The sound generation was characterised by preset buttons (found on early Korg and Roland synths too) controlling a single VCO. The Pro-Soloist is probably considered quite rudimentary by today’s standards, and it certainly didn’t have anywhere near the flexibility of later ARP productions. Moog are widely regarded as one of the Godfathers of modern subtractive synthesis but during the 70s ARP, EMS, Korg and Oberheim contributed fantastically, and their synths are plastered all over every genre of music from Krautrock to Space Disco, P-Funk to Italo, Prog-Rock to New Wave and everything in between. In the early 70s synthesisers went from being a piece of furniture only afforded to eccentric laboratory dwellers to a portable, sonically innovative and funky hit-maker that changed how we think about sound more than any acoustic instrument has done since. Today I want to talk about Hip Hop’s love affair with the synthesiser.has
There already exists a a plethora of homages to the most popular Hip Hop samples or the the most influential drum machines, which I wont add to. The likes of the Oberheim DMX, Linn Drum and of course Roland TR-808 are as much of the sound of early Hip Hop records as the plundered breakbeats and samples are. Similarly to the early advents of Chicago House and Detroit Techno, drum machines allowed producers to orchestrate beats themselves, with no need for a drum kit or someone to play it. Without Kool Herc’s beat juggling of “breaks” from Soul, Disco, Jazz and Funk records there would be no Hip Hop and none of the countless breakbeat inspired genres that spawned off the back off its legacy.ĭrum machines play huge role too. Nothing is more synonymous with Hip Hop than the sampler – a cornerstone on which Hip Hop is built.
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