Hip hop production

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Hip hop producer and rapper RZA in a music studio with two collaborators. Pictured in the foreground is a synthesizer keyboard and a number of vinyl records; both of these items are key tools that producers and DJs use to create hip hop beats. Hip Hop producer and rapper RZA - Robert Fitzgerald Diggs (2).jpg
Hip hop producer and rapper RZA in a music studio with two collaborators. Pictured in the foreground is a synthesizer keyboard and a number of vinyl records; both of these items are key tools that producers and DJs use to create hip hop beats.

Hip hop production is the creation of hip hop music in a recording studio. While the term encompasses all aspects of hip hop music creation, including recording the rapping of an MC, a turntablist or DJ providing a beat, playing samples and "scratching" using record players and the creation of a rhythmic backing track, using a drum machine or sequencer, it is most commonly used to refer to recording the instrumental, non-lyrical and non-vocal aspects of hip hop.

Hip hop music music genre consisting of a stylized rhythmic music that commonly accompanies rapping

Hip hop music, also called hip-hop or rap music, is a music genre developed in the United States by inner-city African Americans and Latino Americans in the Bronx borough of New York City in the 1970s. It consists of a stylized rhythmic music that commonly accompanies rapping, a rhythmic and rhyming speech that is chanted. It developed as part of hip hop culture, a subculture defined by four key stylistic elements: MCing/rapping, DJing/scratching with turntables, break dancing, and graffiti writing. Other elements include sampling beats or bass lines from records, and rhythmic beatboxing. While often used to refer solely to rapping, "hip hop" more properly denotes the practice of the entire subculture. The term hip hop music is sometimes used synonymously with the term rap music, though rapping is not a required component of hip hop music; the genre may also incorporate other elements of hip hop culture, including DJing, turntablism, scratching, beatboxing, and instrumental tracks.

Recording studio facility for sound recording

A recording studio is a specialized facility for sound recording, mixing, and audio production of instrumental or vocal musical performances, spoken words, and other sounds. They range in size from a small in-home project studio large enough to record a single singer-guitarist, to a large building with space for a full orchestra of 100 or more musicians. Ideally both the recording and monitoring spaces are specially designed by an acoustician or audio engineer to achieve optimum acoustic properties.

Rapping vocal technique used with spoken or chanted rhyming lyrics

Rapping is a musical form of vocal delivery that incorporates "rhyme, rhythmic speech, and street vernacular", which is performed or chanted in a variety of ways, usually over a backing beat or musical accompaniment. The components of rap include "content", "flow", and "delivery". Rap differs from spoken-word poetry in that rap is usually performed in time to an instrumental track. Rap is often associated with, and is a primary ingredient of hip-hop music, but the origins of the phenomenon predate hip-hop culture. The earliest precursor to the modern rap is the West African griot tradition, in which "oral historians", or "praise-singers", would disseminate oral traditions and genealogies, or use their formidable rhetorical techniques for gossip or to "praise or critique individuals." Griot traditions connect to rap along a lineage of Black verbal reverence that goes back to ancient Egyptian practices, through James Brown interacting with the crowd and the band between songs, to Muhammad Ali's quick-witted verbal taunts and the palpitating poems of the Last Poets. Therefore, rap lyrics and music are part of the "Black rhetorical continuum", and aim to reuse elements of past traditions while expanding upon them through "creative use of language and rhetorical styles and strategies. The person credited with originating the style of "delivering rhymes over extensive music", that would become known as rap, was Anthony "DJ Hollywood" Holloway from Harlem, New York.

Contents

Music Production

Hip Hop Producers [1] [2] [3] [4] credited as the record producer and songwriter, are Hybrid Producers that wears two or more hats, meaning composing the musical track and creative directors involved in guiding and supervision of recording sessions. This can range from a single song to a full-length album or EP.

Record producer Individual who oversees and manages the recording of an artists music

A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has many, varying roles during the recording process. They may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements.

A songwriter is a professional that writes lyrics and composes musical compositions for songs. A songwriter can also be called a composer, although the latter term tends to be used mainly for individuals from the classical music genre and film scoring, but is also associated writing and composing the original musical composition or musical bed. A songwriter that writes the lyrics/words are referred to as lyricist. The pressure from the music industry to produce popular hits means that songwriting is often an activity for which the tasks are distributed between a number of people. For example, a songwriter who excels at writing lyrics might be paired with a songwriter with the task of creating original melodies. Pop songs may be written by group members from the band or by staff writers – songwriters directly employed by music publishers. Some songwriters serve as their own music publishers, while others have outside publishers.

A hip hop instrumental is colloquially referred to as a beat or musical composition and its composer is referred to as a programmer, songwriter or beat maker. In the studio, a hip hop producer often functions as a both the composer that composes the musical track and traditional record producer, as the ochestrator like P. Diddy being the person who is ultimately responsible for the final sound of a recording, for guiding the artists and performers and giving advice to the audio engineer on the selection of microphones and effects processors and on how to mix the levels of the vocals and instrumentals. Since Hip hop producers are Hybrid Producers, they are known as Record Producer / Songwriters, that's wearing two hats as the likes of Pharrell Williams, J.R. Rotem, Tricky Stewart, Teddy Riley, Bryan-Michael Cox, Rodney Jerkins, Dr. Dre, Scott Storch , Timbaland etc.

Composer person who creates music, either by musical notation or oral tradition

A composer is a musician who is an author of music in any form, including vocal music, instrumental music, electronic music, and music which combines multiple forms. A composer may create music in any music genre, including, for example, classical music, musical theatre, blues, folk music, jazz, and popular music. Composers often express their works in a written musical score using musical notation.

Audio engineer engineer who operates recording, mixing, sound reproduction equipment

An audio engineer helps to produce a recording or a live performance, balancing and adjusting sound sources using equalization and audio effects, mixing, reproduction, and reinforcement of sound. Audio engineers work on the "...technical aspect of recording—the placing of microphones, pre-amp knobs, the setting of levels. The physical recording of any project is done by an engineer ... the nuts and bolts." It's a creative hobby and profession where musical instruments and technology are used to produce sound for film, radio, television, music, and video games. Audio engineers also set up, sound check and do live sound mixing using a mixing console and a sound reinforcement system for music concerts, theatre, sports games and corporate events.

Microphone Device that converts sound into an electrical signal

A microphone, colloquially named mic or mike, is a device – a transducer – that converts sound into an electrical signal. Microphones are used in many applications such as telephones, hearing aids, public address systems for concert halls and public events, motion picture production, live and recorded audio engineering, sound recording, two-way radios, megaphones, radio and television broadcasting, and in computers for recording voice, speech recognition, VoIP, and for non-acoustic purposes such as ultrasonic sensors or knock sensors.

Producer tags

Modern producers commonly use producer tags [5] , also known as audio tags, musical tags or simply tags. They function as a watermark for producers and beatmakers to make sure that they are given credit. These can range from producers (or artists that they work with) reciting the producer's name or stage name to a phrase unique to them. An example of the former is when Drake starts his song "In My Feelings" with the lyric "Trap, TrapMoneyBenny", shouting out one of the song's co-producers. An example of the latter is Metro Boomin's "[ sic ] Metro Boomin want some more, nigga!" which comes from a sample of Young Thug on his track "Some More" in which he shouts out Boomin, who co-produced the song along with Sonny Digital and TM88. Producers and beatmakers often times utilize a number of tags in order to personalize the track. A prime example is producer CAB's variation between "CAB you're crazy for this", "CAB!", and "Yo, it's Charlot". These originate from hip-hop record producers shouting their name over a track before it started, and eventually vocal processing became involved, resulting in tags that sound like part of the song, and eventually in artists shouting the producer's name rather than producers doing so themselves.

Watermark faint image or device in paper that appears as various shades of lightness/darkness when viewed by transmitted light

A watermark is an identifying image or pattern in paper that appears as various shades of lightness/darkness when viewed by transmitted light, caused by thickness or density variations in the paper. Watermarks have been used on postage stamps, currency, and other government documents to discourage counterfeiting. There are two main ways of producing watermarks in paper; the dandy roll process, and the more complex cylinder mould process.

Drake (musician) Canadian rapper, singer-songwriter and actor from Ontario

Aubrey Drake Graham is a Canadian rapper, singer, songwriter, record producer, actor, and entrepreneur. As an entrepreneur, Drake has founded the OVO Sound record label with longtime collaborator 40. Drake gained recognition as an actor on the teen drama television series Degrassi: The Next Generation in the early 2000s. Intent on pursuing a career in music, he left the series in 2007 after releasing his debut mixtape, Room for Improvement. He released two further independent projects, Comeback Season and So Far Gone, before signing to Lil Wayne's Young Money Entertainment in June 2009.

"In My Feelings" is a song by Canadian musician Drake from his fifth studio album Scorpion (2018). It was released to rhythmic and contemporary hit radio on July 10, 2018, as the album's fifth single. The song features additional vocals by the City Girls, though they are not credited on the official version. The song topped the Billboard Hot 100 chart for ten weeks and broke several records.

History

1980s

The Roland TR-808 drum machine was introduced in 1980, and consisted on an analog machine with step programming method. The 808 was heavily used by Afrika Bambaataa, who released "Planet Rock" in 1982, in addition to the electro hip hip groundbreaking classic "Nunk" by Warp 9, produced by Lotti Golden and Richard Scher, giving rise to the fledgling Electro genre. An especially notable artist is the genre's own pioneer Juan Atkins who released what is generally accepted as the first American techno record, "Clear" in 1984 (later sampled by Missy Elliott). These early electro records laid down the foundations that later Detroit techno artists such as Derrick May built upon. In 1983, Run-DMC recorded "It's Like That" and "Sucker MC's," two songs which relied completely on synthetic sounds, in this case via an Oberheim DMX drum machine, ignoring samples entirely. This approach was much like early songs by Bambaataa and the Furious Five.

Roland TR-808 Drum machine

The Roland TR-808 Rhythm Composer, commonly known as the 808, is a drum machine manufactured by the Roland Corporation between 1980 and 1983. It was one of the first drum machines to allow users to program rhythms instead of using preset patterns. Unlike its nearest competitor at the time, the more expensive Linn LM-1, the 808 generates sounds using analog synthesis rather than playing samples.

Afrika Bambaataa American DJ, record producer and activist

Afrika Bambaataa is an American disc jockey, rapper, songwriter and producer from the South Bronx, New York. He is notable for releasing a series of genre-defining electro tracks in the 1980s that influenced the development of hip hop culture. Afrika Bambaataa is one of the originators of breakbeat DJing and is respectfully known as "The Godfather" and "Amen Ra of Hip Hop Kulture", as well as the father of electro-funk. Through his co-opting of the street gang the Black Spades into the music and culture-oriented Universal Zulu Nation, he has helped spread hip hop culture throughout the world. On May 6, 2016, Bambaataa left his position as head of The Zulu Nation due to multiple child sexual abuse allegations dating as far back as the 1970s.

Planet Rock (song) 1982 single by Afrika Bambaataa and Soulsonic Force

"Planet Rock" is a 1982 song by Afrika Bambaataa & the Soulsonic Force. The song featured Marvella Murray, Yvette Murray, Melissa Johnson and Sandra Wheeler on additional background vocals. Although it was primarily an underground hit in the United States, Canada, and UK, it helped change the foundations of hip hop and dance music and became one of the most influential pieces and a milestone and eventually an icon of the hip hop, breakdance and electronic music cultures. It is credited with pioneering the genre and developing the electro style, building on the work of Kraftwerk, Yellow Magic Orchestra, and George Clinton, combined with distinctive Roland TR-808 beats, and helped pave the way for other genres such as techno, house and trance. In November 2004, "Planet Rock" placed at number 240 on Rolling Stone's list of the 500 Greatest Songs of All Time and number 10 in About.com's Top 100 Rap Songs. "Planet Rock" peaked at number four on the soul chart and number forty-eight on the Hot 100, and went to number three on the dance charts.

Kurtis Blow was the first hip hop artist to use a digital sampler, when he used the Fairlight CMI for their 1984 album "Ego Trip", specially on the track "AJ Scratch". The E-mu SP-12 came out in 1985, capable of 2.5 seconds of recording time. The E-mu SP-1200 promptly followed (1987) with an expanded recording time of 10 seconds, divided on 4 banks. One of the earliest songs to contain a drum loop or break was "Rhymin and Stealin" by the Beastie Boys, produced by Rick Rubin. Marley Marl also popularized a style of restructuring drum loops by sampling individual drums, in the mid 1980s, a technique which was popularized by the MC Shan's 1986 single "The Bridge" which used chops of "Impeach the President" on two Korg Delay/sampling triggered by a Roland TR-808. The Akai MPC60 came out in 1988, capable of 12 seconds of sampling time. The Beastie Boys released Paul's Boutique in 1989, an entire album created completely from an eclectic mix of samples, produced by the Dust Brothers using an Emax sampler. De La Soul also released 3 Feet High and Rising that year.

Kurtis Blow American rapper

Kurtis Walker, professionally known by his stage name Kurtis Blow, is an American rapper, singer, songwriter, record/film producer, b-boy, DJ, public speaker and minister. He is the first commercially successful rapper and the first to sign with a major record label. "The Breaks", a single from his 1980 self-titled debut album, is the first certified gold record rap song for Hip Hop. Throughout his career he has released 15 albums and is currently an ordained minister.

Fairlight CMI digital sampling synthesizer

The Fairlight CMI is a digital synthesizer, sampler and digital audio workstation introduced in 1979 by Fairlight. It was based on a commercial licence of the Qasar M8 developed by Tony Furse of Creative Strategies in Sydney, Australia. It was one of the earliest music workstations with an embedded digital sampling synthesizer. It rose to prominence in the early 1980s and competed with the Synclavier from New England Digital.

E-mu SP-1200

E-mu SP-1200 is a sampler that was released in August 1987 by E-mu Systems.

1990s-present

Public Enemy's Bomb Squad revolutionized the sound of hip-hop with dense production styles, combining tens of samples per song, often combining percussion breaks with a drum machine. Their beats were much more structured than the early more minimal and repetitive beats. The MPC3000 was released in 1994, the AKAI MPC2000 in 1997, followed by the MPC2000XL in 1999 [7] and the MPC2500 in 2006. These machines combined a sampling drum machine with an onboard MIDI sequencer and became the centerpiece of many hip hop producers' studios. The Wu Tang Clan's producer RZA is often credited for getting hip hop attention away from Dr. Dre's more polished sound in 1993. RZA's more gritty sound with low rumbling bass, sharp snare drum sounds and unique sampling style based on Ensoniq sampler. With the 1994 release of The Notorious B.I.G.'s Ready to Die, Sean Combs and his assistant producers ushered in a new style where entire sections of records were sampled, instead of short snippets.

Records like "Warning" (Isaac Hayes's "Walk On By"), and "One More Chance (Remix)" (Debarge's "Stay With Me") epitomized this aesthetic. In the early 2000s, Roc-a-Fella in-house producer Kanye West made the "chipmunk" technique popular. This had been first used by 1980s electro hip-hop group Newcleus with such songs as "Jam on It". This technique involves speeding up a vocal sample, and its corresponding instrumental loop, to the point where the vocal sounds high-pitched. The result is a vocal sample that sounds similar to the singing of the popular cartoon singing animals "Alvin and the Chipmunks". West adopted this style from J Dilla and the Wu-Tang Clan's RZA, who in turn was influenced by Prince Paul, the pioneer of the style of speeding up and looping vocal samples to achieve the "chipmunk" sound. Kanye West has used the "chipmunk" effect in many of his songs, and has been used in many other artists' music in the 2010s.

Elements

Drum beat

The drum beat is a core element of hip hop production. While some beats are sampled, others are created by drum machines. The most widely used drum machine is the analog Roland TR-808, which has remained a mainstay for decades. [8] Digital samplers, such as the E-mu SP-12 and SP-1200, and the Akai MPC series, have also been used to sample drum beats. Others yet are a hybrid of the two techniques, sampled parts of drum machine beats that are arranged in original patterns altogether. The Akai MPC series [9] and Ensoniq ASR-10 are mainstays for sampling beats, particularly by The Neptunes. Some beat makers and record producers are sound designers that create their own electronic drum kit sounds, such as Dr. Dre, Timbaland, DJ Paul & Juicy J, Swizz Beatz, Kanye West and The Neptunes. Some drum machine sounds, such as the 1980s-era TR-808 cowbell, remain as historical elements of hip hop lore that continue to be used in 2010s-era hip hop.

Sampling

Sampling is using a segment of another's musical recording as part of one's own recording. [11] It has been integral to hip hop production since its inception. In hip-hop, the term describes a technique of splicing out or copying sections of other songs and rearranging or reworking these sections into cohesive musical patterns, or "loops." This technique was first fully explored in 1982 by Afrika Bambaata, on the Soulsonic Force tape Planet Rock , which sampled parts of dance act Kraftwerk and experienced vast public acclaim. [12] This was followed up on in 1986: then- Def Jam producer Rick Rubin used Black Sabbath and Led Zeppelin loops in creating the Beastie Boys' debut Licensed to Ill , [13] and the following year rap duo Eric B. & Rakim popularized James Brown samples with their album Paid in Full . [14]

The technique took a bi-coastal turn when discovered by a young Dr. Dre, whose first gig was the DJ of Afrika Bambaata-esque electrofunk group, the World Class Wreckin' Cru. In 1988, Dre began his use of sampling in hip-hop when he produced the N.W.A album Straight Outta Compton , a landmark in the genre of gangsta rap. [15] In 1989, Jazz-sampling pioneers Gang Starr followed in 1991 by Pete Rock & CL Smooth and A Tribe Called Quest both appeared on the scene, popularizing their brand, [16] [17] and sampling took on a full role in hip-hop, spreading to prominence in high-profile projects like the Wu-Tang Clan's Enter the Wu-Tang: 36 Chambers , [18] Dr. Dre's The Chronic , [19] Nas' Illmatic [20] and Notorious B.I.G.'s Ready to Die . [21]

In the 2000s, sampling began to reach an all-time high; Jay-Z's album The Blueprint helped put producers Kanye West and Just Blaze on the map for their sampling of soul records. [22] Kanye West himself scored early hits with "Through the Wire" and "Jesus Walks." His 2004 album, The College Dropout , included two sampled hits featuring Twista which led to the Chicago rapper's Kamikaze selling platinum. On September 7, 2004, however, a U.S. Court of Appeals in Nashville changed the nature of musical copyright infringement by ruling that a license is needed in every case of sampling, where previously a small portion of the song could be copied without repercussion. [23] The law immediately began rarefying samples in hip-hop; in a 2005 interview with Scratch magazine, Dr. Dre announced he was moving more toward instrumentation, [24] and in 2006 The Notorious B.I.G.'s 1994 debut album Ready to Die was temporarily pulled from shelves for a retroactive sample clearance issue. [25] As a result, more major producers and artists have moved further away from sampling and toward live instrumentation, such as Wu-Tang's RZA [26] and Mos Def. [27]

Samplers

Because hip hop production revolves around sampling, a sampler/sequencer combination device such as Akai's MPC line of grooveboxes usually forms the centerpiece of a hip hop production studio. Although mostly replaced by Digital Audio Workstations (DAWs) by today, classics like the E-mu Systems SP-1200, Akai MPC60, Akai MPC3000 or Ensoniq ASR-10 still see use today due to their workflow and sound characteristics.

Turntables

The most widely used turntables in hip hop are Panasonic's Technics series. They were the first direct-drive turntables, [28] which eliminated belts, and instead employed a motor to directly drive the platter on which a vinyl record rests. [29] The Technics SL-1100 was adopted by early hip hop artists in the 1970s, due to its strong motor, durability and fidelity. [29] A forefather of turntablism was DJ Kool Herc, an immigrant from Jamaica to New York City. [28] He introduced turntable techniques from Jamaican dub music, [30] while developing new techniques made possible by the direct-drive turntable technology of the Technics SL-1100, which he used for the first sound system he set up after emigrating to New York in the 1970s. [28] The signature technique he developed was playing two copies of the same record on two turntables in alternation to extend the b-dancers' favorite section, [30] switching back and forth between the two to loop the breaks to a rhythmic beat. [28]

The most influential turntable was the Technics SL-1200. [31] It was adopted by New York City hip hop DJs such as Grand Wizard Theodore and Afrika Bambaataa in the 1970s. As they experimented with the SL-1200 decks, they developed scratching techniques when they found that the motor would continue to spin at the correct RPM even if the DJ wiggled the record back and forth on the platter. [31] Since then, turntablism spread widely in hip hop culture, and the SL-1200 remained the most widely used turntable in DJ culture for the next several decades. [29] [31]

Synthesizers

Synthesizers are used often in hip hop production. They are used for melodies, basslines, as percussive "stabs", for chords and for sound synthesis, to create new sound textures. The use of synthesizers was popularized by Dr. Dre during the G-funk era. In the 2000s, Jim Jonsin, Cool and Dre, Lil Jon, Scott Storch, and Neptunes continue to use synths. Often in low-budget studio environments or recording rooms constrained by space limitations, the composer would use virtual instruments instead of hardware synthesizers. In the 2010s, virtual instruments are becoming more common in high-budget studio environments.

Recording

In hip hop, a multi-track recorder is standard for recording. The Portastudio cassette recorder was the law in the in-house recording studios in the 1980s. Digital ADAT tape recorders became standard during the 1990s, but have been largely replaced by Digital Audio Workstations or DAWs such as Apple's Logic, Avid's Pro Tools and Steinberg's Nuendo and Cubase. DAW's allow for more intricate editing and unlimited track counts, as well as built-in effects. This allows songwriters and composer's to create music without the expense of a large commercial studio.

Vocal recording

Generally, professional producers opt for a condenser microphone for studio recording, [32] [33] mostly due to their wide-range response and high quality. A primary alternative to the expensive condenser microphone is the dynamic microphone, used more often in live performances due to its durability. The major disadvantages of condenser microphones are their expense and fragility. Also, most condenser microphones require phantom power, unlike dynamic microphones. Conversely, the disadvantages of dynamic microphones are they do not generally possess the wide spectrum of condenser microphones and their frequency response is not as uniform. Many hip-hop producers typically used the Neumann U-87 for recording vocals which imparts a glassy "sheen" especially on female vocals. But today, many producers in this musical genre use the Sony C-800 tube microphone, vintage microphones, and high-end ribbon microphones tuned for flattering, "big" vocal expression. It should also be noted that many classic hip-hop songs were recorded with the most basic of equipment. In many cases this contributes to its raw sound quality, and charm.

Digital audio workstations

DAWs and software sequencers are used in modern hip hop production for the composer as software production products are cheaper, easier to expand, and require less room to run than their hardware counterparts. The success of these DAWs generated a flood of new semi-professional beat makers, who license their beats or instrumentals [34] preferably on digital marketplaces [35] to rap artists from all around the world and caused the creation of a new niche market. Some Beat makers oppose complete reliance on DAWs and software, citing lower overall quality, lack of effort, and lack of identity in computer-generated beats. Sequencing software often comes under criticism from purist listeners and traditional producer as producing sounds that are flat, overly clean, and overly compressed.

Popular DAWs include the following:

Live instrumentation

Live instrumentation is not as widespread in hip hop, but is used by a number of acts and is prominent in hip hop-based fusion genres such as rapcore. Before samplers and synthesizers became prominent parts of hip hop production, early hip hop hits such as "Rapper's Delight" (The Sugarhill Gang) and "The Breaks" (Kurtis Blow) were recorded with live studio bands. During the 1980s, Stetsasonic was a pioneering example of a live hip hop band. Hip hop with live instrumentation regained prominence during the late-1990s and early 2000s with the work of The Goats, The Coup, The Roots, Mello-D and the Rados, Common, DJ Quik, UGK and OutKast, among others. In recent years, The Robert Glasper Experiment has explored live instrumentation with an emphasis on the instrumental and improvisational aspect of hip hop with rappers such as Mos Def, Talib Kweli, Q-Tip, and Common as well as neo-soul singer Bilal Oliver.

The Drummers of Hip-Hop

Throughout history the drum set has taken numerous identities. It is the instrument that makes jazz "swing" and rock 'n' roll "rock." With a new age of pop music on the rise within the past decade, it is easy to assume the drum set has been replaced by electronic sounds produced by an engineer. In reality, the drum set is the reason behind the production of these electronic beats, and live drummers contribute to modern day hip-hop much more than what meets the ear.

An example of a drummer recording on a hip-hop record is Kendrick Lamar's album titled To Pimp A Butterfly which was released in 2015. Robert Sput Searight, drummer of Snarky Puppy, performed on the track's titled "For Free" and "Hood Politics." The non-musician may find the use of a live drummer on a hip-hop recording unnoticeable, however, these musicians should receive credit for their work. The list below names some of the most influential drummers of the hip-hop genre.

Hip-Hop Drummers

Drum kit illustration.png

[36] [37] [38] [39] [40] [41]

Instrumental hip hop

Instrumental hip hop is hip hop music without vocals. Hip hop as a general rule consists of two elements: an instrumental track (the "beat") and a vocal track (the "rap"). The artist who crafts the beat is the producer (or beatmaker), and the one who crafts the rap is the MC (emcee). In this format, the rap is almost always the primary focus of the song, providing most of the complexity and variation over a fairly repetitive beat. Instrumental hip hop is hip hop music without an emcee rapping. This format gives the producer the flexibility to create more complex, richly detailed and varied instrumentals. Songs of this genre may wander off in different musical directions and explore various subgenres, because the instruments do not have to supply a steady beat for an MC. Although producers have made and released hip hop beats without MCs since hip hop's inception, those records rarely became well-known. Jazz keyboardist/composer Herbie Hancock and bassist/producer Bill Laswell's electro-inspired collaborations are notable exceptions. 1983's Future Shock album and hit single "Rockit" featured turntablist Grand Mixer D.ST, the first use of turntables in jazz fusion, and gave the turntablism and record "scratching" widespread exposure. The Mix-Up is the seventh studio album by the Beastie Boys, released in 2007. The album consists entirely of instrumental performances and won a Grammy Award in 2008 for Best Pop Instrumental Album.

The release of DJ Shadow's debut album Endtroducing..... in 1996 saw the beginnings of a movement in instrumental hip hop. Relying mainly on a combination of sampled funk, hip hop and film score, DJ Shadow's innovative sample arrangements influenced many producers and musicians.

In the 2000s and 2010s, artists such as RJD2, J Dilla, Pete Rock, Large Professor, MF Doom, Danny!, Nujabes, Madlib, Wax Tailor, Denver Kajanga, DJ Krush, Hermitude, and Blockhead have garnered critical attention with instrumental hip hop albums. Due to the current state of copyright law, most instrumental hip-hop releases are released on small, independent labels. Producers often have difficulty obtaining clearance for the many samples found throughout their work, and labels such as Stones Throw are fraught with legal problems. [ citation needed ]

See also

Notes

  1. "DJ Khaled explains the difference between a beatmaker and a record producer". TotemStar. 8 April 2018. Retrieved 24 September 2018.
  2. "Apollo Brown on the difference between a beatmaker and a producer". The Source . 19 September 2017. Retrieved 24 September 2018.
  3. "MUSIC INDUSTRY 101: What Is A Beat Maker vs. Producer?". indiehiphop . 19 September 2017. Retrieved 24 September 2018.
  4. "Writing Tracks First". thesingersworkshop. 8 April 2018. Retrieved 8 October 2018.
  5. Green, Dylan "CineMasai". "The Mythology & Art of the Musical Tag". DJBooth. Retrieved 2018-12-25.
  6. Ross (2010), p. 60.
  7. Vintage Synth Explorer. "Akai MPC2000 / MPC2000 XL – Vintage Synth Explorer" . Retrieved 9 July 2015.
  8. Norris, Chris (13 August 2015). "The 808 Heard Round the World". The New Yorker. Retrieved 16 January 2017.
  9. https://www.engadget.com/2017/01/22/akai-mpc-live-mpc-x/
  10. New Essays on the African American Novel (2008), p. 207.
  11. "Sample – Definition and More". Merriam-Webster. Retrieved 2012-04-04.
  12. Marisa Brown. "Planet Rock: The Album", AllMusic.com. R 27616.
  13. Stephen Thomas Erlewine. "Licensed to Ill", AllMusic.
  14. Steve Huey. "Paid in Full", AllMusic.
  15. Steve Huey. "Straight Outta Compton [Clean]", AllMusic.
  16. Stanton Swihart. "All Souled Out", AllMusic.
  17. John Bush. "The Low End Theory", AllMusic.
  18. Steven Leckart, 10.23.07. "Wu-Tang Clan's RZA Breaks Down His Kung Fu Samples by Film and Song", WIRED MAGAZINE: ISSUE 15.11.
  19. [Ethan Brown, (2005). Straight Outta Hollis, Queens Reigns Supreme: Fat Cat, 50 Cent, and the Rise of the Hip Hop Hustler. Anchor. ISBN   1-4000-9523-9. "[Unlike] popular hip-hop producers like the Bomb Squad, Dre instead utilized a single sample to drive a song."]
  20. Dan Love, Feb 11, 2008. "Deconstructing Illmatic" Archived 2009-03-25 at the Wayback Machine , Oh Word Collection.
  21. XXL staff, Thursday Mar 9 10:28 AM CST. "The Making of Ready to Die:Family Business", XXL MAGAZINE.
  22. Gale: Black History Month.
  23. 9/10/2004 8:57:27 PM, foxxylady. "CAN HIP HOP LIVE WITHOUT SAMPLING?", SixShot.com.
  24. Dec 5 2005, 05:04 PM. "DR. DRE INTERVIEW FROM SCRATCH MAGAZINE", Music Industry Online.
  25. Dave, 3/19/2006 9:10:26 AM. "Hip-Hop News: Late Rapper Has Album Pulled Over Copyright Infringement", Rap News Network.
  26. Morgan Steiker, July 29, 2008. "RZA: Interview", Prefixmag.com.
  27. Hillary Crosley N.Y., May 30, 2008. "Mos Def Hits The Studio With Mr. DJ ", Billboard.
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