From time to time, a sound becomes essential. In recent decades, we have traveled a series of tropes that once seemed to last: the endless samples of James Brown of Golden Age Hip -Hop; The dynamic “calm dossed, noisy choir” encouraged through Pixies, of the 1990s; The Minimalismfunk, Led Through Neptunes from the 2000s. Everyone had their moment as a basic trend in pop music.

An investigation of today’s music will show that trend is completely, as can say its descent Kurtis Mantronik. From hip-hop to pop, EDM and beyond, the sound of trap music is everywhere. A quick look at Billboard’s records, just this week, the culture of Migos II went to No. 1, demonstrates it.

But that, if you had it, is it the sound of the trap? What means “current” someone who listens to music today? The simplest answer?  It is the hi-ha.

The way Trap Music uses Hi-Huks is unique. Sound is a short and short explosion. The hats are scheduled on confusing diagrams, at a fast shooting speed, faster than any human, it can never play it, sometimes contrasts with undeniable and exhausted drum patterns and the soft box. Once you have identified it, you will listen to it everywhere: from Migos to Future, Flumeer, Baauer through Bryson Tiller in K-Pop Stars Bigbang.

To notice how this simple, fast and rolling sound has almost each and every corner of popular music today, we have to return to 1980. It was the year that the Roland Corporation brought its new analogical rhythm machine: Rhythm composer TR-808. The founder of the Ikutaro Kakehashi Corporate had been generating drums since the mid -1960s, and at that time, they were basically used to access organ players. The 808 was a bit different.

In a sudden and bold movement, the device was not a genuinism. He didn’t look like a genuine battery kit. The low drum and the sound “Cancero”, in particular, were unique. Unfortunately, when the introduction of the 80s, rhythm devices looked like the battery. The 808 failed. In 1983, only 3 years after its beginnings, Roland stopped doing it completely.

But two things happened simultaneously, which would ensure that 808 had a life in a moment, either thanks to hip-hop. First, Afrika Bambaataa and the manufacturer Arthur Baker used it in the 1982 tube “Planet Rock”, one of the maximum influential records of a hip-hop scene that Francière. Secondly, the impopularity of the device has led to a price drop, which makes them available to a complete generation of curious young people, young people who were going to use 808 to make some of the maximum vital hips in the eighties and 90. The history of the trap battery that we still listen to on the radio begins with them.

One of those young people was Greg Broussard, a musician, manufacturer and DJ founded in Los Angeles who was at the end of his adolescence when “Planet Rock” resumed the world. Broussard, which occurs under the call of the Egyptian lover, met Bambaataa’s collaborator and Afrika Islam in the early 1980s, when the “Roca Planeta” fever was still booming.   “I had never heard of a rhythm device before,” Broussard explains by email. “The next day, I went to see 808 in a music store and bought it as soon as I heard it play the” Planet Rock “rhythm.

In a few years, Broussard had discovered a way to modify the patented drum of the “Ring as a synthesizer effect”, and took a prominent position of the Los Angeles Electro scene to 808, with songs such as “Egypt, Egypt” of 1984. This same scene would present an organization called World Class Wreckin, of which two members would continue to start starting N. W. W.

After making the holiday from the countryside through New York to Los Angeles, 808 presented a vacation to the south, where he would remodel popular music.   In the mid -1980s, Broussard went to Miami to carry out an organized exhibition through a concert promoter called Luther Campbell. During his stay in the city, Broussard transmitted his wisdom 808 in Campbell and David “M. Mixx» Hobbs, any of the members of an organization called 2 Crew Live. Campbell would take the cultural influences of Miami: the bottom of deep reggae, the rapid tempos of the choice of choice. “Living the D” single 1986.

One thing that Bass Music has done, as expected, to modify the 808 to eliminate lower from the drum. They did it by expanding the “Disability” button beyond their general limits. He led drum sounds already opposed to the nature of the device even extra in an unexplored territory.

This low disproportionate sound came here with the TR-808 in Atlanta when Aldrin Davis, a major known as DJ Toomp, discovered the trick at the same time.

“When I started playing with the 808 rhythm machine, I saw that when you turn the little Yetton that says” decay “, it will stretch on the bass,” he said. “But I never knew in 1985 how I can use this sound. ” Planet Rock “was a Uptempo album, but that did not have this decline. He doesn’t know what” Planet Rock “would have been if they had also exploded many speakers. “

Toompesa a manufacturer on the under -insurance tracks of Atlanta at the end of the 80s, and you can listen to 808 in intelligent position in those songs. However, they were only precursors in the paintings that Toom would end with T. I. To describe what cheat music would become.

Although the tips to use 808 to create booming low shots were still under development, their crispy HI -Huks were enjoyed through manufacturers that located tactics to maintain the impulse of the track: the origins of what in the end in the end we recognize as the sound of the trap. “I think” Planet Rock “could have been one of the first examples of the use of repetitive programming of helmets with the 808,” recalls the manufacturer Raymond “! Llmind” Ibanga Jr.

A young DJ of New Orleans through Mannie Fresh’s call heard all those disparate sounds, all made on the same machine and taking all this. Its lines from the beginning had 808 everywhere. “If you know the production of South, Roland 808 is almost everything,” Fresh said in a 2016 interview to Serato and Roland about the machine.   “Before someone enjoyed 808, Mannie Fresh was in 808”. When Mannie met the Brothers Williams and has become the internal manufacturer of cash records, he released it.

Producer Konrad Oldmoney explains that it was the use of Hi-Huks of the 80s who stood out at that time. “All his hats were in advance and prominent,” said Oldmoney. In the mid-1990s, the fresh hi-jat flavor was well developed. And in 1998, all hip-hop knew the Franco and immediate high quality highs when “Azz” of minors left here:

As the fresh sound became national, other people began to do the same. The producer Shawty Redd, then in Atlanta, began painting in one of the main descendants of Traps Trap, the 2000 drama album, Causin ’Drama.

You can listen to Hi-Ha-Hats trap style everywhere in the album, and Shawty says that the aggressive use of Hi-Ha-Hats came because the original ideas of the drama for beats lacked something.   “When [the drama] arrived, he already had music in his head, related to battery patterns,” Shawty recalls. “He hit his chest and rap. So I tried to put those elements in music in the most productive way I could, with respect to battery patterns. “

But the producer, who is an “self -written type”, not quite convinced.

“When I put the formula [that he] hit his chest, the rhythm still didn’t move me as he looked,” he said. “This is where Hi-Huks come from. I didn’t know it was going to be something modern. I just looked for anything that recovers me. You simply have a slower pace, so why don’t you put loot there?”

A year after the drama album, Shawty met the young Jezy.

“We started spending time in friends and we didn’t really make music,” Shawty recalls. “We were going to the club and the party. When in spite of everything we went to the studio, I just touched the keys for him first. When I enjoyed the keys, I touched, so I made my drum flavor formula. I simply took some of those elements of what I did with the drama and made a rebound for him that would sound good. ” This “rebound” would seem in Jeezy’s first album in 2005, Let’s get it: Thug motivation 101.

At the beginning of the 2000s, the taste reached the dominant existing one and a name. YOU. And it was provided, with the 2003 Tip album, Trap Mazik. The name had nothing to do with a musical flavor, at least at the beginning.

“The album was called Trap Mazik because he hit the way of life and left here in the streets, obtaining a little of this additional money,” explains Toomp. But the sound of the album, including, yes, the competitive Hi -huks, attract the attention of other people. “People can identify me and the sound of the tip from anywhere, like” I, it is this for shit and shit, “he continues. ” So other people began to call it “Trap Music. “

Shawty Redd Moment Este: “T. I. He used it, then it’s a brand,” he recalls.

The user who has remodeled music in Juggenout is today, is a guy who counts Toomp and Shawty Redd among his greatest influences, Lex Luger.

Around 2009, Luger, a manufacturer in difficulty “broke like a joke,” sent a lot of his rhythms to Waka Flocka Flame. Flowa enjoyed the sound, and 3 of the lighting pieces were discovered in the rapper to greet me or shoot me 2 Mixtape, adding “I am only life. ” You can even listen to in this first song that Luger took to the occupied Hi-Huks 808 of their influences and supercharged them, creating a new point for sound.

“Lex Luger is a first pioneer in the popular music of the trap,” he explains! Llmind. “The way he plays his high cabinets some other step of a new museum. Then he opened the door to all and everything. “

Once “hard in painting” it has become a good fortune in 2010, they all looked for a piece of Luger sound. His rhythms began to seem in pieces of Rick Ross, Kanye West and Jay Z, Snoop Dogg, Soulja Boy and almost all, and good fortune, of course, imitators have raised. Toom this era recalls very well.

“They were two years in a row where some of my closest friends, some of my former production companions, said:” Guy, is your shit? “”, Series. “I told myself:” No, it’s the new style. It is not me. Don’t call me every time, shit nerves. “

Now, it turns out to locate a song without Hi-Huks trap. Almost all inevitable metropolitan rhythms, for example, have a safe way on this subject, for one, and the presence of Hi-Hat with immediate shots has spread beyond hip-hop. ! Llmind, who took the clip trap and combined them with a more classic Boom-Bap sound to create a hybrid that he calls “Boomtrap”, emphasizes that the sound has extended even in Pop and EDM. The latter has subset called “Future Bass” and “Trapstep” and to listen to an example of a battery of traps that surprise the dominant production, only verify the part of “Sober II (Melodrama)” De Lordde “, of his melodrama nominated with Grammy.

“You listen to [trap hi-jats] in Trap Music, Urban, in pop music, in electronic music in particular,” explains Llmind. “I mean, electronic music would not exist without trap music. Most is a trap, only a variation and an extension. “

Toom agrees. “It’s not just a southern sound,” he said. “Now everyone has had it. I think we have had 10 to 20 years old with this shit. “

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