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Pete Rock Petestrumentals drums : how the hell did they do ?!!
Old 28th February 2008
  #61
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one main benefit of sampling breaks is a lot of times they sound homogenus already.
too much individual eq can may result in loss of this quality so be careful.
i always eq the entire break before chopping it.

checked his new lp yet?
Old 28th February 2008
  #62
Gear Nut
 

the bassline and beat on the royal flush song is...eeeeewthumbsup
Old 10th March 2008
  #63
Gear Nut
 

Great thread!! I couldn't resist myself and finally decided to join this community.

I grew up with 90's hip hop and the sound of the SP 1200. I finally got the monster a few weeks ago and fell in love with it instantly.

I can confirm the SP 1200 does make a difference. Until then I'd been making my beats with software, mainly Battery. The SP certainly adds something that cannot be achieved by other means.

My recommendation for anyone with or without an SP or other vintage gear is to use it innovatively - use its advantages but make it your own. Sure, we can learn technique from the masters like Pete Rock but I wouldn't want to recreate and publish stuff that's sounds exacly the same as he's or someone elses stuff in the 90's.

Lately I've had much fun with the SP by sampling stuff (from anywhere from old vinyls to ambient sounds ) into Logic, using a blend of software effects and filters and then sampling it into the SP. Or sometimes the other way around. Lots of possibilities this way to create something new and still get the unparallelled SP sound.heh
Old 14th March 2008
  #64
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sp12adam's Avatar
 

I almost sold mine 3 years ago when I needed money for my wedding. Nothing says I love you more than a man willing to sell his SP 1200, than his woman talking him into keeping it.

Whew! that was close , had mine since 93"
Old 25th July 2009
  #65
DAH
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Bump!
I tried today layering LF vinyl noise with a 909ish kick to make the kick body "sustain" and voila! that made the kick deeper in the soundstage and fatter. Noise was filtered to taste, of course 9lotta low mid|presence cutting). So I have to admit, that this noise layering trick really works. Just make sure there`s some LF content in the 40-60 Hz region. For the levels and decay - the noise should blend in with the kick body organically and fade out in the same organic way.
Old 5th March 2012
  #66
DAH
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Bump once again!
Rod Hui for next Pensado`s Place guest for his PE and Pete Rock experience. I am still jealous at PR`s kick, would give like $300 fot this technique of layering\compressing\limiting.
Old 5th March 2012
  #67
SEED78
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Quote:
Originally Posted by coolout View Post
Trust me it's worth the time to go down to your local old record store and at least hit the dollar bin.

You'll probably find something that Pete Rock hasn't used
see people giving this advice a lot - can't say I agree, don't end up with a ton of Johhny Mathis records expecting killer sounds, just bread and butter horn stabs etc and a few random quality loops every so often.

but your chances of finding a genuinely dope drum (specifically) randomly by chance without knowing your sh+t are actually minimal, it DOES happen, just not every day. I got 4000+ vinyls, used to dig on the regular KNOW what to look for, only got good drums on random purchases like 10 times in 15 years!! if you are talking drums that SLAM, I say research then buy, listen to a ton of genres people haven't savaged already, folk, prog rock, euro stuff - get to know artists - otherwise when you see that dope record in the cheap spot you are not even going to know what it is - there is a lot to find!

also, there has never been a better time to buy reissues of madly rare and expensive drums - I love having originals (and do have many originals), but if someone reissues say a killer track on a 7" for £5 thats off a library record worth hundreds I pounce on that. I hear certain beats by people like madlib etc that MAYBE only had the sample on it coz it reissued 6 months before and he kept his ear to the ground to know that - if he'd been looking in the dollar bins only he'd have missed that one (Selda). wanted this rare german record LOADED with drums that only goes for £150 (Popcorn), got it on CD from some guy in Belgium instead... 1 hour on the net bagged me those drums, 5 hours in a warehouse looking through 1000's of records that the dealers and beat diggers had already raped never got me that.

Pete Rock has put the time in. He knows what he wants, and has good taste in digs - found a engineer that understood and wasn't mixing on a Mackie, then he prob sat with him every second of the mix asking for what he wanted to hear - he didn't email the parts off with his fingers crossed.
Old 5th March 2012
  #68
DAH
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DAH's Avatar
Quote:
Originally Posted by SEED78 View Post
see people giving this advice a lot - can't say I agree, don't end up with a ton of Johhny Mathis records expecting killer sounds, just bread and butter horn stabs etc and a few random quality loops every so often.

but your chances of finding a genuinely dope drum (specifically) randomly by chance without knowing your sh+t are actually minimal, it DOES happen, just not every day. I got 4000+ vinyls, used to dig on the regular KNOW what to look for, only got good drums on random purchases like 10 times in 15 years!! if you are talking drums that SLAM, I say research then buy, listen to a ton of genres people haven't savaged already, folk, prog rock, euro stuff - get to know artists - otherwise when you see that dope record in the cheap spot you are not even going to know what it is - there is a lot to find!

also, there has never been a better time to buy reissues of madly rare and expensive drums - I love having originals (and do have many originals), but if someone reissues say a killer track on a 7" for £5 thats off a library record worth hundreds I pounce on that. I hear certain beats by people like madlib etc that MAYBE only had the sample on it coz it reissued 6 months before and he kept his ear to the ground to know that - if he'd been looking in the dollar bins only he'd have missed that one (Selda). wanted this rare german record LOADED with drums that only goes for £150 (Popcorn), got it on CD from some guy in Belgium instead... 1 hour on the net bagged me those drums, 5 hours in a warehouse looking through 1000's of records that the dealers and beat diggers had already raped never got me that.

Pete Rock has put the time in. He knows what he wants, and has good taste in digs - found a engineer that understood and wasn't mixing on a Mackie, then he prob sat with him every second of the mix asking for what he wanted to hear - he didn't email the parts off with his fingers crossed.
You are right, u can flip samples from any obscure\crazy records, but good open drums - u have to know WHERE and WHAT to look for, I know and co-sign to ur post, been there, done that. There s music style rich with those phat kick drums, but I won`t tell you, gotta exploit it myself...
What is good - we have AMAZON and other sites with pre-listen in our age, that's just crazy - old kings like Pete would have definitely kill for that in their time.
Hey, SEED78, how about "knobs instead of the balls" added to ur sig?)
Old 5th March 2012
  #69
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Tommycash's Avatar
 

Damn, i love this group
Old 5th March 2012
  #70
SEED78
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@DAH - you are f+cking crazy bro - can tell you've spent the hours breathing in the vinyl dust without food or water I want to hear some Russian Prog/Jazz, one of the FEW countries I've not tapped at all!! don't hold out on me!!

example of Pete using his ears in vid below at 1.48min - for those who don't know F** A***** is your hint!



With Marley Marl mentioned on this video (pete's early influence), and also feat in the terrytee posted vid NOBODY ever talks about the Korg 'sampler' delay rack piece that was a major part of his early sound!! I really want to try that item!!
Old 5th March 2012
  #71
DAH
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DAH's Avatar
Quote:
Originally Posted by SEED78 View Post
@DAH - you are f+cking crazy bro - can tell you've spent the hours breathing in the vinyl dust without food or water I want to hear some Russian Prog/Jazz, one of the FEW countries I've not tapped at all!! don't hold out on me!!

example of Pete using his ears in vid below at 1.48min - for those who don't know F** A***** is your hint!



With Marley Marl mentioned on this video (pete's early influence), and also feat in the terrytee posted vid NOBODY ever talks about the Korg 'sampler' delay rack piece that was a major part of his early sound!! I really want to try that item!!
Dont know about prog.rock\jazz, look for Kozlov \Arsenal and Garanyan.
and,
???? ???????? - ????? ???????? - YouTube - this Russian hit improperly credited is included to some of the breaks compilations
EDIT - Dusty Fingers Vol8 - 06 COHET - AJIJIA MYRAYEBE
It's Alla Pugacheva - ???? ????????
Most of her 70`s tracks are quite cool in the sense there is something to sample. Like
?? ?????????? ???? - YouTube
Sorry for ice scaters, just listen and don`t watch
EDIT Its a shame gearslutz does not support Cyrillian fonts.
Old 5th March 2012
  #72
SEED78
Guest
thanks bro!! that track is heavy!!

have other euro records, german/polish/french/italian/hungarian/ex Yugo (have fam in Serbia), but no Russian...

btw love the old Polish Jazz LPs (70s/80s??) that are numbered 'Polish Jazz No.7' etc etc... one of them has what sounds like a cover of Cissy Strut, its great! all of the large amoutn of the records in that series are great.

French records = game over, they have everything!! could spend years buying their stuff and not get bored.
Old 5th March 2012
  #73
DAH
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DAH's Avatar
Quote:
Originally Posted by SEED78 View Post
thanks bro!! that track is heavy!!

have other euro records, german/polish/french/italian/hungarian/ex Yugo (have fam in Serbia), but no Russian...

btw love the old Polish Jazz LPs (70s/80s??) that are numbered 'Polish Jazz No.7' etc etc... one of them has what sounds like a cover of Cissy Strut, its great! all of the large amoutn of the records in that series are great.

French records = game over, they have everything!! could spend years buying their stuff and not get bored.
i think 70-85 recs have the whole palette in terns of sampling - sounds and texture.
Old 6th March 2012
  #74
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Reggmail's Avatar
 



Wow, much props to Pete & Marley and those guys that go all out for the just right sound.

I'll just be the dog under the table getting the left over samples......

unkut.com – A Tribute To Ignorance (Remix)

Marley Marl | AllMusic







R.I.P Ronnie Montrose
http://latimesblogs.latimes.com/musi...mmy-hagar.html
http://www.youtube.com/watch?v=ATCDmihDLeI

& blessings.
Old 7th March 2012
  #75
Gear Maniac
 
vintagefreak's Avatar
 

Quote:
Originally Posted by DAH View Post
i think 70-85 recs have the whole palette in terns of sampling - sounds and texture.
i agree (soglasen) - would add to that 60's jazz - there is lots of amazing drummers very well recorded in the late 50's and all trough the 60's on Blue Note, Impulse, CTI , Columbia , etc in USA mostly but also in UK, Germany, France & Holland.

I also find tons of great drums n percussion on Brazilian jazz/pop/ fusion and Cuban jazz fusion records - an absolute Groove Heaven!
Old 13th April 2012
  #76
DAH
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As for PR's kick on Petestrumentals - I ll tell you (tsss!) - 909.
I ma cop me a clone of 909BD module.
Old 13th April 2012
  #77
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xanax's Avatar
funny you say that, i was actually sampling my 909 into my newly acquired SP1200 last night and the results were rather unexpected. the kick and especially the snare got crunched and compressed in a way that didn't make them sound like analog drums anymore yet super punchy, i was about to make a house track but i now see how i could use the 909 for hip-hop (something that hadn't really occurred to me before, preferring the 808 sound for layering and stuff). now that i think of it i do remember seeing a 909 in the D&D studio photos and wondering wtf it was doing there, that could be the answer. btw i haven't been following this thread but i am curious what tracks on petestrumentals you hear the 909 kicks?
Old 13th April 2012
  #78
DAH
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DAH's Avatar
Quote:
Originally Posted by xanax View Post
funny you say that, i was actually sampling my 909 into my newly acquired SP1200 last night and the results were rather unexpected. the kick and especially the snare got crunched and compressed in a way that didn't make them sound like analog drums anymore yet super punchy, i was about to make a house track but i now see how i could use the 909 for hip-hop (something that hadn't really occurred to me before, preferring the 808 sound for layering and stuff). now that i think of it i do remember seeing a 909 in the D&D studio photos and wondering wtf it was doing there, that could be the answer. btw i haven't been following this thread but i am curious what tracks on petestrumentals you hear the 909 kicks?
Man, it isEFINITELY not a coincidence. Jah points to us the right direction to watch\learn. Please post just some of the results you got, because I am curious, how close my (100% confident) presumtions of that kick drum cooking (909 to 1200). if u dont want do it publicly, just hit a PM.
I will delete the files after audition if you want to keep them exclusively for yor ammunition.
and i will send u the kicks from that lp that made me sure of that combination - i made a selection of 7 best kicks off that album just to analyze and find the recipe, not for re-using - i find it wack somehow.
BTW only kicks, not intersted in SN. sampled snares\hats provide a great palette unlike the 909, the kicks - the kicks are different - nothing in real acoustically recorded world can represent the low-end punch more efficiently than a specifically tuned sine sweep.
Old 13th April 2012
  #79
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no doubt, in techno and house it's solely about the kick, which is why the 909 is regarded so high in those circles, like i said in the other forum it's my favorite drum machine for the kick alone… i'll admit i haven't experimented much with kick techniques for hip-hop as it isn't the main genre i produce these days but i am interested in this topic.. as far as the 909/1200, i'll have to experiment some more, i didn't even save what i did last night i was just messing around A/Bing stuff with the SP. i need to re-listen to petestrumentals this weekend as it's been a couple years lol, anyways will keep u posted..
Old 13th April 2012
  #80
DAH
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Quote:
Originally Posted by xanax View Post
no doubt, in techno and house it's solely about the kick, which is why the 909 is regarded so high in those circles, like i said in the other forum it's my favorite drum machine for the kick alone… i'll admit i haven't experimented much with kick techniques for hip-hop as it isn't the main genre i produce these days but i am interested in this topic.. as far as the 909/1200, i'll have to experiment some more, i didn't even save what i did last night i was just messing around A/Bing stuff with the SP. i need to re-listen to petestrumentals this weekend as it's been a couple years lol, anyways will keep u posted..
Drop whatever u have sampled so far with no searching for proceesors between 909 and 1200. The Thing is the texture just like you said - the kick sounds no more as a drum machine one - it gets organic as if it was grown, not generated, right?
Old 13th April 2012
  #81
SEED78
Guest
Quote:
Originally Posted by xanax View Post
now that i think of it i do remember seeing a 909 in the D&D studio photos and wondering wtf it was doing there
that wasn't a 909, I made the same mistake - it was a midi sync device.
Old 13th April 2012
  #82
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viewing's Avatar
45 king used the 909 kick in a lot of his beats. not sure if he sampled it but if he did then it would have been with the s900. there's no video online for it but the song rhythmical beatdown is a nice example
Old 14th April 2012
  #83
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909 gets mentioned a couple times in this vid, including by PR himself (2:32) so i guess its official we can put the issue to rest lol.. but to be honest as mentioned already the main ingredient is the SP-1200, not just the ADDA 12-bit conversion but the filtered outputs, on the old model it uses SSM analog filters which i find incredibly musical, outputs 1 & 2 do crazy things to kicks with a sharp attack on the filter..

i also had a good listen to petestrumentals, i'm probably even more amazed by how good it sounds now then when it came out a decade ago. definitely a great example of how tube/tape/analog processing can still sound fresh and clear. whoever the engineer and at mastering deserves mad props..

another key to the puzzle is the play and layering of the kick against the bassline which is quite simply marvelous on an engineering and arrangement level. PR & Dilla are definitely the masters at that..

not really sure over scrutinizing the kick is that important anymore, as a whole there is definitely a lot to learn from this album
Old 20th November 2013
  #84
n4l
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I'm bringing this thread back from the grave but I have a question regarding to the drums on Petestrumentals.

I'm a huge fan and the Petestrumentals is like a bible to me and I'm trying to find out what drum breaks he used, I've only figured out two of the tracks.

I found a YouTube video where some dude uses the same drums that appear on ''Pete's Jazz'' and I asked him if he could tell me but he didn't reply (for obvious reasons). Search ''MPC60 II #2nd song [The Classic mk II (like a DJ PREMIER)]'' on YouTube.

Could somebody enlighten?
Old 21st November 2013
  #85
SEED78
Guest
Quote:
Originally Posted by viewing View Post
45 king used the 909 kick in a lot of his beats. not sure if he sampled it but if he did then it would have been with the s900. there's no video online for it but the song rhythmical beatdown is a nice example
some of the early 45 king stuff is the Casio RZ1's 1 second sample time grit, think he had a few of them - I've got one of those, but haven't found the time to play with it yet.
Old 21st November 2013
  #86
RRL
Gear Maniac
 

Quote:
Originally Posted by hitsville View Post
nah, Petestrumentals is all SP-1200 and s-950.

I don't think PR had ever used the MPC before the Soul Survivor 2 era
he said he owned all of the old mpcs like the 60 and he 3000, i don't hear it in his beats. u can tell how his beats got when he wasn't restricted with the time on the 950 and sp1200. i'm sorry, but pete's mpc 2000xl beats are nothing to get excited over. don't get me wrong, he's got a lot of good ones with the machine, but nothing compared to his sp work.
Old 21st November 2013
  #87
RRL
Gear Maniac
 

Quote:
Originally Posted by n4l View Post
I'm bringing this thread back from the grave but I have a question regarding to the drums on Petestrumentals.

I'm a huge fan and the Petestrumentals is like a bible to me and I'm trying to find out what drum breaks he used, I've only figured out two of the tracks.

I found a YouTube video where some dude uses the same drums that appear on ''Pete's Jazz'' and I asked him if he could tell me but he didn't reply (for obvious reasons). Search ''MPC60 II #2nd song [The Classic mk II (like a DJ PREMIER)]'' on YouTube.

Could somebody enlighten?
he probably just lifted it from pete rock's song.
Old 21st November 2013
  #88
SEED78
Guest
its interesting how the golden era's memory for most seems to be the sonics, the low end theory etc etc - I think a lot of producers from that era have just been in a big rush to be more efficient, and loosing part of their sound by using newer gear.

coupled with the fact that a lot of these artists are not making the same amount of cash, so they are not getting their tracks mixed in big studio's with loads of hardware outboard any more. they are just emailing off stems to a friend of a friend that will do it for free ITB no doubt.
Old 13th July 2017
  #89
DAH
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One thing I have discovered is Pete Rock's kicks have the same character as Scientist's. I think it's secret is in layering a sine a bit behind an acoustic kick sample, by a gate or by triggering a sine with adjusted ADSR I am to find out yet.
Old 13th July 2017
  #90
SEED78
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Nice bump on a fun old thread DAH .
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