▁the ▁early ▁ 1 9 9 0 s . ▁ ▁It ▁consisted ▁primarily ▁of ▁middle - class ▁youth ▁and ▁was ▁representative ▁of ▁influ ences ▁that ▁resulted ▁from ▁political ▁un rest . ▁ ▁Art ists ▁and ▁produ cers ▁experiment ed ▁with ▁local ized ▁versions ▁of ▁te ch no ▁and ▁house ▁music ▁which ▁aligned ▁with ▁much ▁of ▁the ▁music ▁that ▁already ▁per me ated ▁the ▁club ▁scene . ▁ ▁It ▁r anged ▁from ▁ 1 2 8 - 1 3 5 ▁be ats ▁per ▁minute ▁and ▁vocals ▁were ▁rarely ▁used ▁to ▁convey ▁the ▁message ▁of ▁the ▁music . ▁ ▁K ud uro ▁in ▁this ▁generation ▁also ▁fav ored ▁synth es ized ▁produ ctions ▁of ▁ac oust ic ▁instruments . ▁ ▁The ▁Second ▁Generation ▁ ▁This ▁generation ▁had ▁a ▁' Do ▁it ▁Your self ' ▁a est h etic ▁which ▁expanded ▁the ▁industry ▁through ▁establish ing ▁lower - in come ▁neighborhood s ▁as ▁the ▁center ▁of ▁production . ▁ ▁By ▁this ▁time , ▁many ▁home ▁stud ios ▁were ▁based ▁around ▁F ru ity ▁Lo ops ▁which ▁were ▁sequ enc ers ▁that ▁incorpor ated ▁a ▁range ▁of ▁synth es izers ▁and ▁samples . ▁ ▁The ▁increase ▁in ▁avail ability ▁of ▁computers ▁and ▁pir ated ▁technology , ▁especially ▁the ▁music ▁production ▁software ▁F ru ity Lo ops ▁made ▁K ud uro ▁more ▁widely ▁available ▁to ▁the ▁masses ▁for ▁production . ▁▁ ▁This ▁generation ▁was ▁character ized ▁by ▁sp ed - up ▁versions ▁of ▁the ▁first ▁generation ' s ▁tempo ▁at ▁ 1 4 0 ▁be ats ▁per ▁minute