules such as JV 1080 and E-mu and Akai S1100 modules and also a Yamaha 02R were used to record everything on the hard drive of this digital mixer, it was all live and they recorded these things in the form of demos to take to the studio and finish the songs. Thanks for the video, I had the honor of being able to work for Mr. Danny Williamson, aka LTJ Bukem.

[@GyuBeats]

My first DAW was Logic Gold V4 bundled with EXS24. Thanks for the info :)

[@saftpackerl]

I didnt know the O2R had a hard disc recording option?

[@marknhopgood]

Great video and sound production. My reflection is that LTJ has introduced us to new music / synths by his process. Almost like a curation process. I often steal stuff for my production. I often use the notes C and minor chords.

[@b1nary_f1nary]

Anyone who make electronic music. You HAVE to get the blu mar ten jungle jungle pack. It is essential!

[@djjuno106]

The synth sound is the kawai k1..back in the day it was used on tons of rave tracks but most people never knew it was that synth. How we used to use it alot of the time was too sample the midi parts and because of the way you had limited sample time you had too record it at a higher tempo than needed. You would then have to pitch shift it too the tempo needed but this would add artifacts too the sample and you could never get it perfectly in key.. The k4 wasnt that widely used but the k1 was in many of the big studios that recorded rave tracks and it was for many reasons.. 1)it was very very cheap 2)it used up only 1u in rack space and was very light compared too many other synths of the time. 3)it had some very good presets but also it was pretty easy too program. 4)it sounded very clean so made it perfect to sample.alot of cheaper synths of that era had noisy outputs the roland mt32 was horrible,as was alot of other cheap rack synths but the k1 was very clean and quiet. Anyone looking for rave,jungle sounds should go for the k1 over the k4..the k4 was better for pad sounds so was better for ambient

[@AKAtAGG]

Using samples is a skill. When you did the Fat Boy Slim 'right here right now' video i told you then that I was going to use that video to explain to people that using samples is, or can be, as skilful as learning how to play a keyboard badly. and i did tell them all that and they all now only use samples!

[@GyuBeats]

So cool that you're encouraging sampling! I'm a big believer in it.

[@modvs1]

I'm pretty certian there was a _no holds barred_ policy when it came to sampling back then. You can even find examples of jungle/DnB where it's cannibalising itself.

[@user-qo2rg2cs6c]

Can you break down other Bukem tracks? I would absolutely love to see how Horizons was made.

[@gavinpeters9531]

I used to feel like I had to craft everything myself, now I think to me it's like there are 2 different skillsets that overlap. Either can be used for good or evil, creativity or mimicry, etc. On one extreme end you have DJs, who play whole tracks, and create experiences with nothing but playlists and transitions. On the other end, you have people who grow their own trees and hand craft their own guitars. Somewhere between the DJ side and the middle you have the loop/stem mixers, musique concrete, etc... Toward the middle I would put producers who use samples. To the other side you have everything from people who recreate sounds using synths/etc if they want to use them, to people who deny the fact that they have been influenced by things they've heard in the past, all the way to someone trying to create their own universe simulator with emergent properties such as harmony.

[@ljt3084]

A channel called Original jungle samples on YT featured all the samples Bukem used in his seminal tracks. Lists all the original records and film cuts used. Other artists feat this year. Nookie Goldie Intense Tango Congo natty Photek. 👍

[@laurisaarinen1126]

All of my favorite electronic music uses sampling. I love jungle and this track is among my top 5 of ALL TIME, up there with tunes like Circles and Renegade Snares (Foul Play remix) that never get old. That melody sample is absolute perfection, it still gives me shivers no matter how many times i have heard it. I do think the original creator should still get part of the royalties for creating that bit of magic.

[@drifter402]

I actually got VERY close to the lead sound on this track. Don't remember how but I still got the patch.

[@meangene408]

Hip Hop, House, Jungle, Techno and everything in between was, is and will always be built on samples.

[@jimtaylor431]

Thanks.. really enjoyed seeing this classic get deconstructed!

[@googleboughtmee]

That intro harp sounds like it was taken from Atlantis, especially by the name of the file. You can hear the other sound on top of it. They have the Atlantis amen in the breaks folder too, and many other samples are clearly taken straight from hardcore/jungle tracks.

[@killervacuum]

i am very much pro-sampling but when an electronic song contains a sample of a synth part from another tune i tend to assume it's an original composition. its important for fans to be able know where stuff came from.

[@onreality5583]

From one producer called Guy to another, I thoroughly enjoyed this video which breaks down one of my all time favourite tracks - thank you!. In terms of the art of sampling, I would put it down to "aesthetic selection" and recontextualisation, whereby the producer chooses sounds from different tracks (perhaps from different eras) which, taken together, create new musical directions and dimensions otherwise impossible without the use of samples, which includes all the imperfections in the original recording, vinyl noise etc... In the tune Horizons, the use of a Maya Angelou sample reflects this, imo, and literally spells out Bukem;s sampling philosophy: "the horizon leans forward welcoming new steps of change" . In this case, the horizon is the cutting edge of (audio) technology making such steps possible- both at the time and at present. The debate about sampling boils down to good/intelligent sampling vs bad/lazy sampling. I think we can all agree that the clever use of a good sample makes all the difference than say the lazy use of the same sample. I love a good sample in my productions: part of the art is to hide the source and not take too many intervals, or to rely too much on a given 'vibe' ;) Keep up the great work!

[@jellycoding]

It's the use of samples (selecting and how to use) that makes it so good. I known this ("The TRUTH") since the release of the track. I thought every one did.

[@darkerarts]

Interesting video. I still have a copy of the release on Good Looking Records from 93. I always assumed 'Atlantis (I Need You) (L.T.J. Bukem Remix)' 'was a straight remix of the A side 'Return To Atlantis'. I knew about the samples, but never really thought about him really remixing Surkit.

[@GyuBeats]

Ah that's cool you have it on vinyl

[@ravecrab]

Bukem did a similar thing on Horizons. The main sample is from Lemon Sol - Sunflash, which is a Detroit-y UK techno tune. I think it's fair game, but if you're going to snatch such a large chunk of another tune and not really do anything to it except speed it up, you should be paying for sample clearance. I've no idea if that happened on Atlantis (or Horizons) but Bukem has a bit of a bad reputation for ripping artists off.

[@thoughtisenergy]

thanks for breaking down the sound. this song is dnb hall of fame.

[@nickrendell4300]

Also a sample from the film The Abyss is in this tune.i think the samples are fine, have to push the boundaries of music making.

[@MrVallekralle]

thank you for putting so much time and effort into your videos. it really shows and i find them to be really interesting!

[@cl1xor]

This is a case of creative sampling to me. Another aspect to it may be if you're reusing a sample in a totally different genre. For instance i could theoretically sample some d&b atmos stuff and use it in a techno setting. Nowadays it's less of an issue imo because you can use so many greats plugins to filter and mangle so the source is mostly obscured. Then again, so many sample packs and free vst's now that there is not even a need to sample yourself much as well.

[@erroneousbosh]

The "base sound" for that loop sounds like it started life as a clavinet patch. There's definitely some oscillator sync going on there. If I could figure out the notes, I could have a crack at recreating the sound!

[@jasoncoates1835]

That synth patch sounds just like stuff I used to patch up on my OSCar back in the 90s... rare item and unlikely to be the original source, but that sound has always brought me back to the OSCar. (Loved this track when it was new, still do!)

[@notmaya1157]

Don’t know about labelling the man a thief 😂😂 ltj is a legend. Class video mate really enjoyed watching you dissect and go through the samples. ❤

[@notmaya1157]

Also see sleeparchive elephant island and Richie Hawtin tunnel. Richie is one of the god heads of techno and he was at it. If the track is good then so be it I think. Quite a grey area but I will say according to some people.

[@michael_CRC]

@@notmaya1157 and most all the early Sleep Archive stuff sounds like a copy of Mika Vainio (also used in Richies Tunnel).

[@notmaya1157]

@michael_CRC recycled sounds my man. I dont have an issue with it. And as someone said in the comments here. In the 80s and 90s it was fair game. The wild west for sampling as they put it. In this day and age the artists would get sued for it. Needless to say it was a much simpler time back then 😆

[@michael_CRC]

@@notmaya1157 I know, and I do love good sampling like DJ Shadow, Bomb The Bass ect.. There is creative sampling, and then there is this. I love the original, but I really don't have much respect for this one tbh.

[@notmaya1157]

@michael_CRC fair play bro. Costs a pretty penny on discogs this one for the vinyl. I love the track but cant justify spending 150 bucks on the record tbh.

[@danallery8207]

fricking love this tune, I've got it on vinyl but Demons theme part 1 and 2 are even better.Demons theme apparently produced as early as 1991, so possibly the earliest dnb/jungle tune

[@dalek604]

Incidentally, Demons Theme has a chunk of Frequency by Rhythmatic, I think Bukem might have gotten the titles on the EP mixed up because there's a different track on there called Demons.

[@SPEXWISE]

He didn't steal it, it was his remix of Return to Atlantis. It was the B Side from what I remember but I am getting old. If anyone stole anything it was Apollo Two.

[@droidattack3092]

Its fine to sample IMO, 35 years on Im still shocked when I hear an original track that had been ripped and used on one of my favourite dance tunes. Rip and steal as much as you can and expect the same back in return. Great video

[@deedollarkid6173]

Im with you Guy! Think it's totally valid to sample something if it goes through a creative process..... this is very useful, thank you. Love these sounds too. I remember when I was 15/16 getting a tascam 4 track cassette recorder and first ting I did was lay down 4 samples over each other , in no time structure whatsoever but from then, I was addicted! From one jungliest to another, peace and respect!

[@SDVY-Stevie]

Martin Bonds deserves recognition for more or less the entire subtlety that defines Detroit anyway. But he certainly deserves some credit from Bukem and also some cash! Remember when Kanye outright robbed an Aphex track? Sampling as a medium needs a conscience and these days, I think it’s naive to think we can keep taking other peoples creativity and repurposing it for our own ends. Want a cool sound but not sure how to make one? Buy a synth and some patches from someone who wants to sell them.

[@qi_kayon]

Everything’s a remix!!

[@blahfm]

The exact amen that Bukem used in Atlantis is from Dubplate - Wots My Code

[@deepstructure]

So I went to whosampled to see what it lists there - and the Reel by Real sample isn't listed. So I tried to add it and received this message: "Submission Declined Thanks for your submission. However, it was declined since this sample was previously rejected. Please don't let this discourage you, and keep on submitting!" What's that all about?

[@GyuBeats]

weird

[@saftpackerl]

In the comment section of Surkit here on yt martinbonds commented on the synth being used (kawai k4r) but on the question if he got compensation if not credit, he stayed pretty vague. I'm guessing that either some money changed hands from Bukem's label, or the part wasnt written by Martin himself...

[@groovining]

Great video mate! Super in-depth & you got bang on with your examples. I also love sampling but agree that artists do need to be compensated for their work. It's tricky like you said but it certainly takes skill and creative vision to put a legendary track like this together samples or not! ✌

[@KevskyW4]

Personally my fav jungle track of all time - big up LTJ

[@evfdurs]

found this video randomly and thought the breakdown makes this classic banger even more impressive to this day. the layers and everything. so complicated yet flows so smoothly. it is like magic. evokes some different sense of time and life or aliens or sum shit. its great lol

[@sndrcve]

Another note re: sampling- pre internet you had to go find the record you wanted to sample. Whilst I think it places you on a lower stage than the original artist, it certainly wasn’t as lazy as you might think.

[@ezjenken]

As a Detroit Techno Guy myself, (not claiming to be an old head) the DJ scene out here is truly stripped down to an art, and nobody owns the noises bouncing off the concrete walls.

[@Patrick-f8o]

Historians, poets, writers artists, philosophers- have been taking changing using and stealing peoples ideas from the test of time 💯❤️🙏

[@Clone.76]

Stanton Warriors track- "Who are the Warriors" took this sample, on a whole another level in their track also!

[@fischek]

brilliant content, the best vid I've seen in a long time - I could watch these kinds of analyses all day...

[@vibez_kru01]

Yeah, personally, I’m in favour of sampling. I love breaks and beats especially when they’re used creatively. I grew up in the sampling era of early hip-hop in the 80’s, and for me, that (sampling) was the draw. Being a DJ I’ve always been more interested in beats and production. I’m not as focussed on MC’s and lyrics, but I can appreciate a good MC/lyricist. I just love the way samples drums and breaks can be re textured, chopped, reversed, pitched up/down… there’s so much you can do with them, and so many places you can take them from, it’s virtually infinite. Also I love when a good producer can take a sound/drums/breaks from a song that you might not be too impressed with in its original form, but then the sample is used in such a dope way, you appreciate the original! 😂 I say go for it. I get the whole thing about sampling being theft, but I’ve always seen it as being a way of showing how you’ve been inspired by whatever you’re sampling, and if you use a sample well, you might just revive interest in an obscure band/group/artist.

[@beautifulcaramelman]

Please do cosmic interlude by LTJ next.

[@aksen303]

had a loooong day at work, and that mitsubishi joke made me choke with laughter. needed that.

[@GyuBeats]

Mate, you're the first person to mention it!! So glad that someone got it! :D

[@RunOfTheHind]

Hardcore sampled whole sections from earlier tracks and used them, sometimes as the main basis for the new track. Off the top of my head SL2's DJs Take Control sampled Let The Music (Use You) by the Night Writers. It was part of the culture. LTJ Bukem came in at the end of hardcore and pioneered D'n'B from there, so, by extension, he took that aspect of the culture with him. And this was '93 when hardcore was, just about, still a thing. So no issue there. It was D'n'B's peak years of '96 - '99 that samples were mostly abandoned (everyone was SICK of Amen by then for one, lolololololol) and everything went clownstep drums and JV synths.

[@ItsPainnz]

he will always have those window spectacles

[@damo5791]

Great video and great to see you back breaking down these tracks. Always look forward to them.

[@GyuBeats]

Thank you mate :)

[@jesselawrance7952]

So cool going on a deep dive of one of my favourite tunes!!! 👌

[@manwiththeplan4130]

Keep up the good work . Inspirational video ❤

[@gordongate]

i think the "gotta have" is sliced from Dinah Washington, Is You Is Or Is You Ain't My Baby

[@ueberlicht_]

Saw Bukem often live. Best of it´s kind.

[@GavinLittleEcholab]

Fascinating post! The Surkit intro sounded to me link a Casio CZ - which I think the producer mentioned - I've just tried to recreate it but there is a 2nd sound that I think is another synth playing the more nasal-y short chords that pop in/out of the melody - my guess is they layered a CZ and possibly a DX. I've made a VERY rough sketch and posted it on your Gearspace thread...

[@saren6538]

Wtf bukem is a legend and your putting a thumbnail like that about him

[@louk2439]

Always thought the orig synth was a funky 'guitar' patch off a jv1080 or something with some glide/portamento

[@dalek604]

The early 90's was the wild west in regards to sampling, especially for rave, although hop had just got stung, rave did exist in the US but wasn't that big in the compared Europe back then, so alot of samples would of slid under the radar. In regards to Martin Bonds, I suspect he would have been aware of the sample, and if it was anything like what happened when PFM sampled Aphex, he might have got a cheque in the post.

[@GyuBeats]

I hope so

[@OffworldRecords]

I'm pretty sure the intro sample at 0:40 is from the start of Denise Williams 'Free' (with Earth Wind & Fire on backing duties)

[@GyuBeats]

Ah nice one! I can't find the sample in there but sounds like a fantastic tune! Thanks for pointing me to it :)

[@eyesintheskies]

I agree sampling is an art & often look at my vinyl and wish it was fair game without a legal team behind me. I feel the main magic is the art of sample selecting chops & juxtaposition, also the fact asides from the lovely vinyl crackle your getting sounds that have been recorded in a fancy studio with fancy mics and top equipment. Once upon a time you had to dig for your sample not just click and download. Same goes for djs once upon a time you had to be committed to your genre, years of trawling the crates and buying your records. Now a kid just downloads his set in an evening & sticks it on a usb. But hay there’s new ways to get creative and it’s much cheaper to get in to production at home these days, with software far more advanced than the pros used back then.

[@MrMWhitham]

As always great content. As for sampling. There is such a wealth of classic tracks that were all born from samples how could you possibly deny it as an art from in it's own right.

[@GyuBeats]

100%!

[@chrisbarnett5303]

LTJ Bukem is a musical genius.

[@yokelectronic]

Such a great chanel. And you've even inspired me to use more classic samples 😉

[@ThomasParkin-h7x]

Sorry that is just sampling, everything from an amen break has that, this tune remains absolutely on its own in class, production and genre BIG UP BUKEM

[@Unders]

Top tier video mate!

[@GyuBeats]

Thanks!