Hip hop production

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.

Beatmaking

Hip hop producers, or beatmakers[1][2][3][4] credited as the record producer and songwriter, are the instrumentalists of a musical bed and often creative directors involved in guiding a recording session. This can range from a single song to a full-length major album. Although 1970s-era hip hop focused on turntables and a DJ mixer, in the 2010s, hip hop production uses a range of digital samplers, sequencers, drum machines and synthesizers. Sometimes hip hop producers use traditional instruments, such as a drum kit or electric bass.

A hip hop instrumental is colloquially referred to as a beat or musical bed and its composer is referred to as a programmer, track writer or beatmaker. In the studio, however, a hip hop producer also functions as a traditional record producer, 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. Most hip hop Producers started out as beatmakers before taking over the acting role as a record producer. Those that do both roles wearing two hats are referred to as Songwriter/Producer's. They are generally credited for both roles in production credits.

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.

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.

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 [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. 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.[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 designer's 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.[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]

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.

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,[27][28] 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 [29] preferably on digital marketplaces[30] 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:

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.

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. ↑ Ross (2010), p. 60.
  6. ↑ Vintage Synth Explorer. "Akai MPC2000 / MPC2000 XL – Vintage Synth Explorer". Retrieved 9 July 2015.
  7. ↑ Norris, Chris (13 August 2015). "The 808 Heard Round the World". The New Yorker. Retrieved 16 January 2017.
  8. ↑ https://www.engadget.com/2017/01/22/akai-mpc-live-mpc-x/
  9. ↑ New Essays on the African American Novel (2008), p. 207.
  10. ↑ "Sample – Definition and More". Merriam-Webster. Retrieved 2012-04-04.
  11. ↑ Marisa Brown. "Planet Rock: The Album", AllMusic.com. R 27616.
  12. ↑ Stephen Thomas Erlewine. "Licensed to Ill", AllMusic.
  13. ↑ Steve Huey. "Paid in Full", 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 Clan's RZA Breaks Down His Kung Fu Samples by Film and Song", WIRED MAGAZINE: ISSUE 15.11.
  18. ↑ [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."]
  19. ↑ Dan Love, Feb 11, 2008. "Deconstructing Illmatic" Archived 2009-03-25 at the Wayback Machine., Oh Word Collection.
  20. ↑ XXL staff, Thursday Mar 9 10:28 AM CST. "The Making of Ready to Die:Family Business", XXL MAGAZINE.
  21. ↑ Gale: Black History Month.
  22. ↑ 9/10/2004 8:57:27 PM, foxxylady. "CAN HIP HOP LIVE WITHOUT SAMPLING?", SixShot.com.
  23. ↑ Dec 5 2005, 05:04 PM. "DR. DRE INTERVIEW FROM SCRATCH MAGAZINE", Music Industry Online.
  24. ↑ Dave, 3/19/2006 9:10:26 AM. "Hip-Hop News: Late Rapper Has Album Pulled Over Copyright Infringement", Rap News Network.
  25. ↑ Morgan Steiker, July 29, 2008. "RZA: Interview", Prefixmag.com.
  26. ↑ Hillary Crosley N.Y., May 30, 2008. "Mos Def Hits The Studio With Mr. DJ ", Billboard.
  27. ↑ "Archived copy". Archived from the original on 2014-02-24. Retrieved 2014-02-24.
  28. ↑ "Mastering Rap Instrumentals". ShadezOfBlue™ - Blew You Away. Archived from the original on 10 July 2015. Retrieved 9 July 2015.
  29. ↑ "BogoBeats.com". BogoBeats.com. Retrieved 8 August 2016.
  30. ↑ "RapBeats.net relaunch". RapBeats.net. Retrieved 9 July 2015.

References

Hawk Memphis [1]

  • Ross, Alex (2010). Listen to This. Fourth Estate. ISBN 978-0-00-731906-0.
  • Lovalerie King, Linda F. Selzer, ed. (2008). New Essays on the African American Novel: From Hurston and Ellison to Morrison and Whitehead. Macmillan. ISBN 0-230-60327-0.
  1. ↑ Memphis, Hawk (July 2016). "Hawk Memphis". www.hawkmemphis.com. Hawk Memphis. Retrieved 2016-07-17.
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