Creation of hip hop music in a recording studio
| Parts of this article (those related to
hip hop production in the 21st century
) need to be
updated
.
Please help update this article to reflect recent events or newly available information.
(
October 2019
)
|
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.
Music production
[
edit
]
Hip hop producers may be credited as the record producer or songwriter; they may also supervise recording sessions.
[1]
[2]
[3]
[4]
Hip hop instrumentals are colloquially referred to as beats or musical compositions, while the composer is called either a programmer, songwriter, or beat maker. In the studio, the hip hop producer often functions as both the composer and as a traditional record producer. They are sometimes called Orchestrators.
P. Diddy
is an example of one, but they are ultimately responsible for the final sound of a recording and providing guidance to the artists and performers, as well as advising the
audio engineer
on the selection of everything from
microphones
and
effects processors
to how to mix vocal and instrumental levels.
[
citation needed
]
History
[
edit
]
Hip-hop, the dominant turn-of-the-century pop form, gives the most electrifying demonstration of technology's empowering effect [...] [T]he genre rose up from desperately impoverished
high-rise
ghettos
, where families couldn't afford to buy instruments for their kids and even the most rudimentary music-making seemed out of reach. But music was made all the same: the
phonograph
itself became an instrument. In the
South Bronx
in the 1970s, DJs like
Kool Herc
,
Afrika Bambaataa
, and
Grandmaster Flash
used turntables to create a hurtling
collage
of effects?
loops
,
breaks
,
beats
,
scratches
. Later, studio-bound DJs and beat maker's used digital
sampling
to assemble some of the most densely packed sonic
assemblages
in musical history:
Eric B. and Rakim
's
Paid in Full
,
Public Enemy
's
Fear of a Black Planet
,
Dr. Dre
's
The Chronic
.
1980s
[
edit
]
The
Roland TR-808
drum machine was introduced in 1980, which was an analog machine with a 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 M.C.'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.
[
citation needed
]
Kurtis Blow
was the first hip hop artist to use a
digital sampler
, when he used the
Fairlight CMI
on his 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 drum hits in the mid-1980s, a technique that 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.
[
citation needed
]
1990s?present
[
edit
]
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
[6]
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. 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 pioneered a new style where entire sections of records were sampled, instead of short snippets, a la
MC Hammer
’s “Can’t Touch This.”
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.
[
citation needed
]
During the course of the 2010s, many chart-topping hits revolved around music producers using digital audio workstation software (for example FL Studio) to create songs from sampled sounds. Some prominent music producers include
Sonny Digital
,
Mike Will Made It
,
Metro Boomin
,
WondaGurl
,
Zaytoven
,
Lex Luger
,
Young Chop
, DJ L Beats,
Tay Keith
, and the birth of music producing groups such as
808Mafia
, Winner's Circle, and
Internet Money
.
[
citation needed
]
Elements
[
edit
]
Drum beat
[
edit
]
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.
[7]
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
[8]
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
[
edit
]
Hip hop does not simply draw inspiration from a range of samples, but it layers these fragments into an artistic object. If sampling is the first level of hip hop aesthetics, how the pieces or elements fit together constitute the second level. Hip hop emphasizes and calls attention to its layered nature. The aesthetic code of hip hop does not seek to render invisible the layers of samples, sounds, references, images, and metaphors. Rather, it aims to create a collage in which the sampled texts augment and deepen the song/book/art's meaning to those who can decode the layers of meaning.
?
Richard Schur,
Hip Hop Aesthetics and Contemporary African American Literature
(2008)
[9]
Sampling is using a segment of another's musical recording as part of one's own recording.
[10]
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.
[11]
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
,
[12]
and the following year rap duo
Eric B. & Rakim
popularized
James Brown
samples with their album
Paid in Full
.
[13]
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
.
[14]
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,
[15]
[16]
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
,
[17]
Dr. Dre's
The Chronic
,
[18]
Nas
'
Illmatic
[19]
and
Notorious B.I.G.
's
Ready to Die
.
[20]
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.
[21]
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.
[22]
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,
[23]
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.
[24]
As a result, more major producers and artists have moved further away from sampling and toward live instrumentation, such as Wu-Tang's
RZA
[25]
and
Mos Def
.
[26]
There were often questions of originality and authenticity that followed the use of sampling.
Instruments used in hip hop production
Samplers
[
edit
]
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.
[
citation needed
]
Turntables
[
edit
]
The most widely used turntables in hip hop are
Panasonic
's
Technics
series. They were the first
direct-drive turntables
,
[27]
which eliminated belts, and instead employed a motor to directly drive the platter on which a vinyl record rests.
[28]
The Technics SL-1100 was adopted by early hip hop artists in the 1970s, due to its strong motor, durability and fidelity.
[28]
A forefather of
turntablism
was
DJ Kool Herc
, an immigrant from
Jamaica
to New York City.
[27]
He introduced turntable techniques from Jamaican
dub music
,
[29]
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.
[27]
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,
[29]
switching back and forth between the two to
loop
the
breaks
to a rhythmic beat.
[27]
The most influential turntable was the
Technics SL-1200
.
[30]
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.
[30]
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.
[28]
[30]
Synthesizers
[
edit
]
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.
[
citation needed
]
Recording
[
edit
]
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 composers to create music without the expense of a large commercial studio.
[
citation needed
]
Vocal recording
[
edit
]
Generally, professional producers opt for a
condenser microphone
for studio recording,
[31]
[32]
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-800G tube microphone, vintage microphones, and high-end ribbon microphones tuned for flattering, "big" vocal expression.
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. A lot of recording engineers prefer using "dry" acoustics for hip hop to minimize the room reverberation.
Digital audio workstations
[
edit
]
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 beatmakers, who license their beats or instrumentals
[33]
preferably on digital marketplaces
[34]
to rap artists from all around the world and caused the creation of a new niche market. Some Beatmakers 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 producers as producing sounds that are flat, overly clean, overly compressed, and less human because it's all computer-generated.
Popular DAWs include the following:
Live instrumentation
[
edit
]
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
.
Drumming and hip hop
[
edit
]
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
[
when?
]
, 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 tracks titled "For Free" and "Hood Politics." When performing live, Lamar would often employ a live band as opposed to most live hip-hop that use a pre-recorded backing track.
[35]
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.
[
neutrality
is
disputed
]
The list below names some of the most influential drummers of the
hip-hop
genre.
Other hip hop drummers include the following:
[36]
[37]
[38]
[39]
[40]
[41]
Instrumental hip hop
[
edit
]
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 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
,
Damu the Fudgemunk
,
Wax Tailor
, Denver Kajanga,
DJ Krush
,
Hermitude
,
Abstract Orchestra
, 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 and underground 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
]
Types of producers
[
edit
]
In contemporary hip hop production, the title producer has become a catch-all term that could indicate one or many types of contributions to any particular project. It is further complicated by the fact that the music industry has only three main categories to identify musical contributions ? artist, producer, and songwriter ? which often overlap in 21st century music production. Below are some of the different facets of the contemporary hip hop producer; a single production credit can involve any number of these roles.
- Record producer
- A seasoned music studio personnel who provides creative and technical guidance to an artist or band. In this role, they typically do not receive songwriting credits if they do not contribute to the composition of the musical production.
- Executive producer
- The topmost advisor on a project who facilitates business dealings and management; can also be a single creative visionary who brings together other producers and artists.
- Primary artist
- A non-recording hip hop artist, also can include rap artists who contribute to composing some of their own music (as opposed to artists in other genres who are not generally given a producer credit if they write the music).
- Featured artist
- Prominent producers are often given a featured artist credit when they produce a song with the primary artist.
- Beatmaker
- Composers who
program
[42]
the music generally, either from scratch or with samples, employing a
digital audio workstation
and DJ skills including the use of
drum machines
and
MIDI
instrumentation.
- Composer
/
songwriter
- Personnel who only write and compose a song's music and sometimes lyrics in a more traditional sense; additionally, musicians who provide instrumentation.
- Sample
producer
- Composers who write music and compose a library of loops (otherwise known as kits) for the purpose of being easily manipulated by other producers. They often receive producer credits despite not having direct involvement with the song in question.
- Sampled artist
- Artists whose work is sampled by a producer (however, this is generally given a songwriter credit).
- Producer credited for "additional" or "miscellaneous" production
- Commonly, artists who provide
instrumentation
on a track. Can also indicate a sampled artist or any minor musical contribution.
- Remix artist
- Artists who remix other's work may be credited as a producer as opposed to the primary artist.
See also
[
edit
]
Notes
[
edit
]
- ^
"DJ Khaled explains the difference between a beatmaker and a record producer"
. TotemStar. April 8, 2018
. Retrieved
September 24,
2018
.
- ^
"Apollo Brown on the difference between a beatmaker and a producer"
.
The Source
. September 18, 2017
. Retrieved
September 24,
2018
.
- ^
"MUSIC INDUSTRY 101: What Is A Beat Maker vs. Producer?"
.
indiehiphop
. September 19, 2017
. Retrieved
September 24,
2018
.
- ^
"Writing Tracks First"
. thesingersworkshop. April 8, 2018
. Retrieved
October 8,
2018
.
- ^
Ross (2010), p. 60.
- ^
Vintage Synth Explorer.
"Akai MPC2000 / MPC2000 XL ? Vintage Synth Explorer"
. Retrieved
July 9,
2015
.
- ^
Norris, Chris (August 13, 2015).
"The 808 Heard Round the World"
.
The New Yorker
. Retrieved
January 16,
2017
.
- ^
"Hip-hop's most influential sampler gets a 2017 reboot"
. January 22, 2017.
- ^
New Essays on the African American Novel
(2008), p. 207.
- ^
"Sample ? Definition and More"
.
Merriam-Webster
. Retrieved
April 4,
2012
.
- ^
Marisa Brown.
"Planet Rock: The Album"
, AllMusic. R 27616.
- ^
Stephen Thomas Erlewine.
"Licensed to Ill"
, AllMusic.
- ^
Steve Huey.
"Paid in Full"
, AllMusic.
- ^
Steve Huey.
"Straight Outta Compton [Clean]"
, AllMusic.
- ^
Stanton Swihart.
"All Souled Out"
, AllMusic.
- ^
John Bush.
"The Low End Theory"
, AllMusic.
- ^
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
.
- ^
[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."]
- ^
Dan Love, February 11, 2008.
"Deconstructing Illmatic"
Archived
March 25, 2009, at the
Wayback Machine
,
Oh Word Collection
.
- ^
XXL staff, Thursday March 9, 10:28 am CST.
"The Making of Ready to Die:Family Business"
,
XXL MAGAZINE
.
- ^
Gale: Black History Month
.
- ^
9/10/2004 8:57:27 pm, foxxylady.
"CAN HIP HOP LIVE WITHOUT SAMPLING?"
,
SixShot.com
.
- ^
December 5, 2005, 05:04 pm.
"DR. DRE INTERVIEW FROM SCRATCH MAGAZINE"
,
Music Industry Online
.
- ^
Dave, March 19, 2006 9:10:26 am.
"Hip-Hop News: Late Rapper Has Album Pulled Over Copyright Infringement"
Archived
July 15, 2011, at the
Wayback Machine
,
Rap News Network
.
- ^
Morgan Steiker, July 29, 2008.
"RZA: Interview"
,
Prefixmag.com
.
- ^
Hillary Crosley N.Y., May 30, 2008.
"Mos Def Hits The Studio With Mr. DJ "
,
Billboard
.
- ^
a
b
c
d
"History of the Record Player Part II: The Rise and Fall"
.
Reverb.com
. October 2015
. Retrieved
June 5,
2016
.
- ^
a
b
c
Trevor Pinch, Karin Bijsterveld,
The Oxford Handbook of Sound Studies
, page 515
,
Oxford University Press
- ^
a
b
Nicholas Collins, Margaret Schedel, Scott Wilson (2013),
Electronic Music: Cambridge Introductions to Music
, page 105
,
Cambridge University Press
- ^
a
b
c
Six Machines That Changed The Music World
,
Wired
, May 2002
- ^
"Rap Instrumentals - Water Cluster Portal"
. Archived from
the original
on February 24, 2014
. Retrieved
February 24,
2014
.
- ^
"Mastering Rap Instrumentals"
.
ShadezOfBlue™ ? Blew You Away
. Archived from
the original
on July 10, 2015
. Retrieved
July 9,
2015
.
- ^
"BogoBeats.com"
. Retrieved
August 8,
2016
.
- ^
"RapBeats.net relaunch"
.
RapBeats.net
. October 21, 2013
. Retrieved
July 9,
2015
.
- ^
Kendrick Lamar - To Pimp A Butterfly full live performance 720p @Austin City Limits PBS WEBRip
, retrieved
November 10,
2022
- ^
Okayplayer.
"7 Musicians Who Contributed on 'To Pimp A Butterfly'
"
.
revive-music.com
. Retrieved
November 20,
2018
.
- ^
"How To Add A 'Questlove' Feel with the Drag Beat's Precise Sloppiness"
.
DRUM! Magazine
. August 1, 2018
. Retrieved
November 20,
2018
.
- ^
"Questlove"
.
HotNewHipHop
. March 18, 2015
. Retrieved
November 13,
2018
.
- ^
"Red Bull Music Academy Daily"
.
daily.redbullmusicacademy.com
. Retrieved
November 13,
2018
.
- ^
"These are the 5 most sampled drum beats in hip hop"
.
Produce Like A Pro
. September 15, 2017
. Retrieved
November 13,
2018
.
- ^
"Hip Hop/Rap Artists Using Real Live Drummers/Percussionists ? DRUMMERWORLD OFFICIAL DISCUSSION FORUM"
.
drummerworld.com
. March 22, 2010
. Retrieved
November 13,
2018
.
- ^
"What's the Difference Between a Music Producer and a Beat Maker"
. March 4, 2021.
References
[
edit
]