BEHIND THE BEAT PDF
Behind the Beat: Technical and Practical Aspects of Instrumental Hip-Hop Composition. D'Errico, Michael. TZ. Thn50h?file. Behind the Beat: Hip Hop Home Studios [Raph Rashid] on cittadelmonte.info *FREE* shipping on qualifying offers. The revealing photographs found within the. The revealing photographs found within the pages of Behind the Beat expose the creative spaces of top DJs and music producers from the UK and US This book.
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Behind the Beat: Hip Hop Home Studios is a book by Raph (Rafael Rashid) where the home studios of twenty eight notable Hip-Hop producers. Behind the Beat: Technical and Practical Aspects of Instrumental Hip-Hop Composition A thesis submitted by Michael A. D'Errico In partial fulfillment of the. the world witnessed, perhaps for the first time, what goes on behind the beat of . I do not mean instrumental versions of rap songs, but rather beat tapes and.
Skip to main content. Log In Sign Up. Behind the Beat: Michael D'Errico. Expanding upon the various techniques developed by pioneering hip-hop DJs—including beat-juggling, cutting, and mixing—the MPC introduced a much wider range of possibilities regarding not only the manipulation of individual samples, but their assemblage into a musical composition as well. Furthermore, the expansion of the machine has coincided with the musical development of the hip-hop tradition, as producers have responded and reacted to changing technological trends with increasingly innovative trends in performance practice. In exposing diverse technical and musical trends that have received little attention from scholars, this paper hopes to provide a missing link to the way we analyze hip-hop music and culture.
Waveform analyses and spectrographs provide a visual stimulus that reflects the perceived immediacy of the beatmaking process on the MPC, but ultimately fail in that the compressed waveform is physically too opaque. While the sensual impact of the groove is described by the waveform, its lack of transparency fails to prescribe the content of the loop.
Ashgate, , 8. Indiana University Press, , Everything sounded ultra-mechanical. You just hitting it. But you hit it a little different every time. The increased ability to carry out differing quantize levels across tracks, as well as the detailed precision with which this could be carried out, helped to create a distinct groove which could not be achieved with previous technology.
Yet, as the track progresses this figure momentarily becomes a dotted eighth to a 16th note figure fig. Verso, , Yes, and at the same time nothing is more simply false, the tragedy is there. The spinning record reflects the circular nature of the culture, as well as the constant historical presence of the past exemplified by the DJs ability to physically position him or herself at any point of the cycle through the compositional methods of turntablism.
Contrastingly, the binary world of 1s and 0s reflected in the digital sample is a literally fragmented environment in which the sound itself is chopped into discrete moments in the process of its creation. Yet—as I have shown throughout my thesis—rather than asserting definitive breaks with past forms of hip-hop production, instrumental hip-hop producers have utilized emerging digital hardware devices as extensions of turntable technique and aesthetic practices developed in the early days of the culture.
Alan Bass Chicago: University of Chicago Press, , 9. While certainly creating new possibilities for production, these devices—which include the Akai MPD and the Monome—simultaneously retain the inner logic and suggested performance standards of previous devices such as the Akai MPC, Roland TR- , and even the turntable.
By externalizing the digital interface, Flying Lotus reveals to his audience the inner logics of not only these technological devices, but the core aesthetics of hip-hop composition as well. It is no coincidence that every artist I have discussed thus far hails from Los Angeles. In this sense, technological changes and aesthetic style in hip-hop production have typically found their root in West Coast producers reacting to their East Coast counterparts, from Dr.
Yet, while DJ Shadow and Madlib view authentic production technique in stylistic terms—expanding on past musical styles on a textual, sample-based level—Flying Lotus asserts his own unique hip-hop identity in the more phenomenological context of the live performance, utilizing a hardware controller known as the MPD to externally control the software interface of Ableton Live. The recent popularity of the digital audio workstation software, Ableton Live, has refueled many of these perennial debates.
Each individual block of the resulting musical grid can be filled with musical content of various sorts, from a short instrumental loop to an entire song. In a live performance setting these blocks can be triggered in any manner; songs may be organized in a descending fashion with each musical section representing a vertical row, or musical ideas may be triggered in a non-linear fashion in which blocks from disparate columns are juxtaposed. Instrument and FX editors are located below the grid.
Note the Drum Instrument Rack at the bottom left To the left of the musical grid is the master sample and instrument library as well as the contents of the users entire hard drive, from which various MIDI and audio instruments and effects may be selected.
Beneath the window of the musical grid is another empty window into which these audio effects and instrument editors can be dropped. You get yourself in these pockets and tangents. Conversely, live performances of hip- hop are rarely concerned with reproducing any specific processes from the studio; the studio recording is simply played. Sample-based hip-hop is a studio-oriented music. Mitchell, The Reconfigured Eye: The MIT Press, , 8.
Club, http: Why do you think this is happening? A particularly successful model comes from Akai, who combined the sixteen-pad design of its own MPC series with a set of eight knobs and eight faders, creating the MPD midi pad control unit. From here, the hardware controls of the MPD can be used to play the sample set live in a similar manner as the MPC, essentially externalizing the digital software interface onto the hardware controller fig.
Television, Media Art, and Cyberculture Bloomington: State University of New York Press, , It never ceases to oppress the older media until it finds new shapes and positions for them. The Extensions of Man New York: New American Library, Times Mirror, , The physicality of the performance is aurally implied—in the sense that it sounds like a drum performance—but the lack of a visual element weakens the sensual connection between the performer and the listener.
The physicality of the performance is highlighted once again at 8: After cueing up the drum loop with one of the devices pads, he engages in a rapid succession of upward motions on one of the eight faders, resulting in the audience hearing only quarter- note chops of the drum break for two bars. For the next twenty seconds, FlyLo gradually increases the tempo of the music while simultaneously using the upfaders of the MPD to mute musical tracks in the mix.
As I mentioned earlier, the Ableton Drum Rack is a virtual simulation of the MPC interface, with sixteen sample blocks arranged as a four by four grid. A diagram of the MIDI notation taken from the Drum Rack displays how this process unfolds, revealing the fragmented nature of the break fig. Above individual segments of the break play consecutively from slice 1 to slice 16, looping upon completion.
In fact, James A. Understanding New Media Cambridge and London: The MIT Press, , 6. Throughout the s, producers such as DJ Shadow and DJ Premier utilized the Akai MPC 60 in conjunction with turntables as a way of extending the technical practice of hip-hop production in the studio setting.
As Akai developed newer MPC models in the early s, producers such as Madlib and J Dilla exploited the technical capabilities of the standalone hardware device in the absence of the turntable. In light of this development, instrumental hip-hop music has mixed and mingled with electronic dance music traditions from all over the world, resulting in hybrid forms such as dubstep, grime, reggaeton, glitch, and more.
Directed by Gary Hustwit. Plexifilm, As a result, musical practice across genres has been altered in fundamental ways. Popular Music and Contemporary Theory, ed.
Blackwell, , Without digital concepts of bars and beats, there is nothing to compare to or vary from … [thus] the meaning carried by those gestures is of an inherently musical, even emotional nature, as gestures are in fact continuous and therefore analogue. Ashgate, , , It might become more split, or it might come back and somebody might make hip-hop relevant again in rap… bring it back full circle.
Behind the Beat: Hip-Hop Home Studios book with J Dilla and Madlib | Stones Throw Records
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Contact About Search. Behind the Beat: D'Errico, Michael. Description Abstract: From DJ Premier's beat productions in the early '90s to Kanye West's live performance at the Video Music Awards, the Akai MPC has long been considered standard sampling technology in any hip-hop production studio. Expanding upon the various techniques developed by pioneering hip-hop DJs--including beat-juggling, cutting, and mixing--the MPC introduced a much wider range of possibili Furthermore, the expansion of the machine has coincided with the musical development of the hip-hop tradition, as producers have responded and reacted to changing technological trends with increasingly innovative trends in performance practice.
Through analyses of several tracks by DJ Shadow, Madlib, and Flying Lotus, this paper will fill a major gap in hip-hop scholarship by exploring both the technical aspects of the music's construction as well as how these producers have responded and reacted to the changing characteristics of the MPC throughout its development.
In exposing diverse technical and musical trends that have received little attention from scholars, this paper hopes to provide a missing link to the way we analyze hip-hop music and culture. Thesis M. Submitted to the Dept. Joseph Auner.
Stephan Pennington, and Jeffrey Summit.
Music, , and American Studies. Department of Music. Permanent URL http:
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