Production of hip hop is the creation of hip hop music in the recording studio. While the term covers all aspects of hip hop music creation, including recording rap MCs, turntabs or DJs that give taps, play samples and "scratch" using a recording player, and making rhythmic backing tracks, using drum machines or sequencers, these are most commonly used to refer on recording the instrumental, non-lyrical and non-vocal aspects of hip hop.
Hip hop producers also known as Songwriters/Producers are instrumentalists and creative directors involved in guiding recording sessions, which can range from one song to a large album. Although the 1970s hip hop focused on turntables and DJ mixers, in 2010, hip hop production used a variety of digital samplers, sequencers, drum machines, and synthesizers. Sometimes hip hop producers use traditional instruments, such as a drum kit or an electric bass.
A hip hop music instrument is colloquially referred to as beat , and the composer is referred to as programmer or beat maker . However, in the studio, the hip hop producer also serves as a traditional record producer, becoming the person responsible for the final sound of the recording, to guide the artist and artist and advise the audio engineer about microphone selection and effect processors and how to mix levels of beats and taps. Most Hip Hop Producers started out as beat makers before taking over the role of acting as record producer. Those who perform both roles wearing two hats are called Creator/Producer. They are generally credited for both roles in production credit.
Video Hip hop production
Histori
1980s
Kurtis Blow was the first hip hop artist to use a digital sampler, when he used Fairlight CMI. The Roland TR-808 drum machine was introduced in 1980. The 808 was widely used by Africa Bambaataa, which released "Planet Rock" in 1982, in addition to the classic hip hip groundbreaking hip-hop "Nunk" by Warp 9, produced by Lotti Golden and Richard Scher, giving rise to the newborn Electro genre. The most famous artist is the pioneer of the Juan Atkins genre which released what was generally accepted as the first American techno record, "Clear" in 1984 (later sampled by Missy Elliott). Early electro records laid the foundations of which then Detroit techno artists such as Derrick May were built on. In 1983, Run-DMC recorded "It's Like That" and "Sucker MC's," two songs that rely entirely on synthetic sound, in this case through the Oberheim DMX drum machine, ignore the samples completely. This approach is similar to the early songs by Bambaataa and Furious Five.
The E-mu SP-12 came out in 1985, capable of 2.5 seconds of recording time. The E-mu SP-1200 is immediately followed by an extended recording time of 10 seconds, divided into 4 banks. One of the earliest songs containing a loop or break drum was "Rhymin and Stealin" by Beastie Boys, produced by Rick Rubin. Marley Marl also popularized the style of drum loop restructuring with individual drum sampling, in the late 1980s. The Akai MPC60 came out in 1988, capable of 12 seconds sampling time. The Beastie Boys released Paul's Boutique in 1989, the entire album was made entirely from a mixture of various samples, manufactured by Dust Brothers using the Emax sampler. De La Soul also released 3 Feet High and Rising that year.
1990s-present
The Public Bomb Squad revolutionizes hip-hop sound with solid production styles, combining dozens of samples per song, often incorporating a percussive break with a drum machine. Their beats are much more structured than the more minimal and repetitive initial beat. MPC3000 was released in 1994, AKAI MPC2000 in 1997, followed by MPC2000XL in 1999 and MPC2500 in 2006. This machine combines drum sampling engine with an onboard MIDI sequencer and became the center of many hip hop studio manufacturers. Wu Tang Clan RZA producers are often credited for getting hip-hop attention from Dr. Smoother Dre in 1993. Rare RZA sounds with low roar sounds, sharp snare drum sounds and unique sampling style based on the Ensoniq sampler. With the 1994 release of The Notorious B.I.G.'s Ready to Die, Sean Combs and his producer assistant ushered in a new style in which all parts of the recording were sampled, not short pieces.
Records like "Walk On By" by Isaac Hayes), and "One More Opportunity (Remix)" symbolize this aesthetic. In the early 2000s, Roc-a-Fella's home producer, Kanye West, made popular "chipmunk" techniques. It was first used by the hip-hop electro-group in 1980, Newcleus with songs like "Clock on it". This technique involves speeding up vocal samples, and an appropriate instrumental loop, to the point where the vocal sound is high-pitched. The result is a vocal sample that sounds similar to the singing of the popular cartoon animals "Alvin and the Chipmunks". West adopted this style from J Dilla and Wu-Tang Clan's RZA, which in turn was influenced by Prince Paul, the pioneer of the acceleration style and the repetition of vocal samples to achieve "chipmunk" sound. Kanye West has used the effects of "chipmunks" in many of his songs, and has been used in many other music artists in the 2010s.
Maps Hip hop production
Element
Drum beats
The drum beat is the core element of hip hop production. While some beats are sampled, others are made by drum machines. The most widely used drum machine is the Roland TR-808 analog, which has remained a mainstay for decades. 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. The other is a combination of two techniques, namely the drum beat machine parts arranged in the original pattern altogether. The Akai MPC and Ensoniq ASR-10 series are the mainstay for sampling beats, especially by The Neptunes. Some manufacturers make their own electronic drum kit sounds, like Dr. Dre, Timbaland, DJ Paul & amp; Juicy J, Swizz Beatz, Kanye West and The Neptunes. Some drumming sounds, such as the 1980s TR-808 cowbell, remain a historical element of hip hop knowledge that continues to be used in 2010's hip hop era.
Sampling
Sampling uses other people's music recording segments as part of a person's recording. It has been an integral part of hip hop production since its inception. In hip-hop, this term describes the technique of grafting or copying parts of other songs and rearranging or rearranging these parts into cohesive musical patterns, or "loops." The technique was first fully explored in 1982 by Africa Bambaata, on the Soulsonic Strength Band Planet Rock, which sampled part of the Kraftwerk dance action and gained wide public recognition. This was followed up in 1986: later producers of Def Jam Rick Rubin used Black Sabbath and Led Zeppelin loop in creating the debut of Beastie Boys Licensed for Ill , and following this rap duo Eric B. & amp; Rakim popularized James Brown's sample with their album Paid in Full .
This technique takes a bi-coastal turn when it is discovered by Dr. Young Dre, whose first show was the DJ from the electrofunk group Afrika Bambaata-esque, the Wreckin World Class Cru. In 1988, Dre began using sampling in hip-hop when he produced the album N.W.A Straight Outta Compton , a landmark in the rap gangsta genre. In 1989, jazz-sampling pioneer, Gang Starr, following in 1991 by Pete Rock & amp; CL Smooth and A Tribe Called Quest appear on screen, popularize their brand, and sampling takes full roles in hip-hop, spreading to prominence in high-profile projects such as Wu-Tang Clan Entrance to the Walls: 36 Chambers , Dr. Dre's The Chronic , Nas' Illmatic and Notorious BIG's Ready to Die .
In the 2000s, sampling began to reach the highest point of all time; Jay-Z's The Blueprint album helped put producers Kanye West and Just Blaze on the map for sampling their soul recordings. Kanye West himself scored early with "Through the Wire" and "Jesus Walks." Her 2004 album, The College Dropout , included two sample hits featuring Twista that caused the rapper of Chicago Kamikaze to sell platinum. However, on September 7, 2004, the US Court of Appeals in Nashville changed the nature of the music copyright infringement by deciding that a license was required in each sampling case, where previously a small portion of the song could be copied without reaction. The law immediately began to vilify samples on hip-hop; in a 2005 interview with Scratch magazine. Dre announced he was moving more towards instrumentation, and in 2006, the debut album The Notorious BIG 1994 Ready to Die was temporarily pulled off the shelf for a retroactive sample permit. issue. As a result, more producers and great artists have moved away from sampling and into direct instrumentation, such as Wu-Tang's RZA and Mos Def.
Studio Components
Beatmaker Studios is the environment in which they write music. It can be as diverse as a four-track sequencer and a multimillion-dollar tape or studio collection loaded with sophisticated sound processing hardware.
Samplers
Because hip-hop production revolves around sampling, a combination of sampler/sequencer devices such as the Akai MPC line in the groovebox usually form the center of a hip hop production studio. Although largely replaced by Digital Audio Workstations (DAWs) today, classical systems like E-mu Systems SP-1200, Akai MPC60, Akai MPC3000 or Ensoniq ASR-10 are still in use today due to their workflow and voice characteristics.
Synthesizers
Synthesizers are often used in hip hop production. They are used for melodies, basslines, as "stab" percussion, 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 continued to use synths. Often in low-budget studio environments or recording spaces limited by space constraints, Songwriters/Composer uses virtual instruments, not hardware synthesizers. In 2010, virtual instruments became more common in high-budget studio environments.
Recording
In hip hop, the multi-track recorder is the standard for recording. The Portastudio tape recorder was legal in the home recording studio in the 1980s. The ADAT digital tape recorder became standard during the 1990s, but has been largely superseded by Digital Audio Workstations or DAWs such as Apple Logic, Avid's Pro Tools and Steinberg's Nuendo and Cubase. DAW allows more complex editing and unlimited number of songs, as well as innate effects. This allows songwriters and composers to create music without compromising a large commercial studio.
Vocal recording
Generally, professional manufacturers choose condenser microphones to record studios, in large part because of their broad and high-quality response. The main alternative to expensive condenser microphones is the dynamic microphone, used more often in live performances because of its durability. The main disadvantage of a condenser microphone is its cost and its fragility. Also, most condenser microphones require ghost power, unlike a dynamic microphone. In contrast, the weakness of dynamic microphones generally lacks a broad condenser condenser spectrum and the frequency response is not uniform. Many hip-hop producers usually use Neumann U-87 to record vocals that inculcate "luster" of glass especially on women's vocals. But today, many producers in this music genre use the Sony C-800 tube microphone, vintage microphone, and high-end ribbon microphone tuned to flatter, "big" vocal expressions. It should also be noted that many classic hip-hop songs are recorded with the most basic tools. In many cases, this contributes to the raw sound quality and charm.
Digital audio workstations
DAW and software couplers are used in modern hip-hop production because software production products are cheaper, easier to expand, and require less space to run than hardware. The success of the DAW resulted in a flood of new semi-professional hip-hop producers, who licensed their favorite beat or instrument in the digital market to rap artists from around the world and led to the creation of new niche markets. Some manufacturers are completely opposed to DAW and software, mentioning lower overall quality, lack of effort, and lack of identity in computer-generated taps. Sequencing software is often criticized by traditional purists and producers because it produces a flat, overly clean, and overly compressed sound.
DAW yang populer termasuk:
- Ableton Live
- Acoustica Mixcraft
- Adobe Audition
- Logika Pro Apple
- Alat Pro Teknologi Avid
- Cakewalk SONAR
- Steinberg Cubase
- FL Studio Gambar-Baris
- Alasan Perangkat Lunak Propellerhead
- Sony ACID Pro
- GarageBand Apple
- Motu Inc. Digital Performer
- Cockos REAPER
- Ardor
Instrumentasi langsung
Direct instrumentation is not widespread in hip hop, but is used by a number of actions and stands out in hip hop-based fusion genres such as rapcore. Before samplers and synthesizers became an important part 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 instrumentation went back to fame during the late 1990s and early 2000s with The Goats, The Coup, The Roots, Mello-D and Rados, Common, DJ Quik, UGK and OutKast, among others. In recent years, The Robert Glasper Experiment has explored direct instrumentation with an emphasis on instrumental aspects and improvised hip hop with rappers such as Mos Def, Talib Kweli, Q-Tip, and the general and neo-soul singer, Bilal Oliver.
Hip Hop instrumental
Instrumental hip hop is hip hop without vocal music. Hip hop as a general rule consists of two elements: instrumental track ("beat") and vocal track ("rap"). The artist who taps the beat is the producer (or beat maker), and the rapper is the MC (the emcee). In this format, rap is almost always the main focus of the song, giving most of the complexity and variation through enough repetitive beats. Instrumental hip hop is hip hop without rap rap. This format gives manufacturers the flexibility to create more complex, detailed, and diverse instrumental instruments. Songs of this genre may wander in different musical directions and explore the various subgenres, because the instrument does not have to provide stable taps for the MC. Although manufacturers have created and released hip hop beats without MC since the beginning of hip hop, those notes rarely became famous. The keyboard composer/composer Herbie Hancock and Bill Laswell's electro-electro-inspired bassist/producer are important exceptions. 1983's Future Shock album and hit single "Rockit" featured the turntable Grand Mixer D.ST, the first use of turntables in jazz fusion, and gave turntablism and recorded "scratch" wide exposure. The Mix-Up is the seventh studio album by 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 music. Relying primarily on a combination of sample funk, hip hop and movie scores, DJ Shadow's innovative sample settings affect many producers and musicians. In the 2000s and 2010s, artists such as RJD2, J Dilla, Pete Rock, Great Professor, MF Doom, Yung Sarge, Danny !, Nujabes, Madlib, Candle Tailor, DJ Babu, DJ Krush, Hermitude, and Blockhead garnered critical attention with the instrumental hip hop album. The instrumental hip hop is not yet fully recognized as a distinct genre, and is often classed as a trip hop, hardcore breakbeat, drums and bass, jungle oldschool, grime, trap, or industrial music. This may be the result of its varied and experimental nature; one track can combine samples from different genres of music. Due to current copyright laws, most of the instrumental hip-hop releases are released on small and independent labels. Manufacturers often have difficulty obtaining permits for many of the samples found throughout their work, and labels like the Stones Throw are full of legal issues.
See also
- List of DJs and hip hop producers
- Turntablism
Note
References
Hawk Memphis
- Ross, Alex (2010). Dengarkan Ini . Keempat Estate. ISBN 978-0-00-731906-0.
- Lovalerie King, Linda F. Selzer, ed. (2008). Makalah Baru tentang Novel Afrika Amerika: Dari Hurston dan Ellison ke Morrison dan Whitehead . Macmillan. ISBN: 0-230-60327-0.
Source of the article : Wikipedia
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