The constraints that shaped grime

It’s interesting to read about how art is created in spite of—or perhaps because of—constraints and limitations. This tale of the tools used to make early grime singles is fascinating:

London’s unique, lickety-split digital version of rap was built by teenagers with little-to-no formal musical training, taking whatever cheap (or free, illegally “cracked” and downloaded) software they had to hand, creating strange, glowing, sci-fi sounds from whatever tools they could find.

Grime’s early-2000s pioneers like JME, Skepta, Wiley, and So Solid Crew broke the mold with none of the synths, samplers, and drum machines that had been vital to hip-hop production, instead doing much of their world-building on basic PC software like FruityLoops Studio. Inevitably, the sound was determined by the technology itself.

One of grime’s only consistent formal attributes is that, like its sibling genre dubstep, it runs at around 140 beats per minute — the consistency is important for DJs to be able to mix records seamlessly. Producer Plastician is not the only one to have observed that FruityLoops’ default tempo is set to 140bpm, which “may have a lot to answer for.”

Source: UK grime couldn’t exist without ringtones, Playstations, and other low-fi tech