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{{Use mdy dates|date=December 2019}}
{{Update|article|part='''hip hop production in the 21st century'''|date=October 2019}}
[[File:Hip Hop producer and rapper RZA - Robert Fitzgerald Diggs (2).jpg|thumb|right|200px|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 [[Master of ceremonies|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 [[music sequencer|sequencer]], it is most commonly used to refer to recording the instrumental, non-lyrical and non-vocal aspects of hip hop.

==Music production==
Hip hop producers may be credited as the [[record producer]] and songwriter, and they may supervise recording sessions.<ref>{{cite web|url=https://www.totemstar.org/blog/2018/4/18/the-difference-between-a-beatmaker-and-a-music-producer-with-dj-khaled|title=DJ Khaled explains the difference between a beatmaker and a record producer|publisher=TotemStar|date=April 8, 2018|accessdate=September 24, 2018}}</ref><ref>{{cite magazine|url=http://thesource.com/2017/09/19/apollo-brown-difference-beat-maker-producer/|magazine=[[The Source]]|title=Apollo Brown on the difference between a beatmaker and a producer|date=September 19, 2017|accessdate=September 24, 2018}}</ref><ref>{{cite web|url=http://www.indiehiphop.net/music-industry-101-what-is-a-beat-maker-vs-producer/|publisher=[[indiehiphop]]|title=MUSIC INDUSTRY 101: What Is A Beat Maker vs. Producer?|date=September 19, 2017|accessdate=September 24, 2018}}</ref><ref>{{cite web|url=https://thesingersworkshop.com/writing-tracks-first|title=Writing Tracks First|publisher=thesingersworkshop|date=April 8, 2018|accessdate=October 8, 2018}}</ref>

A hip hop instrumental is colloquially referred to as a beat or musical composition and its composer is referred to as a programmer, songwriter or beat maker. In the studio, a hip hop producer often functions as a both the composer that composes the musical track and traditional record producer, as the orchestrator like [[P. Diddy]] being the person who is ultimately responsible for the final sound of a recording, for guiding the artists and performers and giving advice to the [[audio engineer]] on the selection of [[microphone]]s and [[effects processor]]s and on how to mix the levels of the vocals and instrumentals.

== Producer tags ==
Modern producers commonly use producer tags,<ref>{{Cite web|url=https://djbooth.net/features/2018-05-30-mythology-art-of-musical-tags|title=The Mythology & Art of the Musical Tag|last=Green|first=Dylan "CineMasai"|website=DJBooth|access-date=December 25, 2018}}</ref> also known as audio tags, musical tags or simply tags. They function as a [[watermark]] for producers and beatmakers to make sure that they are given credit. These can range from producers (or artists that they work with) reciting the producer's name or stage name to a phrase unique to them. An example of the former is when [[Drake (musician)|Drake]] starts his song "[[In My Feelings]]" with the lyric "Trap, TrapMoneyBenny", shouting out one of the song's co-producers. An example of the latter is [[Metro Boomin]]'s "[''[[sic]]''] Metro Boomin want some more, nigga!" which comes from a sample of [[Young Thug]] on his track "Some More" in which he shouts out Boomin, who co-produced the song along with [[Sonny Digital]] and [[TM88]]. Producers and beatmakers often utilize a number of tags to personalize the track. A prime example is producer CAB's variation between "CAB you're crazy for this", "CAB!", and "Yo, it's Charlot". These originate from hip-hop record producers shouting their name over a track before it started, and eventually vocal processing became involved, resulting in tags that sound like part of the song, and eventually in artists shouting the producer's name rather than producers doing so themselves.

== History ==
{{cquote|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 [[tower block|high-rise]] [[ghetto]]s, 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 [[sound collage|collage]] of effects—[[loop (music)|loops]], [[break (music)|breaks]], [[beat (music)|beats]], [[scratching|scratches]]. Later, studio-bound DJs and beat maker's used digital [[sampling (music)|sampling]] to assemble some of the most densely packed sonic [[Assemblage (composition)|assemblages]] in musical history: [[Eric B. & Rakim|Eric B. and Rakim]]'s ''[[Paid in Full (album)|Paid in Full]]'', [[Public Enemy (group)|Public Enemy]]'s ''[[Fear of a Black Planet]]'', [[Dr. Dre]]'s ''[[The Chronic]]''.|author=[[Alex Ross (music critic)|Alex Ross]]|source=''Listen to This'' (2010)<ref name="Ross60">Ross (2010), p. 60.</ref>}}

=== 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 (song)|Planet Rock]]" in 1982, in addition to the electro hip hip groundbreaking classic "[[Nunk (song)|Nunk]]" by [[Warp 9]], produced by [[Lotti Golden]] and Richard Scher, giving rise to the fledgling [[electro (music)|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 (Run-D.M.C. song)|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.

[[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 [[E-mu Emax|Emax]] sampler. [[De La Soul]] also released ''[[3 Feet High and Rising]]'' that year.

=== 1990s-present ===
[[Public Enemy (band)|Public Enemy]]'s [[The Bomb Squad|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 [[MIDI Production Center|AKAI MPC2000]] in 1997, followed by the MPC2000XL in 1999<ref>{{cite web|url=http://www.vintagesynth.com/akai/mpc2000.php|title=Akai MPC2000 / MPC2000 XL – Vintage Synth Explorer|author=Vintage Synth Explorer|accessdate=July 9, 2015}}</ref> and the MPC2500 in 2006. These machines combined a sampling [[drum machine]] with an onboard [[MIDI]] [[Music sequencer|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 (1983 TV series)|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 (producer)|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.

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 (musician)|Lex Luger]], [[Young Chop]], DJ L Beats, [[Tay Keith]], and the birth of music producing groups such as [[808 Mafia|808Mafia]], Winner's Circle, and [[Internet Money]].

== Elements ==
===Drum beat===<!-- This section is linked from [[Hip hop music]] -->
{{Main|Beats (music)}}
The drum beat is a core element of hip hop production. While some beats are sampled, others are created by [[drum machine]]s. The most widely used drum machine is the analog [[Roland Corporation|Roland]] [[Roland TR-808|TR-808]], which has remained a mainstay for decades.<ref name=":8">{{Cite web|url=http://www.newyorker.com/culture/culture-desk/the-808-heard-round-the-world|title=The 808 Heard Round the World|last=Norris|first=Chris|date=August 13, 2015|website=The New Yorker|access-date=January 16, 2017}}</ref> Digital [[Sampler (musical instrument)|samplers]], such as the [[E-mu SP-12]] and [[E-mu SP-1200|SP-1200]], and the [[Akai]] [[Music Production Center|MPC]] series, have also been used to [[Sampling (music)|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<ref>https://www.engadget.com/2017/01/22/akai-mpc-live-mpc-x/</ref> 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 ===
{{Main|Sampling (music)}}
{{cquote|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.|author=Richard Schur|source=''Hip Hop Aesthetics and Contemporary African American Literature'' (2008)<ref name="Schur">''New Essays on the African American Novel'' (2008), p. 207.</ref>}}

Sampling is using a segment of another's musical recording as part of one's own recording.<ref>{{cite dictionary|title=Sample – Definition and More|url=http://www.merriam-webster.com/dictionary/sample|dictionary=Merriam-Webster|accessdate=April 4, 2012}}</ref> 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 (song)|Planet Rock]]'', which sampled parts of dance act [[Kraftwerk]] and experienced vast public acclaim.<ref>Marisa Brown. [{{Allmusic|class=album|id=r27616|pure_url=yes}} "Planet Rock: The Album"], AllMusic. R 27616.</ref> 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]]'',<ref>Stephen Thomas Erlewine. [{{Allmusic|class=album|id=r27625|pure_url=yes}} "Licensed to Ill"], AllMusic.</ref> and the following year rap duo [[Eric B. & Rakim]] popularized [[James Brown]] samples with their album ''[[Paid in Full (album)|Paid in Full]]''.<ref>Steve Huey. [{{Allmusic|class=album|id=r27822|pure_url=yes}} "Paid in Full"], AllMusic.</ref>

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]].<ref>Steve Huey. [{{Allmusic|class=album|id=r28139|pure_url=yes}} "Straight Outta Compton [Clean&#93;"], AllMusic.</ref> 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,<ref>Stanton Swihart. [{{Allmusic|class=album|id=r76024|pure_url=yes}} "All Souled Out"], AllMusic.</ref><ref>John Bush. [{{Allmusic|class=album|id=r28338|pure_url=yes}} "The Low End Theory"], AllMusic.</ref> 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]]'',<ref>Steven Leckart, 10.23.07. [https://www.wired.com/entertainment/music/magazine/15-11/pl_music "Wu-Tang Clan's RZA Breaks Down His Kung Fu Samples by Film and Song"], ''WIRED MAGAZINE: ISSUE 15.11''.</ref> Dr. Dre's ''[[The Chronic]]'',<ref>[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."]</ref> [[Nas (rapper)|Nas]]' ''[[Illmatic]]''<ref>Dan Love, February 11, 2008. [http://www.ohword.com/blog/926/deconstructing-illmatic "Deconstructing Illmatic"] {{webarchive|url=https://web.archive.org/web/20090325161608/http://www.ohword.com/blog/926/deconstructing-illmatic |date=March 25, 2009 }}, ''Oh Word Collection''.</ref> and [[Notorious B.I.G.]]'s ''[[Ready to Die]]''.<ref>XXL staff, Thursday March 9, 10:28&nbsp;am CST. [http://www.xxlmag.com/online/?p=408 "The Making of Ready to Die:Family Business"], ''XXL MAGAZINE''.</ref>

In the 2000s, sampling began to reach an all-time high; [[Jay-Z]]'s album ''[[The Blueprint (album)|The Blueprint]]'' helped put producers [[Kanye West]] and [[Just Blaze]] on the map for their sampling of [[soul (music)|soul]] records.<ref>''Gale: Black History Month''.</ref> Kanye West himself scored early hits with "[[Through the Wire]]" and "[[Jesus Walks (Kanye West song)|Jesus Walks]]." His 2004 album, ''[[The College Dropout]]'', included two sampled hits featuring [[Twista]] which led to the Chicago rapper's ''[[Kamikaze (Twista album)|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.<ref>9/10/2004 8:57:27&nbsp;pm, foxxylady. [http://www.sixshot.com/articles/4259/ "CAN HIP HOP LIVE WITHOUT SAMPLING?"] {{Webarchive|url=https://web.archive.org/web/20180831141200/http://www.sixshot.com/articles/4259/ |date=August 31, 2018 }}, ''SixShot.com''.</ref> The law immediately began rarefying samples in hip-hop; in a 2005 interview with [[Scratch (magazine)|Scratch magazine]], Dr. Dre announced he was moving more toward instrumentation,<ref>December 5, 2005, 05:04&nbsp;pm. [http://www.mio.co.za/forums/index.php?showtopic=8682 "DR. DRE INTERVIEW FROM SCRATCH MAGAZINE"], ''Music Industry Online''.</ref> 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.<ref>Dave, March 19, 2006 9:10:26&nbsp;am. [http://www.rapnewsdirect.com/0-202-261070-00.html "Hip-Hop News: Late Rapper Has Album Pulled Over Copyright Infringement"] {{Webarchive|url=https://web.archive.org/web/20110715170939/http://www.rapnewsdirect.com/0-202-261070-00.html |date=July 15, 2011 }}, ''Rap News Network''.</ref> As a result, more major producers and artists have moved further away from sampling and toward live instrumentation, such as Wu-Tang's. There were often questions of originality and authenticity that followed the use of sampling. [[RZA]]<ref>Morgan Steiker, July 29, 2008.  [http://www.prefixmag.com/features/rza/interview/20053/ "RZA: Interview"], ''Prefixmag.com''.</ref> and [[Mos Def]].<ref>Hillary Crosley N.Y., May 30, 2008. [http://www.billboard.biz/bbbiz/content_display/genre/e3i2de8a18e89befee3a88722d7c1de8dd5 "Mos Def Hits The Studio With Mr. DJ "], ''Billboard''.</ref>

{{Gallery
|title=Instruments used in hip hop production
|width=160 | height=170
|align=center
|File:Roland TR-808 drum machine.jpg
 |alt1=Roland TR-808 drum machine
 |[[Roland Corporation|Roland]] [[Roland TR-808|TR-808]] [[drum machine]]
|File:Akai MPC60.jpg
 |alt2=Akai MPC60
 |[[Akai]] [[Music Production Center|MPC60]] [[Music sequencer|sequencer]]/[[Sampler (musical instrument)|sampler]]
|File:E-mu SP-1200 (111607sp1200).jpg
 |alt3=E-mu SP-1200
 |[[E-mu Systems|E-mu]] [[E-mu SP-1200|SP-1200]] sampler
|File:Turntables and mixer.jpg
 |alt4=Two vinyl turntables and a small mixer
 |Two [[Technics SL-1200]] [[Turntablism|turntables]] and a small [[DJ mixer]]
}}

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

=== Turntables ===
{{Main|Turntablism}}

The most widely used turntables in hip hop are [[Panasonic]]'s [[Technics (brand)|Technics]] series. They were the first [[direct-drive turntable]]s,<ref name="reverb">{{cite web|title=History of the Record Player Part II: The Rise and Fall|url=https://reverb.com/news/history-of-the-record-player-part-ii-the-rise-and-fall|website=[[Reverb.com]]|accessdate=June 5, 2016}}</ref> which eliminated belts, and instead employed a motor to directly drive the platter on which a vinyl record rests.<ref name="oxford">Trevor Pinch, Karin Bijsterveld, [https://books.google.co.uk/books?id=KuRfLG0IedYC&pg=PA515 ''The Oxford Handbook of Sound Studies'', page 515], [[Oxford University Press]]</ref> The Technics SL-1100 was adopted by early hip hop artists in the 1970s, due to its strong motor, durability and fidelity.<ref name="oxford"/> A forefather of [[turntablism]] was [[DJ Kool Herc]], an immigrant from [[Jamaica]] to New York City.<ref name="reverb"/> He introduced turntable techniques from Jamaican [[dub music]],<ref name="cambridge">Nicholas Collins, Margaret Schedel, Scott Wilson (2013), [https://books.google.co.uk/books?id=bQeAtG97BmEC&pg=PA105 ''Electronic Music: Cambridge Introductions to Music'', page 105], [[Cambridge University Press]]</ref> 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 (Jamaican)|sound system]] he set up after emigrating to New York in the 1970s.<ref name="reverb"/> The signature technique he developed was playing two copies of the same record on two turntables in alternation to extend the [[Breakdancing|b-dancers]]' favorite section,<ref name="cambridge"/> switching back and forth between the two to [[Music loop|loop]] the [[Break (music)|breaks]] to a rhythmic beat.<ref name="reverb"/>

The most influential turntable was the [[Technics SL-1200]].<ref name="wired">[https://www.wired.com/2002/05/blackbox/ Six Machines That Changed The Music World], ''[[Wired (magazine)|Wired]]'', May 2002</ref> 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 [[revolutions per minute|RPM]] even if the DJ wiggled the record back and forth on the platter.<ref name="wired"/> 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.<ref name="oxford"/><ref name="wired"/>

=== Synthesizers ===
{{Main|Synthesizer}}
Synthesizers are used often in hip hop production. They are used for melodies, [[bassline]]s, 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 [[multitrack recording|multi-track recorder]] is standard for recording. The [[Portastudio]] [[Cassette tape|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 [[Microphone#Capacitor or Condenser microphones|condenser microphone]] for studio recording,<ref>{{cite web |url=http://water.cisc.gmu.edu/web/becksalvador/itunes-and-producers |title=Archived copy |accessdate=February 24, 2014 |url-status=dead |archiveurl=https://archive.is/20140224065259/http://water.cisc.gmu.edu/web/becksalvador/itunes-and-producers |archivedate=February 24, 2014 }}</ref><ref>{{cite web|url=http://shadezofblue.com/mastering-rap-instrumentals/|title=Mastering Rap Instrumentals|work=ShadezOfBlue™   –  Blew You Away|accessdate=July 9, 2015|url-status=dead|archiveurl=https://web.archive.org/web/20150710074801/http://shadezofblue.com/mastering-rap-instrumentals/|archivedate=July 10, 2015}}</ref> mostly due to their wide-range response and high quality. A primary alternative to the expensive condenser microphone is the [[Microphone#Dynamic microphone|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.
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 ===
{{Main|Digital audio workstation}}
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<ref>{{cite web|url=http://bogobeats.com/|title=BogoBeats.com|work=BogoBeats.com|accessdate=August 8, 2016}}</ref> preferably on digital marketplaces<ref>{{cite web|url=http://www.rapbeats.net/rapbeats-net-relaunch/|title=RapBeats.net relaunch|work=RapBeats.net|accessdate=July 9, 2015}}</ref> to rap artists from all around the world and caused the creation of a new niche market. Some Beat makers oppose complete reliance on DAWs and software, citing lower overall quality, lack of effort, and lack of identity in computer-generated beats. Sequencing software often comes under criticism from purist listeners and traditional producer as producing sounds that are flat, overly clean, and overly compressed.

Popular DAWs include the following:
*[[Ableton Live]]
* Acoustica [[Mixcraft]]
*[[Adobe Audition]]
*[[Apple Inc.|Apple]]'s [[Logic Pro]]
*[[Avid Technology]]'s [[Pro Tools]]
*[[Cakewalk (company)|Cakewalk]] [[Cakewalk Sonar|SONAR]]
*[[Steinberg]] [[Cubase]]
*[[Image-Line]]'s [[FL Studio]]
*Propellerhead Software [[Reason (program)|Reason]]
*[[Sony]] [[ACID Pro]]
*[[Apple Inc.|Apple]]'s [[GarageBand]]
*[[Motu Inc.]] [[Digital Performer]]
*[[Cockos]] [[REAPER]]
*[[Ardour (software)|Ardour]]

=== 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 (rapper)|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 (musician)|Q-Tip]], and [[Common (rapper)|Common]] as well as [[neo-soul]] singer [[Bilal Oliver]].

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

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

== Hip hop drummers ==
[[File:Drum_kit_illustration.png|thumb]]

* [[Questlove]]
* [[J Dilla]]
* [[Pharrell Williams]] 
* [[Tony Royster Jr]]
* [[Chris Dave]]
* [[Karriem Riggins]]
* [[Adam Deitch]]
* [[metro boomin]]

<ref>{{Cite web|url=http://www.revive-music.com/2015/03/17/kendrick-lamar-pimp-butterfly-meet-musicians-made-album-possible/|title=7 Musicians Who Contributed on 'To Pimp A Butterfly'|last=Okayplayer|website=revive-music.com|access-date=November 20, 2018|archive-date=November 24, 2018|archive-url=https://web.archive.org/web/20181124092217/http://www.revive-music.com/2015/03/17/kendrick-lamar-pimp-butterfly-meet-musicians-made-album-possible/|url-status=dead}}</ref><ref>{{Cite news|url=http://drummagazine.com/drum-lesson-how-to-add-a-questlove-feel-with-the-drag-beats-precise-sloppiness/|title=How To Add A ‘Questlove’ Feel with the Drag Beat's Precise Sloppiness|date=August 1, 2018|work=DRUM! Magazine|access-date=November 20, 2018}}</ref>
<ref>{{Cite web|url=https://www.hotnewhiphop.com/questlove/profile/|title=Questlove|website=HotNewHipHop|access-date=November 13, 2018}}</ref><ref>{{Cite web|url=http://daily.redbullmusicacademy.com/2017/10/modern-approaches-hip-hop-drums|title=Red Bull Music Academy Daily|website=daily.redbullmusicacademy.com|access-date=November 13, 2018}}</ref><ref>{{Cite news|url=https://producelikeapro.com/blog/5-most-sampled-drum-beats-in-hip-hop/|title=These are the 5 most sampled drum beats in hip hop|date=September 15, 2017|work=Produce Like A Pro|access-date=November 13, 2018}}</ref><ref>{{Cite web|url=http://www.drummerworld.com/forums/showthread.php?t=60347|title=Hip Hop/Rap Artists Using Real Live Drummers/Percussionists – DRUMMERWORLD OFFICIAL DISCUSSION FORUM|website=drummerworld.com|access-date=November 13, 2018}}</ref><!-- EDIT BELOW THIS LINE -->

== Instrumental hip hop ==
{{See also|Breakbeat}}
{{Unreferenced section|date=March 2018}}
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 [[Master of Ceremonies|MC]] (emcee). In this format, the [[rapping|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]] [[keyboard (music)|keyboard]]ist/composer [[Herbie Hancock]] and bassist/[[producer (music)|producer]] [[Bill Laswell]]'s [[electro music|electro]]-inspired collaborations are notable exceptions. 1983's ''[[Future Shock (Herbie Hancock album)|Future Shock]]'' album and hit single "[[Rockit (song)|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]], [[Wax Tailor]], Denver Kajanga, [[DJ Krush]], [[Hermitude]], and [[Blockhead (music)|Blockhead]] have garnered critical attention with instrumental hip hop albums. Due to the current state of copyright law, most instrumental hip-hop releases are released on small, independent labels. Producers often have difficulty obtaining clearance for the many samples found throughout their work, and labels such as [[Stones Throw]] are fraught with legal problems. {{Citation needed|date=January 2017}}

== See also ==
*[[List of hip hop DJs and producers]]
*[[Turntablism]]

== Notes ==
{{reflist|2}}

== References ==
Hawk Memphis<ref>{{Cite web|url=http://www.hawkmemphis.com/|title=Hawk Memphis|last=Memphis|first=Hawk|date=July 2016|website=hawkmemphis.com|publisher=Hawk Memphis|access-date=July 17, 2016|archive-date=June 15, 2017|archive-url=https://web.archive.org/web/20170615095357/http://hawkmemphis.com/|url-status=dead}}</ref>

*{{cite book|last=Ross|first=Alex|authorlink=Alex Ross (music critic)|title=Listen to This|year=2010|publisher=Fourth Estate|isbn=978-0-00-731906-0}}
*[https://www.docteur-hichem-mahmoud.com Docteur Mahmoud] : [http://www.docteur-hichem-mahmoud.com chirurgien esthétique Tunisie]
*{{cite book| editor = Lovalerie King, Linda F. Selzer | title = New Essays on the African American Novel: From Hurston and Ellison to Morrison and Whitehead | publisher = [[Macmillan Publishers|Macmillan]] | year = 2008 | location = | isbn = 0-230-60327-0}}

{{hiphop}}
{{Music production}}

[[Category:Hip hop production| ]]
[[Category:Record producers| ]]
[[Category:Music production]]
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<small>This page was moved from [[:en:Hip hop production]]. Its edit history can be viewed at [[Hip hop production/edithistory]]</small></noinclude>