What Do You Call The Background Music In Rap

Creation of hip hop music in a recording studio

Parts of this article (those related to hip hop production in the 21st century) demand to be updated. Delight help update this commodity to reflect recent events or newly available information. (October 2019)

Hip hop producer and rapper RZA in a music studio with ii 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 product is the cosmos 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-song aspects of hip hop.

Music production [edit]

Hip hop producers may be credited as the tape producer or songwriter; they may also supervise recording sessions.^{[i] [2] [3] [4]}

Hip hop instrumentals are colloquially referred to as beats or musical compositions, while the composer is chosen either a developer, songwriter or beat maker. In the studio, the hip hop producer often functions equally both the composer and equally a traditional record producer. They are sometimes called Orchestrators, P. Diddy is an case of one, and they are ultimately responsible for the final sound of a recording and providing guidance to the artists and performers. Also equally 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 about electrifying sit-in of technology's empowering outcome [...] [T]he genre rose up from desperately impoverished loftier-rise ghettos, where families couldn't afford to buy instruments for their kids and even the most rudimentary music-making seemed out of reach. Simply music was made withal: the phonograph itself became an musical instrument. In the Due south Bronx in the 1970s, DJs like Kool Herc, Afrika Bambaataa, and Grandmaster Flash used turntables to create a hurtling collage of furnishings—loops, breaks, beats, scratches. Afterward, studio-jump DJs and beat maker'south used digital sampling to assemble some of the nigh densely packed sonic assemblages in musical history: Eric B. and Rakim'south Paid in Full, Public Enemy's Fear of a Black Planet, Dr. Dre's The Chronic.

1980s [edit]

The Roland TR-808 drum car was introduced in 1980, and consisted on an analog car with step programming method. The 808 was heavily used by Afrika Bambaataa, who released "Planet Rock" in 1982, in improver to the electro hip hip groundbreaking classic "Nunk" by Warp ix, produced by Lotti Gilt and Richard Scher, giving ascension to the fledgling Electro genre. An peculiarly notable creative person is the genre'due south own pioneer Juan Atkins who released what is more often than not accepted every bit the beginning American techno tape, "Clear" in 1984 (later sampled past Missy Elliott). These early on electro records laid downwardly the foundations that later Detroit techno artists such as Derrick May congenital upon. In 1983, Run-DMC recorded "It's Similar That" and "Sucker M.C.'s," two songs which relied completely on constructed sounds, in this case via an Oberheim DMX pulsate auto, ignoring samples entirely. This approach was much like early songs past Bambaataa and the Furious Five.^{[ citation needed ]}

Kurtis Blow was the starting time 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 Due east-mu SP-12 came out in 1985, capable of 2.5 seconds of recording fourth dimension. The E-mu SP-1200 promptly followed (1987) with an expanded recording fourth dimension of x seconds, divided on 4 banks. One of the earliest songs to contain a drum loop or suspension was "Rhymin and Stealin" by the Beastie Boys, produced by Rick Rubin. Marley Marl too popularized a way of restructuring drum loops by sampling individual drums, in the mid-1980s, a technique which was popularized by the MC Shan'southward 1986 single "The Bridge" which used chops of "Impeach the President" on 2 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 Bazaar 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 yr.^{[ commendation needed ]}

1990s–present [edit]

Public Enemy'southward Bomb Squad revolutionized the sound of hip-hop with dense product styles, combining tens of samples per vocal, often combining percussion breaks with a pulsate 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^[vi] 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'southward producer RZA is often credited for getting hip hop attention away from Dr. Dre'southward more than polished sound in 1993. RZA's more than gritty sound with depression rumbling bass, precipitous snare drum sounds and unique sampling mode based on Ensoniq sampler. With the 1994 release of The Notorious B.I.G.'s Fix to Die, Sean Combs and his banana producers ushered in a new way where entire sections of records were sampled, instead of short snippets.

Records similar "Alert" (Isaac Hayes'south "Walk On Past"), and "One More Chance (Remix)" (Debarge's "Stay With Me") epitomized this artful. In the early on 2000s, Roc-a-Fella in-business firm producer Kanye West made the "chipmunk" technique popular. This had been first used by 1980s electro hip-hop group Newcleus with such songs equally "Jam on Information technology". This technique involves speeding up a song sample, and its respective instrumental loop, to the betoken where the vocal sounds loftier-pitched. The result is a vocal sample that sounds like to the singing of the popular cartoon singing animals "Alvin and the Chipmunks". Westward adopted this manner from J Dilla and the Wu-Tang Association's RZA, who in turn was influenced past 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" upshot 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 effectually 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 Volition Made It, Metro Boomin, WondaGurl, Zaytoven, Lex Luger, Young Chop, DJ Fifty Beats, Tay Keith, and the birth of music producing groups such as 808Mafia, Winner's Circle, and Internet Money.^{[ citation needed ]}

Elements [edit]

Pulsate beat [edit]

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

Sampling [edit]

Hip hop does not simply depict inspiration from a range of samples, simply it layers these fragments into an artistic object. If sampling is the start level of hip hop aesthetics, how the pieces or elements fit together establish the 2d level. Hip hop emphasizes and calls attending to its layered nature. The artful 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/volume/art's meaning to those who can decode the layers of pregnant.

—Richard Schur, Hip Hop Aesthetics and Gimmicky African American Literature (2008)^[ix]

Sampling is using a segment of another'southward musical recording every bit part of 1'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 past Afrika Bambaata, on the Soulsonic Force tape Planet Stone, which sampled parts of trip the light fantastic toe act Kraftwerk and experienced vast public acclaim.^[11] This was followed up on in 1986: so-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 twelvemonth rap duo Eric B. & Rakim popularized James Chocolate-brown samples with their album Paid in Total.^[thirteen]

The technique took a bi-littoral plow when discovered past a immature Dr. Dre, whose kickoff 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 Northward.Westward.A anthology Straight Outta Compton, a landmark in the genre of gangsta rap.^[fourteen] In 1989, Jazz-sampling pioneers Gang Starr followed in 1991 by Pete Stone & CL Smooth and A Tribe Chosen Quest both appeared on the scene, popularizing their brand,^{[15] [16]} and sampling took on a full office in hip-hop, spreading to prominence in loftier-profile projects like the Wu-Tang Clan'due south 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-fourth dimension high; Jay-Z's album The Blueprint helped put producers Kanye Due west and Simply Bonfire 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 vii, 2004, however, a U.Due south. Court of Appeals in Nashville changed the nature of musical copyright infringement past ruling that a license is needed in every case of sampling, where previously a modest portion of the vocal could be copied without repercussion.^[22] The law immediately began rarefying samples in hip-hop; in a 2005 interview with Scratch mag, Dr. Dre appear he was moving more toward instrumentation,^[23] and in 2006 The Notorious B.I.Thousand.'s 1994 debut album Ready to Die was temporarily pulled from shelves for a retroactive sample clearance event.^[24] As a issue, more major producers and artists take moved farther abroad 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 employ of sampling.

Instruments used in hip hop production

Samplers [edit]

Because hip hop product revolves effectually 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 more often than not 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 virtually widely used turntables in hip hop are Panasonic's Technics serial. They were the first direct-drive turntables,^[27] which eliminated belts, and instead employed a motor to directly bulldoze the platter on which a vinyl tape rests.^[28] The Technics SL-1100 was adopted by early on 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 past the direct-drive turntable applied science of the Technics SL-1100, which he used for the commencement sound organisation he gear up later emigrating to New York in the 1970s.^[27] The signature technique he adult was playing two copies of the same record on ii turntables in alternation to extend the b-dancers' favorite department,^[29] switching back and along between the two to loop the breaks to a rhythmic beat out.^[27]

The virtually influential turntable was the Technics SL-1200.^[30] Information technology was adopted past New York City hip hop DJs such every bit Grand Wizard Theodore and Afrika Bambaataa in the 1970s. Equally they experimented with the SL-1200 decks, they developed scratching techniques when they institute that the motor would go along to spin at the right RPM even if the DJ wiggled the tape back and forth on the platter.^[thirty] Since and then, turntablism spread widely in hip hop civilization, and the SL-1200 remained the most widely used turntable in DJ culture for the next several decades.^{[28] [thirty]}

Synthesizers [edit]

Synthesizers are used often in hip hop production. They are used for melodies, basslines, equally percussive "stabs", for chords and for audio synthesis, to create new sound textures. The employ 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-upkeep studio environments or recording rooms constrained past space limitations, the composer would use virtual instruments instead of hardware synthesizers. In the 2010s, virtual instruments are becoming more than 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 constabulary in the in-firm recording studios in the 1980s. Digital ADAT tape recorders became standard during the 1990s, but take been largely replaced by Digital Audio Workstations or DAWs such as Apple's Logic, Avid'south Pro Tools and Steinberg'southward Nuendo and Cubase. DAW's allow for more than intricate editing and unlimited track counts, besides as built-in effects. This allows songwriters and composer's to create music without the expense of a large commercial studio.^{[ commendation needed ]}

Vocal recording [edit]

Mostly, professional producers opt for a condenser microphone for studio recording,^{[31] [32]} by and large due to their wide-range response and high quality. A primary alternative to the expensive condenser microphone is the dynamic microphone, used more than 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 every bit uniform. Many hip-hop producers typically used the Neumann U-87 for recording vocals which imparts a glassy "sheen" peculiarly on female vocals. But today, many producers in this musical genre use the Sony C-800G tube microphone, vintage microphones, and loftier-end ribbon microphones tuned for flattering, "big" vocal expression. Many classic hip-hop songs were recorded with the virtually basic of equipment. In many cases this contributes to its raw sound quality, and amuse. A lot of recording engineers adopt using "dry" acoustics for hip hop to minimize the room reverberation.

Digital sound workstations [edit]

DAWs and software sequencers are used in modern hip hop production for the composer equally 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 alluvion of new semi-professional person 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 marketplace. Some Beatmakers oppose consummate reliance on DAWs and software, citing lower overall quality, lack of effort, and lack of identity in calculator-generated beats. Sequencing software oft comes nether criticism from purist listeners and traditional producers as producing sounds that are flat, overly clean, overly compressed, and less human because it's all reckoner-generated.

Pop DAWs include the following:

• Ableton Live
• Acoustica Mixcraft
• Adobe Audition
• Apple's Logic Pro
• Avid Technology's Pro Tools
• Cakewalk SONAR
• Steinberg Cubase
• Image-Line's FL Studio
• Reason Studios
• Sony Acid Pro
• Apple's GarageBand
• Motu Inc. Digital Performer
• Cockos REAPER
• Ardour

Live instrumentation [edit]

Live instrumentation is not equally widespread in hip hop, but is used by a number of acts and is prominent in hip hop-based fusion genres such equally rapcore. Before samplers and synthesizers became prominent parts of hip hop production, early on hip hop hits such every bit "Rapper's Please" (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 ring. Hip hop with alive instrumentation regained prominence during the late-1990s and early 2000s with the work of The Goats, The Insurrection, The Roots, Mello-D and the Rados, Mutual, DJ Quik, UGK and OutKast, amid 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 pulsate set has taken numerous identities. It is the instrument that makes jazz "swing" and rock 'n' curlicue "rock." With a new age of pop music on the rise within the past decade^{[ when? ]}, it is easy to assume the drum prepare has been replaced past electronic sounds produced by an engineer. In reality, the drum set is the reason backside the production of these electronic beats, and alive drummers contribute to modern day hip-hop much more than what meets the ear.

An example of a drummer recording on a hip-hop tape is Kendrick Lamar'southward anthology 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, still, these musicians should receive credit for their work.^{[ neutrality is disputed]} The list beneath names some of the well-nigh influential drummers of the hip-hop genre.

Other hip hop drummers include,^{[35] [36] [37] [38] [39] [40]}

• Questlove
• J Dilla
• Pharrell Williams
• Tony Royster Jr
• Chris Dave
• Karriem Riggins
• Adam Deitch

Instrumental hip hop [edit]

Instrumental hip hop is hip hop music without vocals. Hip hop as a general rule consists of ii elements: an instrumental track (the "beat") and a vocal runway (the "rap"). The creative person 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 chief focus of the song, providing about of the complication and variation over a fairly repetitive shell. 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 practise not have to supply a steady beat for an MC. Although producers have fabricated 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 Pecker Laswell's electro-inspired collaborations are notable exceptions. 1983's Future Shock anthology and hit single "Rockit" featured turntablist Grand Mixer D.ST, the start utilize of turntables in jazz fusion, and gave the turntablism and record "scratching" widespread exposure.

The release of DJ Shadow'southward debut anthology Endtroducing..... in 1996 saw the beginnings of a movement in instrumental hip hop. Relying mainly on a combination of sampled funk, hip hop and motion-picture show 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 disquisitional attending with instrumental hip hop albums. Due to the electric current state of copyright law, about instrumental hip-hop releases are released on small, independent and secret labels. Producers oft take difficulty obtaining clearance for the many samples constitute throughout their work, and labels such as Stones Throw are fraught with legal issues.^{[ citation needed ]}

Types of producers [edit]

In gimmicky hip hop product, the title producer has become a catch-all term that could indicate one or many types of contributions to whatever particular project. It is further complicated past the fact that the music industry has merely iii primary categories to identify musical contributions – creative person, producer, and songwriter – which oft overlap in 21st century music product. Below are some of the different facets of the contemporary hip hop producer; a unmarried production credit can involve any number of these roles.

• Record producer: seasoned music studio personnel who provides creative and technical guidance to an creative person, e.yard. Rick Rubin.
• Executive producer: the topmost counselor on a projection who facilitates business dealings and management; tin also exist a single creative visionary who brings together other producers and artists, e.g., Kendrick Lamar's curation of Black Panther.
• Primary artist: an instrumental hip hop creative person, e.g., Madlib; also can include rap artists who contribute to composing some of their own music (as opposed to artists in other genres who are not by and large given a producer credit if they write the music).
• Featured artist: prominent producers are frequently given a featured creative person credit when they produce a song with the chief artist, e.m., Pete Rock featured on Run–DMC'southward "Downwardly with the Male monarch."
• Beatmaker: composers who write music generally, either from scratch or with samples, employing a digital sound workstation and DJ skills including the use of pulsate machines and MIDI instrumentation, e.g. Murda Beatz.
• Composer/songwriter: personnel who write and etch a vocal'southward music and sometime lyrics in a more traditional sense; additionally, musicians who provide instrumentation.
• Sample producer: composers who write music for the purpose of easily being manipulated by other producers, due east.g. Frank Dukes.
• Sampled artist: artists whose work is sampled by a producer (nonetheless, this is generally given a songwriter credit).
• Producer credited for "additional" or "miscellaneous" production: normally, artists who provide instrumentation on a runway, eastward.thou. BADBADNOTGOOD on Daniel Caesar's "Go You ;" tin can as well indicate a sampled artist or any minor musical contribution.
• Remix artist: artists who remix other'southward work may exist credited as a producer as opposed to the master artist.

See also [edit]

• List of hip hop DJs and producers
• Turntablism
• Tape producer
• Electronic music
• Sound engineer

Notes [edit]

1. ^ "DJ Khaled explains the departure between a beatmaker and a tape producer". TotemStar. April 8, 2018. Retrieved September 24, 2018.
2. ^ "Apollo Brownish on the difference between a beatmaker and a producer". The Source. September 19, 2017. Retrieved September 24, 2018.
3. ^ "MUSIC Industry 101: What Is A Beat Maker vs. Producer?". indiehiphop. September nineteen, 2017. Retrieved September 24, 2018.
4. ^ "Writing Tracks First". thesingersworkshop. April viii, 2018. Retrieved October eight, 2018.
5. ^ Ross (2010), p. 60.
6. ^ Vintage Synth Explorer. "Akai MPC2000 / MPC2000 Forty – Vintage Synth Explorer". Retrieved July ix, 2015.
7. ^ Norris, Chris (Baronial thirteen, 2015). "The 808 Heard Round the World". The New Yorker . Retrieved January sixteen, 2017.
8. ^ "Hip-hop's most influential sampler gets a 2017 reboot".
9. ^ New Essays on the African American Novel (2008), p. 207.
10. ^ "Sample – Definition and More". Merriam-Webster . Retrieved April 4, 2012.
11. ^ Marisa Chocolate-brown. "Planet Rock: The Album", AllMusic. R 27616.
12. ^ Stephen Thomas Erlewine. "Licensed to Ill", AllMusic.
13. ^ Steve Huey. "Paid in Total", AllMusic.
14. ^ Steve Huey. "Straight Outta Compton [Clean]", AllMusic.
15. ^ Stanton Swihart. "All Souled Out", AllMusic.
16. ^ John Bush. "The Low End Theory", AllMusic.
17. ^ Steven Leckart, 10.23.07. "Wu-Tang Association'southward RZA Breaks Downwardly His Kung Fu Samples by Film and Song", WIRED Magazine: Event 15.xi.
18. ^ [Ethan Brown, (2005). Straight Outta Hollis, Queens Reigns Supreme: Fat Cat, 50 Cent, and the Ascent of the Hip Hop Hustler. Ballast. ISBN ane-4000-9523-nine. "[Unlike] pop hip-hop producers like the Bomb Squad, Dre instead utilized a single sample to drive a song."]
19. ^ Dan Love, February 11, 2008. "Deconstructing Illmatic" Archived March 25, 2009, at the Wayback Automobile, Oh Give-and-take Drove.
20. ^ XXL staff, Thursday March 9, 10:28 am CST. "The Making of Ready to Die:Family Concern", XXL Magazine.
21. ^ Gale: Blackness History Calendar month.
22. ^ ix/ten/2004 8:57:27 pm, foxxylady. "CAN HIP HOP Live WITHOUT SAMPLING?", SixShot.com.
23. ^ December 5, 2005, 05:04 pm. "DR. DRE INTERVIEW FROM SCRATCH Magazine", Music Industry Online.
24. ^ Dave, March 19, 2006 nine:ten:26 am. "Hip-Hop News: Late Rapper Has Album Pulled Over Copyright Infringement" Archived July xv, 2011, at the Wayback Machine, Rap News Network.
25. ^ Morgan Steiker, July 29, 2008. "RZA: Interview", Prefixmag.com.
26. ^ Hillary Crosley Due north.Y., May 30, 2008. "Mos Def Hits The Studio With Mr. DJ ", Billboard.
27. ^ ^{a b c d} "History of the Tape Player Part Two: The Rise and Fall". Reverb.com. October 2015. Retrieved June v, 2016.
28. ^ ^{a b c} Trevor Pinch, Karin Bijsterveld, The Oxford Handbook of Sound Studies, page 515, Oxford University Press
29. ^ ^{a b} Nicholas Collins, Margaret Schedel, Scott Wilson (2013), Electronic Music: Cambridge Introductions to Music, page 105, Cambridge University Press
30. ^ ^{a b c} 6 Machines That Changed The Music World, Wired, May 2002
31. ^ "Rap Instrumentals - Water Cluster Portal". Archived from the original on Feb 24, 2014. Retrieved February 24, 2014.
32. ^ "Mastering Rap Instrumentals". ShadezOfBlue™ – Blew You Away. Archived from the original on July 10, 2015. Retrieved July nine, 2015.
33. ^ "BogoBeats.com". Retrieved August eight, 2016.
34. ^ "RapBeats.net relaunch". RapBeats.internet. October 21, 2013. Retrieved July 9, 2015.
35. ^ Okayplayer. "7 Musicians Who Contributed on 'To Pimp A Butterfly'". revive-music.com . Retrieved November xx, 2018.
36. ^ "How To Add together A 'Questlove' Feel with the Drag Beat out's Precise Sloppiness". DRUM! Magazine. August i, 2018. Retrieved November 20, 2018.
37. ^ "Questlove". HotNewHipHop. March 18, 2015. Retrieved November xiii, 2018. {{cite spider web}}: CS1 maint: url-condition (link)
38. ^ "Ruby Bull Music Academy Daily". daily.redbullmusicacademy.com . Retrieved November 13, 2018.
39. ^ "These are the 5 most sampled drum beats in hip hop". Produce Like A Pro. September 15, 2017. Retrieved November thirteen, 2018.
40. ^ "Hip Hop/Rap Artists Using Real Live Drummers/Percussionists – DRUMMERWORLD OFFICIAL Give-and-take FORUM". drummerworld.com . Retrieved November thirteen, 2018.

References [edit]

• Ross, Alex (2010). Heed to This. Fourth Estate. ISBN978-0-00-731906-0.
• Lovalerie Rex, Linda F. Selzer, ed. (2008). New Essays on the African American Novel: From Hurston and Ellison to Morrison and Whitehead. Macmillan. ISBN978-0-230-60327-1.
• Dr Abidi : chirurgien esthetique Tunisie

What Do You Call The Background Music In Rap,

Source: https://en.wikipedia.org/wiki/Hip_hop_production

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