Although the sound quality in recorded rap music has often swung like a pendulum between high-end tracks cut in a professional setting and DIY-style bedroom productions, a pivotal moment at the dawn of the ’90s saw a wave of producers turn the genre’s gritty, hard-hitting sample-based beats into vibrant, well-recorded productions that lost none of their power while setting a new standard for sterling sound quality.
Hip-Hop’s Early Productions
Before samplers were widely available and affordable, some of the most successful early rap records were recorded in more traditional studio setups. The Sugarhill Records’ house band Tackhead provided the grooves for “Rapper’s Delight,” “The Message,” and “White Lines,” while studio veteran Phil Austin, who worked with the likes of Rod Stewart and Muddy Waters, mastered The Sugarhill Gang’s 1979 smash “Rapper’s Delight.” Despite being recorded during the genre’s infancy, these records sounded like the work of seasoned pros. But listening to the record’s low-end today, the live-recorded acoustic drums and bass don’t jump out of the speakers quite the way drum machines and sampled breaks soon would.
When “Rapper’s Delight” hit shelves, however, a proliferation of home stereos with cassette decks and an estimated 7.8 million boomboxes sold globally in 1980 led to an explosion in pause tape beats and DJ-style mixes. It was possible, albeit…
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