Kuduro’s hybridity directly reflects its technological evolution; the music was codified in its constitutive technology. For example, contemporarily, kuduro vocals are rendered with relative low fidelity. This is a trace of the genre’s early technological limitations as early 1990s Angola studios lacked the necessary technology to record vocals. Furthermore, early producers created batidas in direct conversation with their techno and house influences and thus kuduro is predominantly loop-based and instrumental (ibid). These composition choices demonstrate how music styles arise as active negotiations of imagination and availability; these choices are both the result of “technical limitations and creative decisions” (ibid). The technology continues to define the music when one unfolds the history of the Fruity Loops drum samples. As the Civil War abated, instating a coalition government between UNITA and MPLA, the Angolan economy liberalized and there was a wider availability of personal computers (ibid). This resulted in DIY kuduro production using the Fruity Loops interface, which democratized the enterprise of creating batidas (ibid). The Fruity Loops interface is described by Garth Sheridan in the following manner: The  Fruity  Loops  interface  is  centred  on  a  row  of  on/off  controls  for each sound, known as the step sequence that resemble the user interface of the Roland TR series of drum machines. In the default 4/4 setting these 16 controls represent 4 bars of quarter notes. Drums, samples  and  software  synthesisers  are  controlled  using  the  step  sequencer and, in  later  versions,  also  a  digital  piano  roll.  These  loops  could  then  be  arranged and burned onto CD or recorded to tape.This production source unified the kuduro sound so it coalesced into an identifiable entity: “Producers using Fruity Loops had created the archetypal kuduro rhythms (see Fig. 1) and timbres”. Software availability also contributes to the ideological connotations surrounding the genre as the accessibility of these technologies lowered the barrier to entry to kuduro production, and thus the genre became increasingly working class and vulnerable to denigration as it became associated with Angola's mousseques (ibid).