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(512x320:513x321):format(webp)/ 1080w, (512x320:513x321):format(webp)/ 1200w, (512x320:513x321):format(webp)/ 1440w, (512x320:513x321):format(webp)/ 1920w, (512x320:513x321):format(webp)/ 2048w, (512x320:513x321):format(webp)/ 2400w" src="(512x320:513x321):format(webp)/" dg="async" data-nimg="rponsive" style="posn:absolute;top:0;left:0;bottom:0;right:0;box-sizg:borr-box;paddg:0;borr:none;marg:to;display:block;width:0;height:0;m-width:100%;max-width:100%;m-height:100%;max-height:100%;object-f:ver"/></span><div class="duet--media--ptn pt-6 font-polysans-mono text-12 font-light leadg-130 trackg-1"><figptn class="duet--article--dangeroly-set-cms-markup le text-gray-13 dark:text-gray-e9 [&>a:hover]:text-black [&>a:hover]:shadow-unrle-black dark:[&>a:hover]:text-gray-e9 dark:[&>a:hover]:shadow-unrle-gray-63 [&>a]:shadow-unrle-gray-13 dark:[&>a]:shadow-unrle-gray-63"><em>Kanye Wt.</em></figptn> <ce class="duet--article--dangeroly-set-cms-markup le not-alic text-gray-63 dark:text-gray-bd [&>a:hover]:text-gray-63 [&>a:hover]:shadow-unrle-black dark:[&>a:hover]:text-gray-bd dark:[&>a:hover]:shadow-unrle-gray [&>a]:shadow-unrle-gray-63 dark:[&>a]:text-gray-bd dark:[&>a]:shadow-unrle-gray">Photo: <a href=">Flickr</a></ce></div></figure></div></div></div></div><div class="relative md:mx-to md:flex md:max-w-ntaer-md lg:max-w-none"><div class="duet--article--article-body-ponent-ntaer clearfix sm:ml-to md:ml-100 md:max-w-article-body lg:mx-100"><div><div class="duet--article--article-body-ponent"><blockquote class="duet--article--blockquote ewrhy30"><p class="duet--article--dangeroly-set-cms-markup ewrhy37 _1xwtict0">"I’m back wh the 808 ‘e I’m bossy.” —Kelis feat. Too Short, “Bossy”</p><p class="duet--article--dangeroly-set-cms-markup ewrhy37 _1xwtict0">“Frh like, uh, Impala, uh, chrome hydrlics, 808 dms” —The Game, “How We Do”</p><p class="duet--article--dangeroly-set-cms-markup ewrhy37 _1xwtict0">"Got some pretty good beats on this 808 CD” —Frank Ocean, “Swim Good”</p><p class="duet--article--dangeroly-set-cms-markup ewrhy37 _1xwtict0">“My heart’s beatg like an 808” —Brney Spears, “Break The Ice”</p><p class="duet--article--dangeroly-set-cms-markup ewrhy37 _1xwtict0">“808, 8-0-fuckg-8” —Future, “Mask Off”</p></blockquote></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">If you’re to hip-hop and pop, you’ve probably heard “808” at some pot. That’s a reference to the inic <a href=">Roland TR-808</a>, a dm mache created by Ikutaro Kakehashi 1980. Its unique dribblg bass dm sound is what artists mean when they say “turn up the 808.” The pursu of the perfect low-equency 808 sound is a real stggle for producers. Make a powerful enough 808, and n blow your speakers — which n be the goal, if you’re tryg to make a real banger.</p></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">Over the weekend, Kakehashi died at the age of 87, leavg behd a legacy of creatns that had an immeasurable impact on mic all over the world. Born Osaka, Japan, Kakehashi got his start repairg broken watch and clocks when he was 16, and later obtaed a gree mechanil engeerg. In 1960, he found his way to electronic stments at Ace Electronic Indtri. He solidified a name for himself 1972, when he found Roland Corporatn, and spearhead the creatn of synthizers and dm mach, cludg the TR-808. It was one of the earlit programmable dm mach the dtry, and eventually changed the sound of popular mic. What ma the 808 different was that the sounds did not remble real percsn, and were more like a “futuristic” terpretatn of mon sounds: bass, dms, snare, cymbals, and more. The mache particularly stood out for s powerful bass dm sound.</p></div><div class="duet--article--article-body-ponent clear-both block"><div class="duet--article--dangeroly-set-cms-markup my-40"><iame width="560" height="315" src=" ameborr="0" allowfullscreen></iame></div></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">When the 808 first lnched 1980, failed mercially. Inially, was seen as a toy that ma robotic sounds, rather than a ser stment. Electronic mic wasn’t vogue yet, and Roland disntued the 808 1983. Its ma rival, the Ln LM-1, had a crisper sound and more sal succs. But the 808 built a cult followg among unrground producers. It was more affordable (wh a $1,200 price tag pared to the LM-1’s $5,000), had an easier terface, and me preload wh 16 analog sounds. Eventually was ed on more h rerds than any other dm mache, cludg hs like Whney Hoton’s “I Wanna Dance Wh Somebody,” SOS Band’s “Jt be Good To Me,” and Talkg Heads’ “Psycho Killer.”  </p></div><div class="duet--article--article-body-ponent clear-both block"><div class="my-9"><div class="transn-all duratn-300 ease--out"><div class="fixed set-0 h-[110vh] w-full bg-whe transn-all duratn-300 ease--out z-[-1] cursor-flt opacy-0"></div><div role="button" aria-label="Zoom" tabx="0" class="visible z-30 w-full orig-center transn-all duratn-300 ease--out cursor-zoom-"><figure class="transn-all duratn-300 ease--out lg:mx-0"><div><div class="duet--media--ntent-warng relative" style="paddg-top:66.72354948805462%"><span style="box-sizg:borr-box;display:block;overflow:hidn;width:ial;height:ial;background:none;opacy:1;borr:0;marg:0;paddg:0;posn:absolute;top:0;left:0;bottom:0;right:0"><img alt="Marv Gaye." src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" dg="async" data-nimg="fill" style="posn:absolute;top:0;left:0;bottom:0;right:0;box-sizg:borr-box;paddg:0;borr:none;marg:to;display:block;width:0;height:0;m-width:100%;max-width:100%;m-height:100%;max-height:100%;object-f:ver"/><noscript><img alt="Marv Gaye." loadg="lazy" dg="async" data-nimg="fill" style="posn:absolute;top:0;left:0;bottom:0;right:0;box-sizg:borr-box;paddg:0;borr:none;marg:to;display:block;width:0;height:0;m-width:100%;max-width:100%;m-height:100%;max-height:100%;object-f:ver" siz="(max-width: 1023px) 100vw, 744px" srcSet="(293x196:294x197):format(webp)/ 376w, (293x196:294x197):format(webp)/ 384w, (293x196:294x197):format(webp)/ 415w, (293x196:294x197):format(webp)/ 480w, (293x196:294x197):format(webp)/ 540w, (293x196:294x197):format(webp)/ 640w, (293x196:294x197):format(webp)/ 750w, (293x196:294x197):format(webp)/ 828w, (293x196:294x197):format(webp)/ 1080w, (293x196:294x197):format(webp)/ 1200w, (293x196:294x197):format(webp)/ 1440w, (293x196:294x197):format(webp)/ 1920w, (293x196:294x197):format(webp)/ 2048w, (293x196:294x197):format(webp)/ 2400w" src="(293x196:294x197):format(webp)/"/></noscript></span></div></div></figure></div><div class="z-1 w-full hidn"><figure class="transn-all duratn-300 ease--out lg:mx-0"><div><div class="duet--media--ntent-warng relative" style="paddg-top:66.72354948805462%"><span style="box-sizg:borr-box;display:block;overflow:hidn;width:ial;height:ial;background:none;opacy:1;borr:0;marg:0;paddg:0;posn:absolute;top:0;left:0;bottom:0;right:0"><img alt="Marv Gaye." src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" dg="async" data-nimg="fill" style="posn:absolute;top:0;left:0;bottom:0;right:0;box-sizg:borr-box;paddg:0;borr:none;marg:to;display:block;width:0;height:0;m-width:100%;max-width:100%;m-height:100%;max-height:100%;object-f:ver"/><noscript><img alt="Marv Gaye." loadg="lazy" dg="async" data-nimg="fill" style="posn:absolute;top:0;left:0;bottom:0;right:0;box-sizg:borr-box;paddg:0;borr:none;marg:to;display:block;width:0;height:0;m-width:100%;max-width:100%;m-height:100%;max-height:100%;object-f:ver" siz="(max-width: 1023px) 100vw, 744px" srcSet="(293x196:294x197):format(webp)/ 376w, (293x196:294x197):format(webp)/ 384w, (293x196:294x197):format(webp)/ 415w, (293x196:294x197):format(webp)/ 480w, (293x196:294x197):format(webp)/ 540w, (293x196:294x197):format(webp)/ 640w, (293x196:294x197):format(webp)/ 750w, (293x196:294x197):format(webp)/ 828w, (293x196:294x197):format(webp)/ 1080w, (293x196:294x197):format(webp)/ 1200w, (293x196:294x197):format(webp)/ 1440w, (293x196:294x197):format(webp)/ 1920w, (293x196:294x197):format(webp)/ 2048w, (293x196:294x197):format(webp)/ 2400w" src="(293x196:294x197):format(webp)/"/></noscript></span></div></div></figure></div></div><div class="duet--media--ptn pt-6 font-polysans-mono text-12 font-light leadg-130 trackg-1"><figptn class="duet--article--dangeroly-set-cms-markup le text-gray-13 dark:text-gray-e9 [&>a:hover]:text-black [&>a:hover]:shadow-unrle-black dark:[&>a:hover]:text-gray-e9 dark:[&>a:hover]:shadow-unrle-gray-63 [&>a]:shadow-unrle-gray-13 dark:[&>a]:shadow-unrle-gray-63"><em>Marv Gaye.</em></figptn> <ce class="duet--article--dangeroly-set-cms-markup le not-alic text-gray-63 dark:text-gray-bd [&>a:hover]:text-gray-63 [&>a:hover]:shadow-unrle-black dark:[&>a:hover]:text-gray-bd dark:[&>a:hover]:shadow-unrle-gray [&>a]:shadow-unrle-gray-63 dark:[&>a]:text-gray-bd dark:[&>a]:shadow-unrle-gray">Photo: <a href=">The Selvedge Yard</a></ce></div></div></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">The emergence of the dm mache was ccial to the formatn of entire areas of mic — pecially hip-hop, but also subgenr like Miami bass, acid hoe, and Detro techno. Before the 808, producers would dig for dm sampl and meticuloly loop them to create origal dm patterns. Wh the arrival of dm mach, sampl and live dmmers beme unnecsary. Producers were able to tweak their own patterns out of the 808’s “robotic” and “toy-like” sounds, which ma possible for nearly anyone to produce mic. Dm mach like the 808 spawned the era of “bedroom producers” such as Rick Rub (who ed an 808 his NYU dorm) and Pete Rock. Aika Bambaataa was the first hip-hop act to put the mache on the map wh his semal 1982 rerd “<a href=">Pla Rock</a>.” It also h mastream succs wh Marv Gaye’s 1982 h “<a href=">Sexual Healg</a>.”</p></div><div class="duet--article--article-body-ponent clear-both block md:float-left md:mr-30 md:w-[320px] lg:-ml-100"><div class="duet--article--article-pullquote mb-20"><div class="mb-10 h-[22px] w-[65px] bg-ankl"></div><p class="duet--article--dangeroly-set-cms-markup relative bg-repeatg-l-dark bg-[length:1px_1.2em] pb-8 font-polysans text-28 font-medium leadg-120 trackg-1 selectn:bg-ankl-20 dark:bg-repeatg-l-light dark:text-whe dark:selectn:bg-blurple">The 808 broke down the walls between genr</p></div></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">Nearly 40 years after the 808 h the market, hip-hop still reli on the mache, and untls pyt ks have been built and shared onle to mimic the origal sounds of s sharp high-hat, snare, and wbell. It’s a sought-after sound, wh most producers claimg the pyts are nowhere near the idsyncratic ton of the origal. The 808 end up beg ed by inic acts such as Run-DMC, Beastie Boys, LL Cool J, and Public Enemy. Kanye Wt even dited an entire album to the sound, wh every song g an 808, the most popular beg “<a href=">Love Lockdown</a>.” The 808 sound the begng of the track is likened to a heartbeat, perhaps the cleart parison of what a strong 808 sound is. There’s even a full-length documentary lled <a href="><em>808</em></a><em>, </em>trackg the importance of the mache.</p></div><div class="duet--article--article-body-ponent clear-both block"><div class="duet--article--dangeroly-set-cms-markup my-40"><iame width="560" height="315" src=" ameborr="0" allowfullscreen></iame></div></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">The 808 beme a fixture hip-hop culture, not only as a tool for producers but as a fg sound of the genre. When the New York epicenter of hip-hop started to move toward other mach the 1990s, the 808 held s roots  Southern hip-hop wh artists like Lil Jon (who has even been acced of <a href=">ovesg the handclap sound</a>). It’s still as ccial as ever, and has spawned the creatn of productn groups such as <a href=">808 Mafia</a> (Southsi & Lex Luger), who are often creded wh creatg Atlanta’s “trap” sound, wh one of the signature elements beg the 808 bass dm. Trap producers Metro Boom and Sonny Digal also rely heavily on the 808 sound, and they’re rponsible for 90 percent of today’s most popular Migos and Future rerds — “<a href=">Mask Off</a>” beg the most recent<em>.</em> Most, if not all, chart-toppg hip-hop rerds today and the past 30 years have probably ed some element of an 808. </p></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">Step outsi of hip-hop, and the 808 legacy n be found elsewhere, particularly pop mic. Startg as early as Cybotron’s “Clear,” and heard as recently as Jamie XX’s “Gosh,” the 808 brought a new level of power to pop’s sound. It also beme heavily ed  prent-day EDM, wh artists such as Diplo and David Guetta champng s elements sgl and llaboratns. </p></div><div class="duet--article--article-body-ponent clear-both block"><div class="duet--article--dangeroly-set-cms-markup my-40"><iame width="560" height="315" src=" ameborr="0" allowfullscreen></iame></div></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">The 808 broke down the walls between genr, and spawned llaboratns between some of the biggt acts om different spac. Bee the 808 was so adaptable, was like the first open-sourced sound, wh artists buildg on each other’s terpretatns and makg their own. Lil Jon and Usher’s “Yeah” was an unlikely llaboratn that showsed an R&B sger on an 808 and ma Usher stantly relevant aga. Marv Gaye’s “Sexual Healg” is nowhere near a hip-hop or techno rerd, yet  relied entirely on the 808. The 808 is like the not-so-secret sce of h rerds — sprkle an 808 dm, and your song stantly sounds better. </p></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">The TR-808 forced artists to thk differently about not only the beat nstctns but about flows and melodi. Wh no shortage of ftivals and clubs 2017, the 808 is the cril element signed for huge speakers and club systems. It’s safe to say that producers today create rerds wh this md. Although the 808 tablished self as a magil tool for stud nerds and prolific artists a short time, s legacy is still evolvg every day. The possibili are endls, and we have Ikutaro Kakehashi to thank for that.</p></div></div><div class="mb-40 mt-30"><button class="duet--article--ments-button group le-flex h-40 w-full ems-center jtify-center round-[2px] borr-[1px] borr-solid borr-blurple font-polysans-mono text-11 font-light upperse trackg-12 text-blurple hover:bg-blurple hover:text-whe md:w-to md:px-30"><svg class="mr-10 le pt-2" width="12" height="14" fill="none" viewBox="0 0 12 12" stroke-width="1px" xmlns="><tle>Comments

marvin gaye 808