MAKE BEATS FOR RAP

So how do MPCs work? Well every MPC has the same basic set-up. They have a number of tap pads plus a range of controls that manage the volume levels and effects and of course a screen output that shows track sequencing. Samples are assigned to the pads for example kick drums, snare drums, high hats, piano, guitar and bass. These samples can either be taken from audio sources such as vinyl, CD or mp3 files or purchased as complete instrumental libraries.

You can create the track in two ways. If you have good timing you can start by tapping out the groove on the pads and then build the beat by adding tracks, each time adding the sample by tapping the pad. If your timing isn't so great or if you start to build up a large number of tracks in your beat then you can simply use the sequencer to lay down the required samples at the precise point in each bar that you want.

But isn't this expensive? It all depends on your point of view. An entry level MPC will set you back just under 00 and you can quite easily spend -3000. When compared to the set-up cost of a professional studio rig, its small change. But for an aspiring producer just starting out this is a veritable fortune.

The good news is that there are now a number of beat makers available online that are basically virtual MPCs and they have many of the same features. You can build multiple tracks, tap out grooves on virtual tap pads and make arrangements using the sequencing controls. And because they are software based, they have features that are only found on top end MPCs. For example using virtual piano keys to input samples is a great way to build melody lines. Usually you would need a midi controller or synthesizer to do this in a hardware based studio.

Hip-hop was initiated as a cultural movement by inner-city youth, mostly Latinos, Hispanics, and African Americans in New York City, in the early seventies. The word "rap" was derived in the sixties, from a slang word that meant conversation.

Hip-hop has two main historical eras, the old school hip-hop era from 1970-1985 and the golden age hip-hop era from 1985-1993. The golden age of hip-hop began only when it entered the mainstream of music and it consolidated the sounds of the West Coast and the East Coast.

The origin of hip-hop music is from African American and West African music. Contributions of griots like The Last Poets, Jalal Mansur Nurriddin, and Gil Scott-Heron were significant in a big way for the advent of hip-hop in the 1960s. Hip-hop had originally begun in the Bronx. Funk and soul music were played a lot in block parties. In the beginning, the DJs at these parties began separating the percussion breaks from hit songs. They started realizing that these breaks were more entertaining and groovy. This technique had become widespread in Jamaica and had spread considerably in the New York community via the Jamaican immigrants.

Kool DJ Herc and Grandmaster Flash were the pioneers in the hip-hop industry and other DJs had extended the short percussion interludes of funk records and created a more danceable sound. As a result, remixes had become popular with the advent of mixing and scratching techniques. Many styles of hip-hop had developed in the golden age of hip-hop.

At present, hip-hop is enjoyed all around the world. In spite, of all the controversies created by hip-hop artists they are still growing in number. Hip-hop music is sold all over the world in stores and even online.

Fast-forward from the tribes of Africa to the ghettos of Kingston, Jamaica in the late sixties. The impoverished of Kingston gathered together in groups to form DJ conglomerates. They spun roots and culture records and communicated with the audience over the music. At the time, the DJ's comments weren't as important as the quality of the sound system and its ability to get the crowd moving. Kool Herc grew up in this community before he moved to the Bronx.

During the late sixties, reggae wasn't popular with New Yorkers. As a DJ, Kool Herc spun rhythm and blues records to please his party crowd. But, he had to add his personal touch. During the breaks, Herc began to speak to his audience as he had learned to do in Jamaica. He called out, the audience responded, and then he pumped the volume back up on the record. This call and response technique was nothing new to this community who'd been reared in Baptist and Methodist churches where call and response was a technique used by the speakers to get the congregation involved. Historians compare it to the call and response performed by Jazz musicians and was very much a part of the culture of Jazz music during the renaissance in Harlem.

Herc's DJ style caught on. His party's grew in popularity. He began to buy multiple copies of the same albums. When he performed his duties as a DJ, he extended the breaks by using multiple copies of the same records. He chatted, as it is called in dance hall, with his audience for longer and longer periods.

Others copied Herc's style. Soon a friendly battle ensued between New York DJs. They all learned the technique of using break beats. Herc stepped up the game by giving shout-outs to people who were in attendance at the parties and coming up with his signature call and response. Other DJs responded by rhyming with their words when they spoke to the audience. More and more DJs used two and four line rhymes and anecdotes to get their audiences involved and hyped at these parties.

One day, Herc passed the microphone over to two of his friends. He took care of the turn table and allowed his buddies to keep the crowd hyped with chants, rhymes and anecdotes while he extended the breaks of different songs indefinitely. This was the birth of rap as we know it.

Hip-hop has evolved from the days of the basement showdowns to big business in the music industry. In the seventies and eighties, the pioneers and innovators of the rap record was the DJ. He was the guy who used his turntable to create fresh sounds with old records. Then, he became the guy who mixed these familiar breaks with synthesizers to produce completely new beats. Not much has changed in that aspect of hip-hop. The guy who creates the beat is still the heart of the track. Now, we call him the producer. Even though some DJs work as producers as well as DJs (quite a few start out as DJs before they become producers), today's title "DJ" doesn't carry the same connotative meaning it did in the eighties. Today's hip-hop producer performs the same tasks as the eighty's DJ.