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103-515: Sterling Void (born 1964) is an American house musician. Void was an early innovator in the Chicago house music scene. He is mostly known for his song with Paris Brightledge called " It's All Right " released in 1987 on D.J. International Records. In 1988, he released another successful track called "Runaway Girl". In 1988, "It's All Right" gained greater exposure when it was covered by Pet Shop Boys for their Introspective album and released as

206-453: A Real Hip House compilation on his label, House Records, in 1990. The early 1990s saw new Chicago house artists emerge, such as Armando Gallop , who had released seminal acid house records since 1987, but became even more influential by co-founding the new Warehouse nightclub in Chicago (on 738 W. Randolph Street ) in which he also was resident DJ from 1992 until 1994, and founding Warehouse Records in 1988. Another important figure during

309-399: A Roland TR-808 , TR-909 , or a TR-707 . Claps, shakers, snare drum, or hi-hat sounds are used to add syncopation . One of the signature rhythm riffs, especially in early Chicago house, is built on the clave pattern. Congas and bongos may be added for an African sound, or metallic percussion for a Latin feel. Sometimes, the drum sounds are "saturated" by boosting the gain to create

412-476: A symphonic orchestra in the song "Je t'aimais bien, tu sais..." in his album L'Espoir , released in 1974. Miles Davis ' live band began to use a drum machine in 1974 (played by percussionist James Mtume ), which can be heard on Dark Magus (1977). Osamu Kitajima 's progressive psychedelic rock album Benzaiten (1974) also used drum machines. In 1972, Eko released the ComputeRhythm, which

515-644: A trance -like effect on dancers. Frankie Knuckles once said that the Warehouse club in Chicago was like "church for people who have fallen from grace". House record producer Marshall Jefferson compared it to "old-time religion in the way that people just get happy and screamin ' ". The role of a house DJ has been compared to a "secular type of priest". Some house lyrics contained messages calling for equality, unity, and freedom of expression beyond racial or sexual differences (e.g. " Can You Feel It " by Fingers Inc. , 1987, or "Follow Me" by Aly-Us , 1992). Later on in

618-622: A "plurality of inverting circuits and/or clipper circuits" which "are connected to a counting circuit to synthesize the output signal of the counting circuit" where the "synthesized output signal becomes a desired rhythm." Ace Tone commercialized its preset rhythm machine, called the FR-1 Rhythm Ace, in 1967. It offered 16 preset patterns, and four buttons to manually play each instrument sound ( cymbal , claves , cowbell and bass drum ). The rhythm patterns could also be cascaded together by pushing multiple rhythm buttons simultaneously, and

721-531: A better one. In 1963, their new company Keio-Giken (later Korg ) released their first rhythm machine, the Donca-Matic DA-20 , using vacuum tube circuits for sounds and a mechanical wheel for rhythm patterns. It was a floor-type machine with a built-in speaker, and featured a keyboard for manual play, in addition to the multiple automatic rhythm patterns. Its price was comparable with the average annual income of Japanese at that time. Next, their effort

824-464: A distinctive use of a drum machine and keyboard arrangement on both tracks. Another early example of electronic drums used by a rock band is Obscured by Clouds by Pink Floyd in 1972. The first album on which a drum machine produced all the percussion was Kingdom Come 's Journey , recorded in November 1972 using a Bentley Rhythm Ace. French singer-songwriter Léo Ferré mixed a drum machine with

927-512: A drum machine and a reel-to-reel tape player so he could create new tracks, often with a boosted deep register and faster tempos. Knuckles said: " Kraftwerk were main components in the creation of house music in Chicago. Back in the early 80s, I mixed our 80s Philly sound with the electro beats of Kraftwerk and the Electronic body music bands of Europe." Ron Hardy produced unconventional DIY mixtapes which he later played straight-on in

1030-522: A group produced by Kevin Saunderson, in 1988. Another major and even earlier influence on the Detroit artists was electronic music in the tradition of Germany's Kraftwerk. Atkins had released electro music in that style with his group Cybotron as early as 1981. Cybotron's best known songs are "Cosmic Cars" (1982) and "Clear" (1983); a 1984 release was titled "Techno City". In 1988, Atkins produced

1133-647: A house music style. Key labels in the rise of house music in the UK included: In March 1987, the UK tour of influential US DJs such as Knuckles, Jefferson, Fingers Inc. (Heard), and Adonis on the DJ International Tour boosted house's popularity in the UK. Following the success of MARRS ' " Pump Up The Volume " in October, from 1987 to 1989, UK acts such as The Beatmasters , Krush , Coldcut , Yazz , Bomb The Bass , S-Express , and Italy's Black Box opened

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1236-428: A house track to be played in clubs may make a "seven or eight-minute 12-inch mix "; if the track is intended to be played on the radio, a "three-and-a-half-minute" radio edit is used. House tracks build up slowly, by adding layers of sound and texture, and by increasing the volume. House tracks may have vocals like a pop song, but some are "completely minimal instrumental music ". If a house track does have vocals,

1339-399: A midsection, and a brief outro . Some tracks do not have a verse, taking a vocal part from the chorus and repeating the same cycle. House music tracks are often based on eight-bar sections which are repeated. They are often built around bass-heavy loops or basslines produced by a synthesizer and/or around samples of disco , soul , jazz-funk , or funk songs. DJs and producers creating

1442-422: A mix. In the post-disco club culture during the early 1980s, DJs from the gay scene made their tracks "less pop-oriented", with a more mechanical, repetitive beat and deeper basslines, and many tracks were made without vocals, or with wordless melodies. Disco became so popular by the late 1970s that record companies pushed even non-disco artists (R&B and soft rock acts, for example) to record disco songs. When

1545-635: A more aggressive edge. One classic subgenre, acid house , is defined through the squelchy sounds created by the Roland TB-303 bass synthesizer. House music could be produced on "cheap and consumer-friendly electronic equipment" and used sound gear, which made it easier for independent labels and DJs to create tracks. The electronic drum machines and other gear used by house DJs and producers were formerly considered "too cheap-sounding" by "proper" musicians. House music producers typically use sampled instruments, rather than bringing session musicians into

1648-443: A multitude of ways to obtain fills , breakdowns and other elements that the programmer sees fit, which in turn could be sequenced with song-sequence — essentially the drum machine plays back the programmed patterns from memory in an order the programmer has chosen. The machine will quantize entries that are slightly off-beat in order to make them exactly in time. If the drum machine has MIDI connectivity, then one could program

1751-561: A particular pitch , either individually or in any combination, including en masse, if desired. Received with considerable interest when it was publicly introduced in 1932, the Rhythmicon was soon set aside by Cowell. In 1957, Harry Chamberlin, an engineer from Iowa, created the Chamberlin Rhythmate, which allowed users to select between 14 tape loops of drum kits and percussion instruments performing various beats. Like

1854-422: A recording studio. Even though a key element of house production is layering sounds, such as drum machine beats, samples, synth basslines, and so on, the overall "texture...is relatively sparse". Unlike pop songs, which emphasize higher-pitched sounds like melody , in house music, the lower-pitched bass register is most important. House tracks typically involve an intro , a chorus , various verse sections,

1957-463: A single. Sterling Void himself was tapped to do a remix of this production. Furthermore, the Pet Shop Boys version led to the original version by Sterling Void being re-issued and it eventually reached number 53 in the UK singles chart. In the 2010s, Sterling Void has released new records. In 2012, he released a track featuring Questions called "Vibes" on Edit Records. The same year he produced

2060-464: A song called "Rise" with Layla on the vocals, and another track with Trevor Mako called "Hold On". In 2013, he released the song "Tell Me" with the vocalist Jérome. House music House is a genre of electronic dance music characterized by a repetitive four-on-the-floor beat and a typical tempo of 115–130 beats per minute. It was created by DJs and music producers from Chicago 's Black gay underground club culture and evolved slowly in

2163-441: A sound module also features a sequencer, it is, strictly speaking, not a drum machine. In the 2010s a revival of interest in analogue synthesis resulted in a new wave of analogue drum machines, ranging from the budget-priced Korg Volca Beats and Akai Rhythm Wolf to the mid-priced Arturia DrumBrute, and the high-end MFB Tanzbär and Dave Smith Instruments Tempest. Roland's TR-08 and TR-09 Rhythm Composers were digital recreations of

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2266-421: A tempo of between 120 and 130 beats per minute (bpm) ; synthesizer riffs ; deep basslines ; and often, but not necessarily, sung, spoken or sampled vocals. In house, the bass drum is usually played on beats one, two, three, and four, and the snare drum, claps, or other higher-pitched percussion on beats two and four. The drumbeats in house music are almost always provided by an electronic drum machine , often

2369-672: A unique character. For this reason, many of these early machines have achieved a certain "cult status" and are now sought after by producers for use in production of modern electronic music , most notably the Roland TR-808 . The Linn LM-1 Drum Computer, released in 1980 at $ 4,995 (equivalent to $ 18,500 in 2023), was the first drum machine to use digital samples. It also featured revolutionary rhythmic concepts such as swing factors, shuffle, accent, and real-time programming, all of which have since rooted themselves in beat box technology. Only about 500 were ever made, but its effect on

2472-486: A worldwide phenomenon. House has a large influence on pop music , especially dance music . It was incorporated into works by major international artists including Whitney Houston , Mariah Carey , Janet Jackson , Madonna , Pet Shop Boys , Kylie Minogue and Lady Gaga , and produced many mainstream hits such as " Pump Up the Jam " by Technotronic , " French Kiss " by Lil Louis , " Show Me Love " by Robin S. , and " Push

2575-539: Is associated with a complete freedom of expression. One of the primary elements in house dancing is "the jack" or "jacking" — a style created in the early days of Chicago house that left its trace in numerous record titles such as "Time to Jack" by Chip E. from the Jack Trax EP (1985), "Jack'n the House" (1985) by Farley "Jackmaster" Funk (1985) or " Jack Your Body " by Steve "Silk" Hurley (1986). It involves moving

2678-421: Is considered a classic in both the house and techno genre and shows the connection and the "boundary between house and techno." It made way to what was later known as "techno" in the internationally known sense of the word, referring to a harder, faster, colder, more machine-driven and minimal sound than house, as played by Detroit's Underground Resistance and Jeff Mills . With house music already important in

2781-629: Is credited with having been the first to use the TB-303 in the house music context. The group's 12-minute "Acid Tracks" was recorded to tape and played by DJ Ron Hardy at the Music Box, supposedly already by 1985. Hardy once played it four times over the course of an evening until the crowd responded favorably. Club play of house tracks by pioneering Chicago DJs such as Ron Hardy and Lil Louis , local dance music record shops such as Importes Etc., State Street Records, Loop Records, Gramaphone Records and

2884-426: Is regarded as hugely influential in the history of Chicago house music, and has been described as "ghetto house's Motown ". One of the prototypes for Dance Mania's new ghetto house sound was the single "(It's Time for the) Percolator" by Cajmere, also known as Green Velvet , from 1992. Cajmere started the labels Cajual Records and Relief Records, the latter combining the sound of Chicago, acid, and ghetto house with

2987-472: Is relatively closer to disco than other dance styles. As Chicago house gained international popularity, New York and New Jersey's music scene was distinguished from the "house" umbrella. In comparison to other forms of house music, garage house, and Jersey sound include more gospel -influenced piano riffs and female vocals. The genre was popular in the 1980s in the United States and in the 1990s in

3090-414: Is that they use sound synthesis rather than digital sampling in order to generate their sounds. For example, a snare drum or maraca sound would typically be created using a burst of white noise whereas a bass drum sound would be made using sine waves or other basic waveforms . This meant that while the resulting sound was not very close to that of the real instrument, each model tended to have

3193-904: Is the Key " (1985), have also been referred to as the first house tracks. Starting in 1985 and 1986, more and more Chicago DJs began producing and releasing original compositions. These compositions used newly affordable electronic instruments and enhanced styles of disco and other dance music they already favored. These homegrown productions were played on Chicago radio stations and in local clubs catering mainly to Black, Mexican American , and gay audiences. Subgenres of house, including deep house and acid house, quickly emerged and gained traction. Deep house 's origins can be traced to Chicago producer Mr. Fingers 's relatively jazzy, soulful recordings " Mystery of Love " (1985) and "Can You Feel It?" (1986). According to author Richie Unterberger, it moved house music away from its " posthuman tendencies back towards

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3296-600: The Chamberlin keyboard , the Rhythmate was intended for family singalongs. Around 100 units were sold. In 1959, Wurlitzer released the Side Man, which generates sounds mechanically by a rotating disc, similar to a music box . A slider controls the tempo (between 34 and 150 beats per minute). Sounds can also be triggered individually through buttons on a control panel. The Side Man was a success and drew criticism from

3399-860: The E-mu Drumulator and the Yamaha RX11 . In 1986, the SpecDrum by Cheetah Marketing , an inexpensive 8-bit sampling drum external module for the ZX Spectrum , was introduced, with a price less than £30, when similar models cost around £250. In 1980, the Roland Corporation launched the TR-808 Rhythm Composer. It was one of the earliest programmable drum machines, with which users could create their own rhythms rather than having to use preset patterns. Unlike

3502-520: The Sly & the Family Stone album There's a Riot Goin' On , released in 1971. Sly & the Family Stone was the first group to have a number #1 pop single that used a drum machine: that single was " Family Affair ". The German krautrock band Can also used a drum machine on their songs " Peking O " and " Spoon ". The 1972 Timmy Thomas single " Why Can't We Live Together "/"Funky Me" featured

3605-537: The Soulsonic Force 's " Planet Rock ". The 808 was eventually used on more hit records than any other drum machine; its popularity with hip hop in particular has made it one of the most influential inventions in popular music, comparable to the Fender Stratocaster 's influence on rock . Its sounds continue to be used as samples included with music software and modern drum machines. The 808

3708-523: The UK singles chart in 1986. Around that time, UK record labels started releasing house music by Chicago acts, but as the genre grew popular, the UK itself became one of the new hot spots for house, acid house and techno music, experiencing the so-called second summer of love between 1988 and 1989. In Detroit during the early and mid-1980s, a new kind of electronic dance music began to emerge around Juan Atkins, Derrick May and Kevin Saunderson , known as

3811-574: The Yamaha Electone (electric organ), and Mini Pops was established as a series of compact desktop rhythm machines. In the United States, Mini Pops MP-3, MP-7, etc. were sold under the Univox brand by the distributor at that time, Unicord Corporation. In 1965, Nippon Columbia filed a patent for an automatic rhythm instrument. It described it as an "automatic rhythm player which is simple but capable of electronically producing various rhythms in

3914-412: The torso forward and backward in a rippling motion matching the beat of the music, as if a wave were passing through it. Early house lyrics contained generally positive, uplifting messages, but spoke especially to those who were considered to be outsiders, especially African Americans, Latinos, and the gay subculture . The house music dance scene was one of the most integrated and progressive spaces in

4017-550: The 1960s, the implementation of rhythm machines had evolved into fully solid-state ( transistorized ) from early electro-mechanical with vacuum tubes , and also size was reduced to desktop size from earlier floor type. In the early 1960s, a home organ manufacturer, Gulbransen (later acquired by Fender ) cooperated with an automatic musical equipment manufacturer Seeburg Corporation , and released early compact rhythm machines Rhythm Prince (PRP), although, at that time, these sizes were still as large as small guitar amp head, due to

4120-541: The 1980s dance club scene, eventually house penetrated the UK singles chart. London DJ "Evil" Eddie Richards spun at dance parties as resident at the Clink Street club. Richards' approach to house focuses on the deep basslines. Nicknamed the UK's "Godfather of House", he and Clink co-residents Kid Batchelor and Mr. C played a key role in early UK house. House first charted in the UK in Wolverhampton following

4223-476: The 1980s; the black and gay populations, as well as other minority groups, were able to dance together in a positive environment. House music DJs aimed to create a "dream world of emotions" with "stories, keywords and sounds", which helped to "glue" communities together. Many house tracks encourage the audience to "release yourself" or "let yourself go", which is further encouraged by the continuous dancing, "incessant beat", and use of club drugs , which can create

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4326-399: The 1990s, independently from the Chicago scene, the idea of Peace, Love, Unity & Respect (PLUR) became a widespread set of principles for the rave culture. One of the main influences of house was disco, house music having been defined as a genre which "...picked up where disco left off in the late 1970's." Like disco DJs, house DJs used a "slow mix" to "lin[k] records together" into

4429-701: The American Federation of Musicians, which ruled in 1961 that its local jurisdictions could not prohibit Side Man use, though it could not be used for dancing. Wurlitzer ceased production of the Sideman in 1969. In 1960, Raymond Scott constructed the Rhythm Synthesizer and, in 1963, a drum machine called Bandito the Bongo Artist . Scott's machines were used for recording his album Soothing Sounds for Baby series (1964). During

4532-511: The Belleville Three . The artists fused eclectic, futuristic sounds into a signature Detroit dance sound that was a main influence for the later techno genre. Their music included strong influences from Chicago house , although the term "house" played a less important role in Detroit than in Chicago, and the term "techno" was established instead. One of their most successful hits was a vocal house track named " Big Fun " by Inner City ,

4635-1077: The Coldcut-produced " The Only Way Is Up " by Yazz. One of the early club anthems, " Promised Land " by Joe Smooth , was covered and charted within a week by UK band The Style Council . Europeans embraced house, and began booking important American house DJs to play at the big clubs, such as Ministry of Sound , whose resident, Justin Berkmann brought in US pioneer Larry Levan. The house music club scene in cities such as Birmingham , Leeds , Sheffield , Wolverhampton , and London were provided with dance tracks by many underground pirate radio stations. Club DJs also brought in new house styles, which helped bolster this music genre. The earliest UK house and techno record labels, such as Warp Records and Network Records (formed out of Kool Kat records), helped introduce American and later Italian dance music to Britain. These labels also promoted UK dance music acts. By

4738-530: The Feeling On " by the Nightcrawlers . Many house DJs also did and continue to do remixes for pop artists. House music has remained popular on radio and in clubs while retaining a foothold on the underground scenes across the globe. In its most typical form, the genre is characterized by repetitive 4/4 rhythms including bass drums , off-beat hi-hats , snare drums , claps , and/or snaps at

4841-567: The Internet. However, traditional drum machines are still being made by companies such as Roland Corporation (under the name Boss ), Zoom , Korg and Alesis , whose SR-16 drum machine has remained popular since it was introduced in 1991. There are percussion-specific sound modules that can be triggered by pickups, trigger pads , or through MIDI. These are called drum modules ; the Alesis D4 and Roland TD-8 are popular examples. Unless such

4944-707: The LinnDrum specifically to drummers. Following the success of the LM-1, Oberheim introduced the DMX , which also featured digitally sampled sounds and a "swing" feature similar to the one found on the Linn machines. It became very popular in its own right, becoming a staple of the nascent hip-hop scene. Other manufacturers soon began to produce machines, e.g. the Sequential Circuits Drumtraks and Tom,

5047-555: The Music Box: "I wasn't even into dance music before I went to the Music Box [...]. I was into rock and roll . We would get drunk and listen to rock and roll. We didn't give a fuck, we were like 'Disco Sucks!' and all that. I hated dance music 'cos I couldn't dance. I thought dance music was kind of wimpy, until I heard it at like Music Box volume." A precursor to house music is the Colonel Abrams hit song " Trapped ", which

5150-629: The UK, marketed under the Bentley Rhythm Ace brand. A number of other preset drum machines were released in the 1970s, but early examples of the use can be found on The United States of America 's eponymous album from 1967–8. The first major pop song to use a drum machine was " Saved by the Bell " by Robin Gibb , which reached #2 in Britain in 1969. Drum machine tracks were also heavily used on

5253-686: The United Kingdom. DJs playing it include Tony Humphries at Club Zanzibar, Larry Levan, who was resident DJ at the Paradise Garage from 1977 to 1987, Todd Terry , Kerri Chandler , Masters at Work , Junior Vasquez , and others. Drum machine While a distinction is generally made between drum machines (which can play back pre-programmed or user-programmed beats or patterns) and electronic drums (which have pads that can be struck and played like an acoustic drum kit), there are some drum machines that have buttons or pads that allow

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5356-442: The Warehouse club in Chicago from 1977 to 1982, worked primarily with early disco music with a hint of new and different post-punk or post-disco music. Knuckles started out as a disco DJ, but when he moved from New York City to Chicago, he changed from the typical disco mixing style of playing records one after another; instead, he mixed different songs together, including Philadelphia soul and Euro disco . He also explored adding

5459-442: The Warehouse" in the store, shortened to "House". Patrons later asked for new music for the bins, which Chip E. implies was a demand the shop tried to meet by stocking newer local club hits. In a 1986 interview, when Rocky Jones, the club DJ who ran Chicago-based DJ International Records , was asked about the "house" moniker, he did not mention Importes Etc., Frankie Knuckles, or the Warehouse by name. However, he agreed that "house"

5562-399: The ability to make slight variations in their playing, such as playing "ahead of the beat" or "behind the beat" for sections of a song, in contrast to a drum machine that plays a pre-programmed rhythm. As well, human drummers play a "tremendously wide variety of rhythmic variations" that drum machines cannot reproduce. Drum machines developed out of a need to create drum beats when a drum kit

5665-687: The acid house subgenre. Juan Atkins , a pioneer of Detroit techno , claims the term "house" reflected the association of particular tracks with particular clubs and DJs, considered their "house" records. At least three styles of dancing are associated with early house music: jacking , footwork and lofting. These styles include a variety of techniques and sub-styles, including skating, stomping, vosho, pouting cat, and shuffle steps (also see Melbourne shuffle ). House music dancing styles can include movements from many other forms of dance, such as waacking , voguing , capoeira , jazz dance , Lindy Hop , tap dance , and even modern dance . House dancing

5768-551: The answer lies with him." Chicago artist Chip E. 's 1985 song "It's House" may also have helped to define this new form of electronic music. However, Chip E. himself lends credence to the Knuckles association, claiming the name came from methods of labeling records at the Importes Etc. record store, where he worked in the early 1980s. Bins of music that DJ Knuckles played at the Warehouse nightclub were labelled "As Heard at

5871-455: The backlash against disco started, known as " Disco Demolition Night ", held in Chicago , ironically the city where house music would be created a few years later, dance music went from being produced by major labels to being created by DJs in the underground club scene. That is until several years later by 1988, when major labels would begin signing acts from this new dance genre. While disco

5974-601: The buyer would use to build the machine. In 1975, Ace Tone released the Rhythm Producer FR-15 that enables the modification of the pre-programmed rhythm patterns. In 1978, Roland released the Roland CR-78 , the first microprocessor -based programmable rhythm machine, with four memory storage for user patterns. In 1979, a simpler version with four sounds, Boss DR-55, was released. A key difference between such early machines and more modern equipment

6077-415: The characteristic tones of a drum, a piccolo and so on." It has some similarities to Seeburg's slightly earlier 1964 patent. In 1967, Ace Tone founder Ikutaro Kakehashi (later founder of Roland Corporation ) developed the preset rhythm-pattern generator using diode matrix circuit, which has some similarities to the earlier Seeburg and Nippon Columbia patents. Kakehashi's patent describes his device as

6180-450: The course of the 1980s, the 808 attracted a cult following among underground musicians for its affordability on the used market, ease of use, and idiosyncratic sounds, particularly its deep, "booming" bass drum . It became a cornerstone of the emerging electronic, dance , and hip hop genres, popularized by early hits such as Marvin Gaye 's " Sexual Healing " and Afrika Bambaataa and

6283-533: The development of dance music , especially electronic dance music , and hip hop . Its successor, the TR-909 , introduced in 1983, heavily influenced techno and house music . The first drum machine to use samples of real drum kits, the Linn LM-1 , was introduced in 1980 and was adopted by rock and pop artists including Prince and Michael Jackson . In the late 1990s, software emulations began to overtake

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6386-445: The development of electronic genres such as techno , house and acid . By 2000, standalone drum machines had become less common, partly supplanted by general-purpose hardware samplers controlled by sequencers (built-in or external), software-based sequencing and sampling and the use of loops, and music workstations with integrated sequencing and drum sounds. TR-808 and other digitized drum machine sounds can be found in archives on

6489-657: The development of house were audio mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, record producers , and audio engineers such as Walter Gibbons , Tom Moulton , Jim Burgess , Larry Levan , M & M , and others. While most post-disco disc jockeys primarily stuck to playing their conventional ensemble and playlist of dance records, Frankie Knuckles and Ron Hardy, two influential DJs of house music, were known for their unusual and non-mainstream playlists and mixing. Knuckles, often credited as "the Godfather of House" and resident DJ at

6592-471: The doors to house music success on the UK charts. Early British house music quickly set itself apart from the original Chicago house sound. Many of the early hits were based on sample montage, and unlike the US soulful vocals, in UK house, rap was often used for vocals (far more than in the US), and humor and wit was an important element. The second best-selling British single of 1988 was an acid house record,

6695-440: The drum machine with a computer or another MIDI device. While drum machines have been used much in popular music since the 1980s, "...scientific studies show there are certain aspects of human-created rhythm that machines cannot replicate, or can only replicate poorly" such as the "feel" of human drumming and the ability of a human drummer to respond to changes in a song as it is being played live onstage. Human drummers also have

6798-509: The drum sounds on the LM-1 were composed of two chips that were triggered at the same time, and each voice was individually tunable with individual outputs. Due to memory limitations, a crash cymbal sound was not available except as an expensive third-party modification. A cheaper version of the LM-1 was released in 1982 called the LinnDrum . Priced at $ 2,995 (equivalent to $ 9,500 in 2023), not all of its voices were tunable, but crash cymbal

6901-526: The early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals, as well as a Roland TR-808 drum machine and a Korg Poly-61 synthesizer. It also utilized the bassline from Player One's disco record " Space Invaders " (1979). "On and On" is sometimes cited as the "first house record", even though it was a remake of a Disco Bootleg "On and On" by Florida producer Mach. Other examples from around that time, such as J.M. Silk 's " Music

7004-729: The early to mid-1990s and until the 2000s was DJ and producer Paul Johnson , who released the Warehouse-anthem "Welcome to the Warehouse" on Armando's label in 1994 in collaboration with Armando himself. He also had part in the development of an entirely new kind of Chicago house sound, " ghetto house ", which was prominently released and popularized through the Dance Mania record label. It was originally founded by Jesse Saunders in 1985 but passed on to Raymond Barney in 1988. It featured notable ghetto house artists like DJ Funk , DJ Deeon , DJ Milton, Paul Johnson and others. The label

7107-562: The early/mid 1980s as DJs began altering disco songs to give them a more mechanical beat. By early 1988, House became mainstream and supplanted the typical 80s music beat. House was created and pioneered by DJs and producers in Chicago such as Frankie Knuckles , Ron Hardy , Jesse Saunders , Chip E. , Joe Smooth , Steve "Silk" Hurley , Farley "Jackmaster" Funk , Marshall Jefferson , Phuture , and others. House music initially expanded internationally, to London , then to other American cities, such as New York City , and ultimately became

7210-605: The electronic organ as an accompaniment of organists and finally spread widely. In the early 1960s, a nightclub owner in Tokyo, Tsutomu Katoh was consulted by a notable accordion player, Tadashi Osanai , about the rhythm machine he used for accompaniment in the club, a Wurlitzer Side Man. Osanai, a graduate of the Department of Mechanical Engineering at the University of Tokyo , convinced Katoh to finance his efforts to build

7313-498: The end of the 1980s, UK DJs Jenö, Thomas, Markie and Garth moved to San Francisco and called their group the Wicked Crew. The Wicked Crew's dance sound transmitted UK styles to the US, which helped to trigger the birth of the US west coast's rave scene. The manager of Manchester's Factory nightclub and co-owner of The Haçienda , Tony Wilson , also promoted acid house culture on his weekly TV show. The UK midlands also embraced

7416-413: The genre prior to the album's rediscovery in the 21st century. According to Hillegonda C. Rietveld, "elements of hip hop and rap can be found in contemporary house tracks", with hip hop acting as an "accent or inflection" that is inserted into the house sound. The constant bass drum in house music may have arisen from DJs experimenting with adding drum machines to their live mixes at clubs, underneath

7519-399: The harder sound of techno. By the early 1990s, artists of note on those two labels included Dajae , DJ Sneak , Derrick Carter , DJ Rush , Paul Johnson, Joe Lewis, and Glenn Underground. While house became popular in UK and continental Europe, the scene in the US had still not progressed beyond a small number of clubs in Chicago, Detroit, New York City, and Newark . In New York and Newark,

7622-423: The kind of music you play down at the Warehouse!" In self-published statements, South-Side Chicago DJ Leonard "Remix" Rroy claimed he put such a sign in a tavern window because it was where he played music that one might find in one's home; in his case, it referred to his mother's soul and disco records, which he worked into his sets. Chicago house artist Farley "Jackmaster" Funk was quoted as saying, "In 1982, I

7725-463: The late 1980s house scene with illegal parties and raves and more legal dance clubs such as The Hummingbird. While the acid house hype spawned in the UK and Europe, in Chicago it reached its peak around 1988 and then declined in popularity. Instead, a crossover of house and hip-hop music, known as hip house , became popular. Tyree Cooper 's single "Turn Up the Bass" featuring Kool Rock Steady from 1988

7828-429: The lush" soulful sound of early disco music. Acid house , a rougher and more abstract subgenre, arose from Chicago artists' experiments with the squelchy sounds of the Roland TB-303 bass synthesizer that define the genre. Its origin on vinyl is generally cited as Phuture 's " Acid Tracks " (Trax Records, 1987). Phuture, a group founded by Nathan " DJ Pierre " Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson,

7931-537: The main singles chart. The same month also saw Raze enter the top 20 with "Jack the Groove", and several other house hits reached the top ten that year. Stock Aitken Waterman (SAW) expensively-produced productions for Mel and Kim , including the number-one hit "Respectable", added elements of house to their previous Europop sound. SAW session group Mirage scored top-ten hits with "Jack Mix II" and "Jack Mix IV", medleys of previous electro and Europop hits rearranged in

8034-451: The more expensive LM-1, the 808 is completely analog , meaning its sounds are generated non-digitally via hardware rather than samples (prerecorded sounds). Launched when electronic music had yet to become mainstream, the 808 received mixed reviews for its unrealistic drum sounds and was a commercial failure. Having built approximately 12,000 units, Roland discontinued the 808 after its semiconductors became impossible to restock. Over

8137-420: The music industry was extensive. Its distinctive sound almost defines 1980s pop, and it can be heard on hundreds of hit records from the era, including The Human League 's Dare , Gary Numan 's Dance , Devo 's New Traditionalists , and Ric Ocasek 's Beatitude . Prince bought one of the first LM-1s and used it on nearly all of his most popular albums, including 1999 and Purple Rain . Many of

8240-509: The only film or video to capture a young Frankie Knuckles in this early era, right after his departure from The Warehouse. In the Channel 4 documentary Pump Up the Volume , Knuckles remarks that the first time he heard the term "house music" was upon seeing "we play house music" on a sign in the window of a bar on Chicago's South Side . One of the people in the car joked, "you know that's

8343-576: The original TR-808 and 909, while Behringer released an analogue clone of the 808 as the Behringer RD-8 Rhythm Designer. Korg released an analog drum machine, the Volca Beats , in 2013. Programming of drum machines varies from product to product. On most products, it can be done in real time : the user creates drum patterns by pressing the trigger pads as though a drum kit were being played; or using step-sequencing :

8446-465: The pattern is built up over time by adding individual sounds at certain points by placing them, as with the TR-808 and TR-909, along a 16-step bar. For example, a generic 4-on-the-floor dance pattern could be made by placing a closed high hat on the 3rd, 7th, 11th, and 15th steps, then a kick drum on the 1st, 5th, 9th, and 13th steps, and a clap or snare on the 5th and 13th. This pattern could be varied in

8549-456: The performer to play drum sounds "live", either on top of a programmed drum beat or as a standalone performance. Drum machines have a range of capabilities, which go from playing a short beat pattern in a loop, to being able to program or record complex song arrangements with changes of meter and style. Drum machines have had a lasting impact on popular music in the 20th century. The Roland TR-808 , introduced in 1980, significantly influenced

8652-517: The popular Hot Mix 5 shows on radio station WBMX-FM helped popularize house music in Chicago. Later, visiting DJs and producers from Detroit fell into the genre. Trax Records and DJ International Records, Chicago labels with wider distribution, helped popularize house music inside and outside of Chicago. The first major success of house music outside the U.S. is considered to be Farley "Jackmaster" Funk's " Love Can't Turn Around " (feat. Jesse Saunders and performed by Darryl Pandy ), which peaked at #10 in

8755-479: The popularity of physical drum machines housed in a separate plastic or metal chassis. In 1930–32, the innovative and hard-to-use Rhythmicon was developed by Léon Theremin at the request of Henry Cowell , who wanted an instrument that could play compositions with multiple rhythmic patterns , based on the overtone series , that were far too hard to perform on existing keyboard instruments. The invention could produce sixteen different rhythms, each associated with

8858-596: The possible combination of rhythm patterns were more than a hundred (on the later models of Rhythm Ace, the individual volumes of each instrument could be adjusted with the small knobs or faders). The FR-1 was adopted by the Hammond Organ Company for incorporation within their latest organ models. In the US, the units were also marketed under the Multivox brand by Peter Sorkin Music Company, and in

8961-819: The records they were playing. In the early 1980s, Chicago radio jocks Hot Mix 5 from WBMX radio station (among them Farley "Jackmaster" Funk), and club DJs Ron Hardy and Frankie Knuckles played a range of styles of dance music, including older disco records (mostly Philly disco and Salsoul tracks), electro funk tracks by artists such as Afrika Bambaataa , newer Italo disco , Arthur Baker , and John Robie , and electronic pop . Some DJs made and played their own edits of their favorite songs on reel-to-reel tape, and sometimes mixed in electronic effects , drum machines, synthesizers and other rhythmic electronic instrumentation. The hypnotic electronic dance song " On and On ", produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince Lawrence , had typical elements of

9064-520: The success of the Northern Soul scene. The record generally credited as the first house hit in the UK was Farley "Jackmaster" Funk's "Love Can't Turn Around", which reached #10 in the UK singles chart in September 1986. In January 1987, Chicago DJ/artist Steve "Silk" Hurley's "Jack Your Body" reached number one in the UK, showing it was possible for house music to achieve crossover success in

9167-508: The successor of the Warehouse, the Music Box (reopened and renamed in 1983 after Knuckles left). Like Frankie Knuckles, Hardy "combined certain sounds, remixing tracks with added synths and drum machines", all "refracted through the futurist lens of European music." Marshall Jefferson , who would later appear with the 1986 house classic " Move Your Body (The House Music Anthem) " (originally released on Trax Records ), describes how he got involved in house music after hearing Ron Hardy's music in

9270-523: The terms " garage house ", "garage music", or simply "garage", and "Jersey sound", or " New Jersey house ", were coined for a deeper, more soulful, R&B -derived subgenre of house that was developed in the Paradise Garage nightclub in New York City and Club Zanzibar in Newark, New Jersey, during the early-to-mid 1980s. It is argued that garage house predates the development of Chicago house, as it

9373-404: The track "Techno Music", which was featured on an influential compilation that was initially planned to be named "The House Sound of Detroit", but was renamed into " Techno! The New Dance Sound of Detroit " after Atkins' song. The 1987 song " Strings of Life " by Derrick May (under the name Rhythm Is Rhythm) represented a darker, more intellectual strain of early Detroit electronic dance music. It

9476-510: The trend of splicing together different records when he found that the records he had were not long enough to satisfy his audience of dancers. After the Warehouse closed in 1983, eventually the crowds went to Knuckles' new club, The Power House, later to be called The Power Plant, and the club was renamed, yet again, into Music Box with Ron Hardy as the resident DJ. The 1986 documentary, "House Music in Chicago", by filmmaker, Phil Ranstrom , captured opening night at The Power House, and stands as

9579-423: The use of bulky electro-mechanical pattern generators. Then in 1964, Seeburg invented a compact electronic rhythm pattern generator using " diode matrix" ( U.S. patent 3,358,068 in 1967), and fully transistorized electronic rhythm machine with pre-programmed patterns, Select-A-Rhythm (SAR1), was released. As a result of its robustness and enough compact size, these rhythm machines were gradually installed on

9682-472: The vocal lines may also be simple "words or phrases" that are repeated. One book from 2009 states the name "house music" originated from a Chicago club called the Warehouse that was open from 1977 to 1982. Clubbers to the Warehouse were primarily black gay men, who came to dance to music played by the club's resident DJ, Frankie Knuckles , who fans refer to as the "godfather of house". Frankie began

9785-451: Was DJing at a club called The Playground and there was this kid named Leonard 'Remix' Rroy who was a DJ at a rival club called The Rink. He came over to my club one night, and into the DJ booth and said to me, 'I've got the gimmick that's gonna take all the people out of your club and into mine – it's called House music.' Now, where he got that name from or what made him think of it I don't know, so

9888-412: Was a regional catch-all term for dance music, and that it was once synonymous with older disco music before it became a way to refer to "new" dance music. Larry Heard , a.k.a. "Mr. Fingers", claims that the term "house" came from DJs creating music in their house or at home using synthesizers and drum machines, such as the Roland TB-303, Roland TR-808, and TR-909. These synthesizers were used to create

9991-579: Was an influential breakthrough for this subgenre, although the British trio the Beatmasters claimed having invented the genre with their 1986 release " Rok da House ". Another notable figure in the hip house scene was Fast Eddie with "Hip House" and "Yo Yo Get Funky!" (both 1988). Even Farley "Jackmaster" Funk engaged in the genre, releasing "Free at Last", a song to free James Brown from jail that featured The Hip House Syndicate, in 1989, and producing

10094-715: Was associated with lush orchestration, with string orchestra , flutes and horn sections , various disco songs incorporated sounds produced with synthesizers and electronic drum machines, and some compositions were entirely electronic; examples include Italian composer Giorgio Moroder 's late 1970s productions such as Donna Summer 's hit single " I Feel Love " from 1977, Kraftwerk's "' The Man-Machine " album from 1978, Cerrone 's " Supernature " (1977), Yellow Magic Orchestra 's synth - disco-pop productions from Yellow Magic Orchestra (1978) or Solid State Survivor (1979), and several early 1980s productions by hi-NRG groups like Lime , Trans-X and Bobby O . Also important for

10197-604: Was focused on the improvement of reliability and performance, along with size and cost reductions. Unstable vacuum tube circuits were replaced with reliable transistor circuits on the Donca-Matic DC-11 in the mid-1960s. In 1966, the bulky mechanical wheel was also replaced with a compact transistor circuit on the Donca-Matic DE-20 and DE-11. In 1967, the Mini Pops MP-2 was developed as an option for

10300-424: Was followed in 1983 by the TR-909 , the first Roland drum machine to use MIDI , which synchronizes devices built by different manufacturers. It was also the first Roland drum machine to use samples for some sounds. Like the 808, the 909 was a commercial failure, but had a lasting influence on popular music after cheap units circulated on the used market; alongside the Roland TB-303 bass synthesizer, it influenced

10403-580: Was included as a standard sound. Like its predecessor the LM-1, it featured swappable sound chips. The LinnDrum can be heard on records such as The Cars ' Heartbeat City and Giorgio Moroder 's soundtrack for the film Scarface . It was feared the LM-1 would put every session drummer in Los Angeles out of work and it caused many of L.A.'s top session drummers ( Jeff Porcaro is one example) to purchase their own drum machines and learn to program them themselves in order to stay employed. Linn even marketed

10506-511: Was one of the first programmable drum machines. It had a 6-row push-button matrix that allowed the user to enter a pattern manually. The user could also push punch cards with pre-programmed rhythms through a reader slot on the unit. Another stand-alone drum machine released in 1975, the PAiA Programmable Drum Set was also one of the first programmable drum machines, and was sold as a kit with parts and instructions which

10609-417: Was produced by Richard James Burgess in 1984 and has been referred to as a proto -house track and a precursor to garage house . The electronic instrumentation and minimal arrangement of Charanjit Singh 's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of Indian ragas performed in a disco style and anticipated the sounds of acid house music, but it is not known to have had any influence on

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