ified ▁in ▁its ▁constit utive ▁technology . ▁For ▁example , ▁contempor arily , ▁k ud uro ▁vocals ▁are ▁rendered ▁with ▁relative ▁low ▁f idel ity . ▁This ▁is ▁a ▁trace ▁of ▁the ▁genre ’ s ▁early ▁techn ological ▁limitations ▁as ▁early ▁ 1 9 9 0 s ▁Ang ola ▁stud ios ▁lack ed ▁the ▁necessary ▁technology ▁to ▁record ▁vocals . ▁Furthermore , ▁early ▁produ cers ▁created ▁bat idas ▁in ▁direct ▁conversation ▁with ▁their ▁te ch no ▁and ▁house ▁influ ences ▁and ▁thus ▁k ud uro ▁is ▁pre domin antly ▁loop - based ▁and ▁instrument al ▁( ib id ). ▁These ▁composition ▁choices ▁demonstrate ▁how ▁music ▁styles ▁arise ▁as ▁active ▁negoti ations ▁of ▁imagination ▁and ▁avail ability ; ▁these ▁choices ▁are ▁both ▁the ▁result ▁of ▁“ techn ical ▁limitations ▁and ▁cre ative ▁dec isions ” ▁( ib id ). ▁The ▁technology ▁continues ▁to ▁define ▁the ▁music ▁when ▁one ▁unf olds ▁the ▁history ▁of ▁the ▁F ru ity ▁Lo ops ▁drum ▁samples . ▁As ▁the ▁Civil ▁War ▁ab ated , ▁inst ating ▁a ▁coal ition ▁government ▁between ▁UN IT A ▁and ▁MP LA , ▁the ▁Ang olan ▁economy ▁liberal ized ▁and ▁there ▁was ▁a ▁wider ▁avail ability ▁of ▁personal ▁computers ▁( ib id ). ▁This ▁resulted ▁in ▁DI Y ▁k ud uro ▁production ▁using ▁the ▁F ru ity ▁Lo ops ▁interface , ▁which ▁dem ocrat ized ▁the ▁enter prise ▁of ▁creating ▁bat idas ▁( ib id ). ▁The ▁F ru ity ▁Lo ops ▁interface ▁is ▁described ▁by ▁Gar th ▁Sher idan ▁in ▁the ▁following ▁manner