This Sound Kit is inspired by trap/hip-hop producer Lex Luger and contains everything you need to make catchy trap and hip-hop beats. Expect to find a huge selection of samples and SoundFonts including trunk rattling bass, drums, chants, arps, synths, orchestral hits, whistles, brass hits and much more. Just import the drum sounds into Ableton, FL Studio, ProTools, Logic or any other digital audio workstation to get started on some new beats.Our Lex Luger Drum Kit is a high quality drum sample collection based on the award winning Lex Luger sound. It doesn’t get more authentic than this.
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Just Blaze Making A Beat
I have gotten many requests to do this remake. Im not very good at sampling but i learned quick and i feel that it came out pretty good. Please Sub Me and Rate/ share if you like it.Im this remake I had to chop up the Harry Delafonte - Banana Boat Song (sample). I was bored and decided to go on and do a remake for you guys. This is the Slim Thug Welcome to Houston Remake done in FL Studio 10 Producers Edition.
The sounds that I have used in this remake are Nexus 2.2, Purity Vst, Zaytoven Kit and a couple misc claps and stuff.Please be sure to rate comment and subscribe and share with your friends via twitter or facebook for the FLP File. Thanksfl studio dubstep, fl studio 10, fl studio 9, fl studio beats, fl studio 10 dubstep, fl studio remake, fl studio rap beat, fl studio remix, fl studio rap beat, fl studio rap beat tutorial, fl studio rap, fl studio reggaeton, fl studio rnb, fl studio rock, fl studio vocoder, fl studio violin, fl studio vs ableton, fl studio trance,fl studio techno, fl studio hip hop, fl studio rap, fl studio piano, fl studio melody, fl studio 2011, remakes 2011, fruity loops 2011. Lex Luger Secret Formula for Making Beats is the YouTubevideo I found where he was actually sitting down on hiscomputer making this beat in 15 Minutes. He is a beast atFL Studio.
He started with the cello, and then added the viola.Then the Crash and Orchestra Hits! Once the 808 and kicks came in,I decided that I wanted to Remake this beat so that yall can seeit for yourselves, so here we go.In this remake, I downloaded the Lex Luger Sound Kit.It comes with the Kicks, 808s, snares,open hats, closed hats, raise synth, orchestra hits,orchestra presets etc.
Also you wouldneed to download my favorite vst plugin 'Luxonix Purity'I cant believe that he used it over Hypersonic or Nexusbut i'm not complaining. The sound is under(PRESETS/LEAD SYNTH/FAT DRAKEN 2)Thats the sound that comes in with the mainOrchesta Hits. Its a must have to complete the beat.Please feel free to comment, rate, subscribe,and favoriteif you like this video. Also Please SHARE this with yourfriends on Facebook and twitter.For more, check out my blog above or check out the FL Studioremakes playlist here on YouTube.I also have vsts, soundfonts, and tutorial Playlists also.I GIVE ALL CREDIT TO THE GREAT PRODUCER LEX LUGER!!!I have created this beat with a Fully license copy of flstudio 10 Producers Edition. I own all sounds and own allrights to everything in this video.
Also I can distributethis video in anyway because I have created everything fromscratch. DJ Khaled Im on one FL Studio Remake BEST ONE HEREI remade this beat because my last one didnt have enough FILTER and REVERB in it.
So here it is. The FLP IS AVAILABLE IF YOU SUBSCRIBE AND FAVORITE THIS VIDEO ONLY. I will be checking before i hand out the FLP.FL Studio Remake HD w/ FLP 'fl studio free download' 'vst plugins for fl studio' 'fl studio tutorials' 'how to use fl studio 9' logic protools beat beats hiphop rap music producer tutorial soundfonts soundfont player submix master mastering recording mixing audio production dj khaled drake lil wayne im on one-Soulja Boy - Pretty Boy Swag.
Please Subscribe if you like my video. Also please leave a comment saying anything. Thanks is a great comment to leave. I just want to know how my audience is doing, and also some advice on future videos that I should put up.Thanks for watching my video, dont be shy to check out another video. Lildrezy22Please check out my other videos at the channel above and also if you dont have some of the vsts, every vst i use is available for download. Links are in my vst videos.
Thanks'FL Studio Remakes' FLP Download fruity loops beats lildrezy22. Please Subscribe if you like my video.
Also please leave a comment saying anything. Thanks is a great comment to leave. I just want to know how my audience is doing, and also some advice on future videos that I should put up.Thanks for watching my video, dont be shy to check out another video. Lildrezy22Please check out my other videos at the channel above and also if you dont have some of the vsts, every vst i use is available for download. Links are in my vst videos. Thanks'FL Studio Remakes' FLP Download fruity loops beats lildrezy22. Please Subscribe if you like my video.
Also this is the a re-remake of the great Trunkbangers FLP. Alot is changed. Brass part and added Bassline mid changed. Please leave a comment saying anything. Thanks is a great comment to leave. I just want to know how my audience is doing, and also some advice on future videos that I should put up.Thanks for watching my video, dont be shy to check out another video.
Lildrezy22Please check out my other videos at the channel above and also if you dont have some of the vsts, every vst i use is available for download. Links are in my vst videos.
808 Mafia Free Drum Kit – 2019 UPDATE – Update: You can now download our kit without having to go through Adfly nor sharing the pack on social networks. We also upload some examples of sounds you can get by downloading the pack and add an additional bonus kit.If you’ve been producing music for years, you probably know about 808 Mafia, one of the hottest producer team right now. Therefore, you will be able to download a complete drum kit with more than 440 quality samples including drums, soundfonts, 808s in the style of Lex Luger and Southside.In addition to this kit, you’ll be able to download a free bonus kit with 10 MIDI files and 10 Samples in the style of TM88.Anyway, if you are looking for a complete and versatile drum bank full of modern and sharp sounds, then this 808 Mafia Drum Kit is made for you! Hi Giacomo,Sorry for the delay of my answer.To download this pack, you have to share this post on social media (by clicking on one of the three icon, Facebook, Twitter. Once you have done this first step, a green “Get It For Free” button will appear!
If you have any issues to download this pack you can read the “How to DL” at the end of the post.Concerning your second question, yes it’s compatible with GB. Those samples are in WAV format and you only need to drag and drop the file into your GB timeline.Let me know if you have any issues!Cheers,Arthur.
Sometimes, dreams really do come true. Just ask Lex Luger, the 19-year-old producer who went from making beats in his Milwaukee basement to producing “H.A.M.”—the lead single to Kanye West and Jay-Z’s upcoming collaborative album, Watch The Throne. Luger’s life changed last year when he produced two street anthems: Rick Ross’ “B.M.F. (Blowin’ Money Fast)” and Waka Flocka Flame’s “Hard In Da Paint.” Since then, he’s gone on to produce for Fabolous, Ace Hood, Juicy J, Jim Jones, and Snoop Dogg and he’s quickly become the go-to producer for any rapper in need of a street smash.
We chopped it up with the in-demand producer to talk about his latest banger, Wiz Khalifa’s “Taylor Gang,” his Rubba Band Business mixtape with Juicy J, and why all his beats sound the same. “That particular beat is an old beat.
That’s probably from ‘07, ‘08. I had Wiz’s e-mail because Wiz has always been kind of like an Internet guy. He’s always been all over the Internet, so when he first was really popping I hollered at him.
And then he reached out to me and wanted to do some work with me. I had heard the song about a year ago.
It had leaked out, but no one knew it though. And I guess he remastered it and put it out now. Wiz just got back with me recently and let me know that everybody likes it, and that he want to put it out there. And I was like ‘Yeah, go for it.’ But as far as being in the studio together, we haven’t done anything like that yet. That song is going to be on his album, but it’s going to be the iTunes bonus.
Making Beats Online
I don’t have other songs on his album because his album is so close. But I talked to him, and he said he’d give me at least three beats on the next album.”. “Kanye reached out to me.
He said he and Jay were working on an album, and he told me, ‘Don’t tell nobody.’ Laughs. He told me that he had four good records that he liked, that I had produced, and that he was going to drop one of them for the single. I said ‘Okay, cool.’ This all happened when we were in the studio, in New York, doing ‘See Me Now’ just a few months ago. And what took so long was that I had so many beats that I kept sending them the wrong beat. I couldn’t find it because the name of the beat was ‘Six’ and I had to go through so many folders.
Lex Luger Rapper
If I’m in Virginia or Atlanta, I’ll name the folder that, and then name each beat ‘One,’ ‘Two,’ ‘Three,’ and so forth. And I had like seven folders with ‘Six’ in it, so I would send it, and he would be like, ‘Nah, nah. That’s not the right one.’ And we were doing that through e-mails, so that was complicated. It took me a good three weeks to find it. That opera sound on the beat was Kanye. I liked it because he had built it around the beat I had made.
The beat had a choir, but it was a regular trap, hard choir, going up and down. And what he did was, he built it around that, and made it like 600 people were really in there singing that and playing that.
He put his own Kanye on it. “When Kanye first called me, he said he wanted to fly me out to New York so I flew out a month later. I didn’t want to fly out there at first. It was coming too fast for me, really. How I go from Milwaukee in the basement to Kanye—one of the biggest artists out right now—wanting my sound, wanting me to do his record?
I was scared. But I went down there because it felt like an opportunity. He told me he loved my drums. He said with my drums and his sound, it would go perfectly. And I was ready to do it. But at the same time, I had to work.
I felt like I wasn’t on Kanye’s level. I went back and I worked for about six months, I didn’t talk to Kanye or nothing. I called Gee Robinson because me and him cool, I sent him some stuff, I sent Kanye some more stuff, just going back and forth. Me and Kanye are still working. Maybe I’ll have more songs on Watch The Throne. 'In New York, when I walked in the studio Kanye was playing a bunch of Jimi Hendrix records. Playing them real loud off a record—it wasn’t a CD or something off of the Internet.
So he came in there, and he had listened to three good records, and he told me, ‘I know you’re wondering why I’m doing this. It’s studying music.’ Back then, a story was told in the music. From the instruments to the words to the song, because you could listen to a whole instrumental back then and be satisfied. So he said that’s where he wanted to take his music. I just took that and I was like, ‘Yeah, I want to do that too.’ Because music ain’t supposed to be repetitive, with the same thing over and over. What Kanye does is try to push it to the limit. That’s what I really learned from him: Don’t get stuck in the same sound or the same style.
Always keep going, and keep something new.”. “It is true, in a way. But every interview I do, I try to tell them that it’s a lot more than that ‘B.M.F.’ sound.
When I’m sending out 40 beats a day to one artist, out of those 40 he might pick two just because they sound like ‘B.M.F.’ or ‘Hard In The Paint,’ and he feels like that’s his hit. I think that’s a big problem in music right now. Everybody is like, ‘Oh, he’s hot right now.
I’m going to try and get something that sounds like him.’ And that’s what I feel like a lot of artists did to me because Waka was really the biggest thing at one time. So they wanted that ‘Hard In The Paint’ sound. And I was just the man behind that, so they reached out to me. So when I sent them other types of music, they were like ‘What is this?’ I want ‘B.M.F.’ or ‘Hard In The Paint. Don’t send me this.’ So what I try to do now is, I try and hold the ‘B.M.F.’ and ‘Hard In The Paint’ sound to myself. I won’t send that out. I’ll send the pop music or the R&B out to the major artists so they have to do it.”.
“But certain artists just want ‘Hard In The Paint’ and ‘B.M.F.’ The thing that kills me is it’s the big artists that have five and six albums already out, asking me for what I made a year ago. I was at the airport, someone was calling me, and I didn’t know who it was, so I picked it up like, ‘Yeah, what’s up? This is Lex Luger.’ And they was like, ‘Yeah, this is Chingy.’ I was like, ‘Who? Chingy?’ I couldn’t believe that man.
Laughs. He called me like, ‘I need some beats man. I want to go back in.’ And I wasn’t like, ‘Nah. Chingy, I don’t want to work with you.’ I was like, ‘Alright, cool.’ He was like, ‘I want that ‘Hard In The Paint.’ Give me something just like ‘Hard In The Paint.’’ I was like, ‘Bruh, I can’t do it.’ A lot of people like that call me though. I get that all the time. Busta Rhymes called me the other day.
Sean Garrett said he wanted a hit for the club. They’ll call me and be like, ‘I need that hit to bring me back.’”. “I grew up on Juicy J and I always loved his beats and his sound. He was on WorldStar dropping stuff every other week, he had something going on on the Internet. So I hit him up like, ‘Yo, I love your sound, I grew up on you, and I want to work with you.’ And he told me he loved my sound.
I didn’t even know he knew who I was! So he said, ‘Let’s do a whole mixtape together.’ So I sent him about 30 beats one day, the next day I sent about another 30, and the next day 20.
He called me a week later like, ‘I’m done.’ I was like, ‘Let’s do it. Lex Luger x Juicy J mixtape.’ I figured that’ll keep my name and his name buzzing, it’ll give us both the credibility we both need right now. It’s crazy because everybody that’s influenced me, I’m starting to work with. “I never met Juicy, but we talk on the phone every day. He been in the game a long time and I like to take advice from him. He told me about the way the labels are, the way you should go about starting your own—basically the business part of the music.
I know how to do the music, but I’m only 19 and I can’t do all them numbers, I can’t get through the court and the lawyers. So he really took me through that so I won’t make the mistakes he did. He made the same mistake I did, just being so hungry and going for anything when you’re first coming up and be willing to sign any contract that isn’t all that good. When the label hands you that, that’s good but not in the long run. “When me and Waka first started talking a lot of people was in my ear like, ‘Yeah, I wanna manage you.
You can be under my management.’ And it wasn’t people off the street; it was Spiff of SpiffTV, another guy who manges MIMS, and others. I did certain things and I didn’t do certain things. It’s still certain situations that I’m in right now that I can’t get out right now that I would like to get out of. I can’t venture out and have my own artist, I can’t do that right now because of contracts that I’m in. Really, I want to be my own boss and make my own decisions. But right now, I can move how I want to move, but I can’t really do that without being under such and such because I’m under them.
I’m under Mizay Entertainment and Auntie Deb trying to get me out of those situations. I got two kids, I got a family. That’s why I’m in the position I’m in, I got to get out here and do what I got to do. When you got contracts, court fees, and lawyer fees, that’s the dark side of the music industry, and that’s what Juicy J has been trying to show me. Of course me and Waka are working. Yelawolf’s manager hit me up.
He said Yelawolf likes my sound. He sent me Yela’s ‘B.M.F.’ freestyle and I loved it, but I really wanted to hear what his sound really was. And his sound wasn’t like a regular sound. So I went in and I didn’t make the regular Lex Luger sound.
When I used to make beats, I used to just make beats. But now I treat it like a job. When an artist calls me, I go in with that in my mind. Not their sound. Like if you gotta make some beats for Jeezy, they’ll go make some beats that sound like Jeezy.
I’ll go make the opposite. The stuff I gave Yela was really uptempo, kinda pop-ish, but has that hard club feel. Curren$y hit me up on Twitter, and said he wanted some beats, because he had done a ‘Hard In The Paint’ freestyle. Laughs. The Internet was going crazy with ‘Hard In The Paint’ and ‘B.M.F.’ freestyles, so everyone wanted to join in.
But I ain’t send them the ‘Hard In The Paint’ or the ‘B.M.F.’ sound. Curren$y and Yelawolf, they didn’t want that.
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