>>He made the instrument of hip-hop a forefront player, where
>as
>>before it was limited to playing a supporting role.

The instrument of hip-hop = production. If you think just of the beattape phenomena as a whole, yes beattapes existed long before dilla, but as a testament of a producer's work. Producers may have shared tapes prior to that, but the mark of the producer was in who had bought those beats not in th etapes themselves. How many beattapes were released last year. It's literally impossible to count. You can counter that with how many of them sold but that's just the surface of the influence.

From out of the beattape phenom you get producers comfortable enough, in a hip-hop context to see themselves as the focal point of a project without the need to get a bunch of MC's to validate their work. Yes there were artists who had done instrumental hip-hop prior, and folk outside of the genre who could today be classified under the umbrella (sic), but it became phenomenality (lol) post dilla.

And that's still just surface.

He laid out the blueprint technique for sampling to escape the legal realms. <<< This is foreshadowing I won't be debating the point yet.

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