Well a lot of people get to this stage and start looking up some information on how to do this.
Then you start to find that it can cost quite a lot for the equipment that you will need, on top of that there’s a lot more than what you think goes into the sampling and the recording of the beats that you hear.
So you’ll probably have to do some swatting up on music production as well!
A lot of us are not in a position to start forking out for a fully functional recording studio, so if this sounds where you are at the moment I have some good news for you.
There’s a software package that has been released called Dub Turbo and basically it is the first online DAW which stands for digital audio WorkStation.
So in essence it is like having a complete recording studio on your computer.
Is packed with thousands of beats that you can use, and contains everything that a real recording studio does!
You have drum kits, keyboard, samplers, sequencers and loads more...
It is also been made and designed for the complete beginner so no matter what level you are you can get up and running with Dub Turbo in under 1 hour!
You can even burn your new music on to CD and take it with you to impress friends or listen to in the car!
See how easy is to make hip hop music >>
His Balkan Arts Centre (the forerunner of the Centre for Traditional Music and Dance) was formed to help keep the music and culture of that region alive. Koenig's original recordings were made into LPs and 45s, which he used to teach the folk dances of the region. However, they were never made available to the public. Now that's all changing. A box of the original vinyl records was found in the Centre and have now been restored. They are being released as a 13-part series of special edition vinyl EPs by Evergreene Music, with the first release being Balkan Arts 701: Bulgarian Folk Dances.
Listening to the four cuts, "Zborinka", "Ruka", "Chukanoto", and "Dobrolushko Horo", the first thing you might notice is the similarities between this music and what we call "Gypsy" music. They both have a kind of wild abandonment to them and a heavy reliance on what sound to be stringed instruments. This only makes sense, as Bulgarian folk music would have many of the same influences as other musics from the region. Like their neighbours in Romania, Bosnia, and Greece, Bulgaria was at one point part of the Turkish-ruled Ottoman Empire. You can hear this influence in rather high-pitched skirling noise produced by the combination of a type of bagpipe and the violin.
Chang W. Lee/The New York TimesThe Music of Prince Bilal performing during this tribute at Carnegie Hall on Thursday evening, the ninth annual benefit concert in a series that raises funds for children’s music programs. More Photos »One concert could hardly contain the multiplicity of Prince’s enormous songwriting catalog over the 35 years since he released his debut album, “For You,” in 1978. “The Music of Prince,” a tribute concert on Thursday night at Carnegie Hall, tried hard. The program strove to capture a broad swath of Prince’s work, through funk and rock and pop, from lust to spirituality to apocalypse to partying. It included hits, rarities and even some of Prince’s dance moves (but alas, no leaping splits). It was the ninth annual “Music of” concert produced by Michael Dorf, the owner of City Winery, to benefit music programs for underprivileged children. 
A sortable calendar of noteworthy cultural events in the New York region, selected by Times critics. With the Roots as a house band, the lineup included singers clearly influenced by Prince — D’Angelo, Bilal — and diverse admirers, among them Elvis Costello and Bettye LaVette. There were also musicians who had been in Prince’s touring bands, including the saxophonist Eric Leeds, whose group fDeluxe reunites members of a band Prince produced in the 1980s as the Family, and the guitarist Wendy Melvoin, who sat in with the Roots for most of the concert. At a tribute show, song assignments are nearly as important as the performances themselves, and “Music of Prince” was full of smart choices. Mr. Costello, ever the collector, delivered a Prince song that has only appeared as a bootleg: “Moonbeam Levels,” a yearning, Beatles-tinged rocker. “The Cross,” a song about despair and salvation, was stoked with flamboyant devotion by the Blind Boys of Alabama, a venerable gospel quartet. Bilal and the Roots turned “Sister” — a punky one-and-a-half-minute ditty about incest from Prince’s “Dirty Mind” album — into an elaborately dramatic mini-suite that kept shifting tempos and genres, sometimes from one line to the next, up to a screeching peak. The Waterboys, a British band whose anthems show Celtic roots, performed “Purple Rain,” the Prince rocker that rivals any anthem, replacing Prince’s lead guitar with keening electric violin. Kat Edmonson, a singer from Texas, turned a ballad, “The Beautiful Ones,” into an even slower torch song, accompanied only by piano and full of heartache. Ms. LaVette backdated “Kiss” from funk to a bluesy soul vamp, and gave its sexual swagger her own raspy, staccato signature. Talib Kweli updated the ominous “Annie Christian” — Prince’s song about a murderous sociopath, which calls for a chant of “Gun control!” — to mention the violence involving the former congresswoman Gabrielle Giffords and Sandy Hook Elementary School. Nina Persson, the Swedish lead singer of the Cardigans, made “Nothing Compares 2 U” — a Prince song that was introduced on the Family’s 1985 album — more forlorn and less tragic than the well-known Sinead O’Connor version. And DeVotchKa pushed “Mountains” from funk toward foot-stomping folk-rock. There were misfires, too. Applying stolid, folky strumming to “Pop Life” (Citizen Cope and Alice Smith) and to “When Doves Cry” (Bhi Bhiman) deflated both of them, though Mr. Bhiman’s sustained croon revealed the lovers’ quarrel within the song. “Raspberry Beret” (sung by Diane Birch with Booker T. Jones on largely unheard organ) and a funk medley from fDeluxe were lost to Carnegie Hall’s acoustics. And there was comedy: from Chris Rock and Fred Armisen parodying Prince’s spoken-word moments; from Sandra Bernhard, reaching for high notes as she hammed her way through “Little Red Corvette”; from Princess, the Prince tribute duo of Maya Rudolph and Gretchen Lieberum, who had costumes and moves for “Darling Nikki.” The finale belonged to D’Angelo, who stepped forward as a soul showman, complete with microphone tricks, for “It’s Gonna Be a Beautiful Night” and “1999.” The Roots kicked up Prince’s post-James Brown funk grooves, and D’Angelo placed his yowls, hoots and exhortations just right, to be joined by the whole lineup during “1999.” It was party time — hitting the energy level where a Prince concert would start. 
Kacey Musgraves poses near the 9:30 Club in Washington, DC. (Photo by Matt McClain for The Washington Post)
Dave Grohl reunited with his old friend Butch Vig (at console), the producer of Nirvana's Nevermind, for the making of Sound City: Real to Reel.Sami Ansari/Courtesy of the artist 
Letter-men: TI, BOB & ZOG @ SXSW 2012.