*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 then moved to the [SP-1200](https://equipboard.com/items/e-mu-sp-1200) and then shortly after that the [MPC-60](https://equipboard.com/items/akai-mpc60), then the [MPC-62](https://equipboard.com/items/akai-mpc60ii), then the [MPC3000](https://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
It says here that, "Premier moved to New York in the late '80s, where he met fellow up-and-coming hip-hop producer Large Professor, who used an Emu SP1200 drum machine. Preem began using an SP12, and also picked up some of the ins and outs of sampling and sound manipulation from his colleague."more
"The low strings sound in the introduction provides the bass part throughout the song. I used my Prophet 10 with a round, low sound on a drone setting, which sustains throughout the song and just changes notes. We put bass guitar on some of that and I doubled it with Taurus bass pedals. The tinkly sound behind the vocal is a DX7, but I can't remember the name of the patch. The piano sound is the CP80 through a chorus. I originally programmed the rhythm at home on an Emu SP12, then I transferred it to the Atari. When we got to the studio I used the program but I modified some of the sounds and then added to it with Simmons drums."more
"I chose to use the largest part of the space for the control room, in order to accommodate my video equipment (a small Sony 3/4-inch editing system, Fairlight CVI, and a large screen Barco projector over the mixing board) along with a large battery of electronic percussion (E-mu SP12, Linn 9000, and assorted Simmons and PPG modules) and my new Fairlight Series III and Emulator II."more
"The SP12 is like a pile of AMSs, but with a built-in sequencer as well. We got fed up with the sounds in the LinnDrum years ago - even the new chips we got for it. In the end we never had access to the AMS in the demo studio because we were running bloody drum samples triggered off the LinnDrum. We don't have that problem now."more
Nowadays the Western Works is furnished with machines of an altogether different calibre. The workhorse is E-mu's SP12 sampling drum machine, which Kirk used to sample and sequence up most of the rhythm tracks for Code. Further sampling power is provided by the Emax, sequenced by the Korg SQD1 which is synced to the SP12 and a trusty TR808 with a Roland SBX90. And if this little lot isn't enough, an adjoining room contains an Alpha Juno 2 and a DX7 to be called upon when required: usually to provide synth bass samples for the SP12. With a six-foot high rack of effects to one side of the mixing desk and a 2" 24-track machine to the side of that, the Cabs have everything they need to produce master quality recordings just as and when it suits them.more
I?SYNTHS: When did your obsession start with collecting synths? Shawn Rudiman: The day after that Christmas in 1990! It was really fueled by diving headfirst into making music. My friend Ed Vargo and I decided we were going do this shit and try it out. We were so arrogant and had zero idea what we were doing. Totally green on every front. Long story short, we somehow managed to get a demo of industrial stuff to a label in Denmark. They liked what they heard and signed us for a full cd.more
Intelligently designed, one could quickly load samples and play them on velocity sensitive finger triggers. I would create a self contained groove by sampling a bass note and guitar chords. Best of all, you could build your own drum set with the type of drum sounds you preferred, not just what came in the box. Even so, you had available a whole pile of internal percussion sounds to play with. The SP-12 had a flaw when trying to change the pitch of percussive samples, it added this grungy digital noise that became it's own cool sound effect. This flaw became popular and was exploited in recordings. Independent outputs were also a bonus. I got rid of mine once the memory started going.