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*Nodfactor* [re-publishes an article](http://www.nodfactor.com/2010/02/07/still-lives-through-j-dillas-last-interview/) from a February 2006 edition of *Scratch* magazine where Alvin “Aqua Boogie” Blanco interviews J-Dilla. Aqua Boogie asks what equipment did J-Dilla start with, to which he replies “I started with the [SP-12](http://equipboard.com/items/e-mu-sp-12-classic-drum-machine-and-sampler) then moved to the [SP-1200](http://equipboard.com/items/e-mu-sp-1200) and then shortly after that the MPC-60, then the [MPC-62](http://equipboard.com/items/akai-mpc60ii), then the [MPC3000](http://equipboard.com/items/akai-mpc-3000) and I’ve been on the MPC 3000 ever since then. I’ve tried other samplers but the 3000 is best for me for what I like to do.”more
En Amor Amarillo, Cerati interpretó un pequeño instrumento musical electrónico conocido como el Akai MPC60 que fue muy utilizado a comienzos de los noventa por artistas de hip hop en Estados Unidos para hacer las percusiones de sus canciones. Con el MPC60 se podía hacer samples de sonidos electrónicos por medio de una interfase MIDI, algo innovador para una época en la que no existían los computadores como los conocemos hoy.more
This clip from a 2008 Crate Kings article talks about how DJ Shadow ditched the Akai MPC 60 and MPC 3000 as his main production tools. Shadow said: "At the time, in 2002, I felt as though ‘The Private Press’ was the best record I could ever make on the MPC, and I was eager for a change. It was also important to me that I not get stagnant and start repeating things I had done in the past. So I switched it up and forced myself to "go back to school," in a sense. I felt that if I refused to rely on the MPC and learn new techniques my music would change, for better or worse, and change was what I craved most."more
"A tea kettle, an [Akai] MPC 60, and the E-mu 6400 sampler. I have a very small studio, and along with that I use the [E-mu] SP-1200. They’re both very old pieces of equipment from about 1987. They’re both mono. The quality of the sampling on the SP and the MPC is quite low, so any sample you put in there comes out the other end with the sound of that machine. The MPC has a bit more memory, it’s a bit more versatile, and the SP is very brutal, very gritty, and it has a great rock solid feel, even though when you analyze it the groove is actually quite wobbly. [The limited sampling rates] help me create a style rather than wallowing around in a laptop that’s got unlimited everything and 2,000 plug-ins and every keyboard ever made. I prefer to acquaint myself with two or three bits of equipment that are quite limiting, and just push those and that limit." - [Mr. Scruff in the Studio](http://www.xlr8r.com/features/2008/04/mr-scruff-studio)more
the first installment of Marley Marl ‘Classic Recipes,’ he shows you how he produced the beat for the 1991 Grammy award-winning chart-topping single “Mama Said Knock You Out” by LL Cool J. He discusses the collaboration and the production process of the track, as well as methods and tools that were used, including the Akai MPC60 and E-Mu SP-1200, the preferred samplermore
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