Download Hiphop Beat

Hey y'all-- longtime artist, first time poster. I've been rapping and making beats in some capacity for about five years but only recently started to take either seriously. Especially with producing, I've been making shit in Ableton since Live 8 was brand new but only in the past month or so did I realize just how much goes into it vs. how little I was doing (I'd basically layer a few synths, throw on a drum rack, maybe a sample, and call it a day).

How to you build up a good beat? I have no lyrical experience, so my main job is to write the backing track. As a rapper - what kind of structure do you prefer the beat to have? How to build the intro into the first verse, etc. Technical terms.

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Hip hop or hip-hop, also known as rap, and formerly known as disco rap,[7][8] is a genre of popular music that originated in the early 1970s by black African Americans and Caribbean Americans immigrants in the Bronx,[9][10][11][12] a borough of New York City.[13][14][15] It existed for several years prior to mainstream discovery.[16] Hip-hop music originated as an anti-drug and anti-violence genre[17] consisting of stylized rhythmic music (usually built around drum beats) that often accompanies rapping, a rhythmic delivery of poetic speech.[18] According to the professor Asante of African American studies at Temple University, "hip hop is something that blacks can unequivocally claim as their own".[19] The music developed as part of the broader hip hop culture, a subculture defined by four key stylistic elements: MCing/rapping, DJing/scratching with turntables, break dancing, and graffiti art.[20][21][22] While often used to refer solely to rapping and rap music, "hip hop" more properly denotes the practice of the entire subculture.[23][24] The term hip hop music is sometimes used synonymously with the term rap music,[18][25] though rapping is not a required component of hip hop music; the genre may also incorporate other elements of the culture, including DJing, turntablism, scratching, beatboxing, and instrumental tracks.[26][27]

Hip hop as both a musical genre and a culture was formed during the 1970s when block parties became increasingly popular in New York City, particularly among African American youth residing in the Bronx.[28] At block parties, DJs played percussive breaks of popular songs using two turntables and a DJ mixer to be able to play breaks from two copies of the same record, alternating from one to the other and extending the "break".[29] Hip hop's early evolution occurred as sampling technology and drum machines became widely available and affordable. Turntablist techniques such as scratching and beatmatching developed along with the breaks. Rapping developed as a vocal style in which the artist speaks or chants along rhythmically with an instrumental or synthesized beat.

The popularity of hip hop music continued through the late 1990s to early-2000s "bling era" with hip hop influences increasingly finding their way into other genres of popular music, such as neo soul, nu metal, and R&B. The United States also saw the success of regional styles such as crunk, a Southern genre that emphasized the beats and music more than the lyrics, and alternative hip hop began to secure a place in the mainstream, due in part to the crossover success of its artists. During the late 2000s and early 2010s "blog era", rappers were able to build up a following through online methods of music distribution, such as social media and blogs, and mainstream hip hop took on a more melodic, sensitive direction following the commercial decline of gangsta rap. The trap and mumble rap subgenres have become the most popular form of hip hop during the mid-late 2010s and early 2020s. In 2017, rock music was usurped by hip hop as the most popular genre in the United States.[31][32][33]

Because the percussive breaks in funk, soul and disco records were generally short, Herc and other DJs began using two turntables to extend the breaks. On August 11, 1973, DJ Kool Herc was the DJ at his sister's back-to-school party. He extended the beat of a record by using two record players, isolating the percussion "breaks" by using a mixer to switch between the two records. Herc's experiments with making music with record players became what we now know as breaking or "scratching".[59]

DJs such as Grand Wizzard Theodore, Grandmaster Flash, and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching.[64] As turntable manipulation continued to evolve a new technique that came from it was needle dropping. Needle dropping was created by Grandmaster Flash, it is prolonged short drum breaks by playing two copies of a record simultaneously and moving the needle on one turntable back to the start of the break while the other played.[65] The approach used by Herc was soon widely copied, and by the late 1970s, DJs were releasing 12-inch records where they would rap to the beat. Popular tunes included Kurtis Blow's "The Breaks" and the Sugarhill Gang's "Rapper's Delight".[66] Herc and other DJs would connect their equipment to power lines and perform at venues such as public basketball courts and at 1520 Sedgwick Avenue, Bronx, New York, now officially a historic building.[67] The equipment consisted of numerous speakers, turntables, and one or more microphones.[68] By using this technique, DJs could create a variety of music, but according to Rap Attack by David Toop "At its worst the technique could turn the night into one endless and inevitably boring song".[69] KC the Prince of Soul, a rapper-lyricist with Pete DJ Jones, is often credited with being the first rap lyricist to call himself an "MC".[70]

Rapping, also referred to as MCing or emceeing, is a vocal style in which the artist speaks lyrically and rhythmically, in rhyme and verse, generally to an instrumental or synthesized beat. Beats, almost always in 4/4 time signature, can be created by sampling and/or sequencing portions of other songs by a producer. They also incorporate synthesizers, drum machines, and live bands. Rappers may write, memorize, or improvise their lyrics and perform their works a cappella or to a beat. Hip hop music predates the introduction of rapping into hip hop culture, and rap vocals are absent from many hip hop tracks, such as "Hip Hop, Be Bop (Don't Stop)" by Man Parrish; "Chinese Arithmetic" by Eric B. & Rakim; "Al-Naafiysh (The Soul)" and "We're Rocking the Planet" by Hashim; and "Destination Earth" by Newcleus. However, the majority of the genre has been accompanied by rap vocals, such as the Sci-fi influenced electro hip hop group Warp 9.[84] Female rappers appeared on the scene in the late 1970s and early 80s, including Bronx artist MC Sha-Rock, member of the Funky Four Plus One, credited with being the first female MC[85] and the Sequence, a hip hop trio signed to Sugar Hill Records, the first all female group to release a rap record, Funk You Up.[citation needed]

The first records by Jamaican DJs, including Sir Lord Comic (The Great Wuga Wuga, 1967) came as part of the local dance hall culture, which featured 'specials,' unique mixes or 'versions' pressed on soft discs or acetate discs, and rappers (called DJs) such as King Stitt, Count Machuki, U-Roy, I-Roy, Big Youth and many others. Recordings of talk-over, which is a different style from the dancehall's DJ style, were also made by Jamaican artists such as Prince Buster and Lee "Scratch" Perry (Judge Dread) as early as 1967, somehow rooted in the 'talking blues' tradition. The first full-length Jamaican DJ record was a duet on a Rastafarian topic by Kingston ghetto dwellers U-Roy and Peter Tosh named Righteous Ruler (produced by Lee "Scratch" Perry in 1969). The first DJ hit record was Fire Corner by Coxsone's Downbeat sound system DJ, King Stitt that same year; 1970 saw a multitude of DJ hit records in the wake of U-Roy's early, massive hits, most famously Wake the Town and many others. As the tradition of remix (which also started in Jamaica where it was called 'version' and 'dub') developed, established young Jamaican DJ/rappers from that period, who had already been working for sound systems for years, were suddenly recorded and had many local hit records, widely contributing to the reggae craze triggered by Bob Marley's impact in the 1970s. The main Jamaican DJs of the early 1970s were King Stitt, Samuel the First, Count Machuki, Johnny Lover (who 'versioned' songs by Bob Marley and the Wailers as early as 1971), Dave Barker, Scotty, Lloyd Young, Charlie Ace and others, as well as soon-to-be reggae stars U-Roy, Dennis Alcapone, I-Roy, Prince Jazzbo, Prince Far I, Big Youth and Dillinger. Dillinger scored the first international rap hit record with Cocaine in my Brain in 1976 (based on the Do It Any Way You Wanna Do rhythm by the People's Choice as re-recorded by Sly and Robbie), where he even used a New York accent, consciously aiming at the new NYC rap market. The Jamaican DJ dance music was deeply rooted in the sound system tradition that made music available to poor people in a very poor country where live music was only played in clubs and hotels patronized by the middle and upper classes. By 1973 Jamaican sound system enthusiast DJ Kool Herc moved to the Bronx, taking with him Jamaica's sound system culture, and teamed up with another Jamaican, Coke La Rock, at the mike. Although other influences, most notably musical sequencer Grandmaster Flowers of Brooklyn and Grandwizard Theodore of the Bronx contributed to the birth of hip hop in New York, and although it was downplayed in most US books about hip hop, the main root of this sound system culture was Jamaican. The roots of rap in Jamaica are explained in detail in Bruno Blum's book, 'Le Rap'.[96]

DJ Kool Herc and Coke La Rock provided an influence on the vocal style of rapping by delivering simple poetry verses over funk music breaks, after party-goers showed little interest in their previous attempts to integrate reggae-infused toasting into musical sets.[52][97] DJs and MCs would often add call and response chants, often consisting of a basic chorus, to allow the performer to gather his thoughts (e.g. "one, two, three, y'all, to the beat"). Later, the MCs grew more varied in their vocal and rhythmic delivery, incorporating brief rhymes, often with a sexual or scatological theme, in an effort to differentiate themselves and to entertain the audience. These early raps incorporated the dozens, a product of African American culture. Kool Herc & the Herculoids were the first hip hop group to gain recognition in New York,[97] but the number of MC teams increased over time. ff782bc1db