Beat Machines: Essential Hip-Hop Production Gear

The evolution of hip-hop has, from the very beginning of the art form, been directly tied to — and in many cases dictated by — the introduction and adaptation of new technology. In hip-hop’s earliest days, for a DJ to earn a reputation, they had to have a loud and clear sound system alongside an impeccable collection of records. As rap music moved out of the parks and rec centers and into the studio, the focus changed from appropriating equipment used to play records to utilizing equipment designed to make records. From the Sugar Hill/Enjoy!/live-band era to the age of the drum machine and the introduction of sampling, every major stylistic shift in hip-hop can be traced to significant pieces of music-making equipment. Here are 10 of the most crucial examples of game-changing music technology in hip-hop history.

Roland TR-808 Rhythm Composer

It would have been impossible to predict how profoundly the TR-808 drum machine, ushered into existence by Roland founder Ikutaro Kakehashi, would change the course of popular music — particularly rap, where the boom of the 808 kick drum has been ubiquitous. In the 43 years since it was released, the 808 has all but defined the rhythmic drive of the old school, and in recent years the machine has played an integral role in the sound of trap and contemporary rap.

Hear It: Sir Mix-a-Lot, “Posse on Broadway” (Prod: Sir Mix-a-lot)

Technics SL-1200 Turntables

Despite the attention that MCing continues to command in the industry, DJing was the catalyst for hip-hop as a cultural movement. In contrast to belt-drive turntables, the direct-drive 1200s were smooth yet sturdy machines that were vastly more responsive and durable; simply put, they made turntablism possible. You’d be hard-pressed to find a classic mixtape or hear a scratched hook in a ’90s rap song that wasn’t performed on a Technics. And even with all the advances in contemporary DJ technology, 1200s continue to set the standard.

Hear It: Common, “Resurrection” (Scratches: Mista Sinista)

E-mu SP-1200 Drum Machine/Sampler

The progeny of E-mu’s SP-12 drum machine/sampler, the SP-1200 made its first appearance in 1987. A powerful yet relatively portable and affordable machine, the SP was the most beloved of sampling drum machines that hit the market during hip-hop’s golden age. The mythic SP-1200 sound endures today as manufacturers roll out plug-ins and hardware designed to emulate the machine’s rough, grainy texture.

Hear It: Pete Rock & C.L. Smooth, “They Reminisce Over You (T.R.O.Y.)” (Prod: Pete Rock)

Akai S-950 Sampler

When recounting the story of rap production in the ’90s, the SP-1200 inevitably comes up. But most producers at the time were using the SP in conjunction with the Akai S-950 rackmount sampler. A powerful machine for its day, the S-950 came armed with an incredible filter, time-stretching capabilities and more sample time than the SP-1200. A ton of classic rap records were created by marrying the two machines together via MIDI.

Hear It: AZ & DJ Premier, “The Come Up” (Prod: DJ Premier)

Oberheim DMX Drum Machine

Prior to 1983, many hip-hop records were made using a simple formula: MCs rapped atop backing tracks recorded by live bands vamping on disco hits. Enter RUN-DMC’s “Sucker M.C.’s.” With its violently loud Oberheim DMX drum pattern from producer Larry Smith, the song slammed the door on rap’s disco era.

Hear It: RUN-DMC, “Sucker M.C.’s” (Prod: Larry Smith)

KORG Triton Workstation

As rap music grew to dominate pop culture, sampling became much more of a legal liability. In order to explore new sounds and avoid lawsuits, many mainstream rap and R&B producers began to embrace the synthesized sounds coming straight out of powerful keyboard workstations. The KORG Triton was without question the king of rap production throughout the early 2000s. Producers like the Neptunes, Timbaland and Swizz Beatz all tapped into the Triton for their chart-topping hits.

Hear It: Clipse, “Grindin’” (Prod: The Neptunes)

Ensoniq ASR-10

Counting the likes of RZA, Kanye West, Timbaland and Jake One among its dedicated users, the Ensoniq ASR-10 — ASR for Advanced Sampling Recorder — has been responsible for too many bangers to mention. A beast of a workstation that seemingly does it all, the ASR is a playground for producers seeking to sharpen their sample-chopping, drum-programming and sound-design abilities.

Hear It: Ludacris feat. Shawnna, “Stand Up” (Prod: Kanye West and Ludacris)

Akai MPC Workstation Series

Debuting in 1988 with the MPC60, Akai’s MPC series of sampler/sequencers left an indelible mark on generations of essential hip-hop records. The MPC3000, introduced in ’94, was most notably the instrument of choice for J Dilla, and it remains a high point in instrument design for the era. The 2000XL was particularly important to up-and-coming producers in the late ’90s and early 2000s.

Hear It: DJ Shadow, “Building Steam With a Grain of Salt” (Prod: DJ Shadow)

FL Studio Digital Audio Workstation

Originally launched as a MIDI step sequencer in 1998, FL Studio (f.k.a. Fruity Loops) has since gone on to become one of the most widely used tools in hip-hop, and for good reason: This comprehensive DAW (Digital Audio Workstation) can take a project from its first loop to distribution. As music production made the shift from hardware to software in the 2000s, FL Studio emerged as one of the most crucial programs for sample-based hip-hop, trap and more.

Hear It: JAY-Z, “Threat” (Prod: 9th Wonder and JAY-Z)

Roland SP-404 Sampling Workstation

In recent years, the Roland SP-404, introduced in 2005, has caught fire as a must-have piece of gear for sampling, with a user-friendly interface and a powerful effects engine. Capable of warping samples beyond recognition, the SP-404 sound has shown up in the productions of contemporary heavyweights like Dibiase, Teebs and Budamunk.