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It’s like finding a Blue Mauritius [a prize amongst philatelists].We’re all nerds in here.” Surely, sample sourcers have always been minutiae-obsessed, and whether the pursuit is more or less arcane today than it was 15 years ago, for Heinke and his ilk, as long as producers continue to sample, they’ll continue sleuthing.
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Except, it turns out, the source of that bass line wasn’t a bass line at all, one reason the sample eluded discovery.
The longer “Shook Ones Part II” kept its secrets, the more it became a holy grail for sample seekers, complete with debated theories and false leads.
In solving this cold case, Bronco (born Timon Heinke) and his revelation harkens to a seemingly bygone era of competitive sampling and sourcing.
In the late 1980s, as affordable digital samplers such as E-mu’s SP-1200 and Akai’s MPC-60 entered the market, beatmakers discovered the creative potential of looping and manipulating bits and pieces of music from other artists’ recordings, called “samples,” to build new songs.
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“You can find both the information and the recording online, so you can satisfy that urge without buying the record or even working very hard,” says Schloss, adding, “ironically, it almost seems that what we miss in retrospect is the work itself, rather than the rewards.” Sometimes “the work” comes through chance.
Heinke cracked the code of “Shook Ones Part II” while listening to “Jessica,” a 1969 recording by Herbie Hancock.
This may seem like insider hip-hop baseball — and it is — but within the subculture of sample sleuths who care about such things, this was a Really Big Deal.