Take a trip down memory lane with a couple of early architects of Hip Hop sound as Marley Marl & Arthur Baker reminisce. Arthur interviews his long-time friend Marley as they both share memories of what is was like just before Hip Hop began and it's infancy. In this chat, we discover numerous anecdotes of life that resulted in classic music based on relationships, ingenuity, location and dedication.
Below is a list of the groundbreaking interconnected events in the careers of Marley Marl and Arthur Baker. This highlights how their professional relationship and shared studio environments birthed technical innovations like sampling and the use of the 808. Above, is one of the best episodes of Future Flavas I've had the fortune of experiencing: The ATCQ & The Roots episode where Tribe & Black Thought dropped freestyled over Ummah beats.
| Source Event | Resulting Connection / Event | Significance in Early Career & Influence |
|---|---|---|
| Andre Booth's band plugs into Marley Marl’s DJ set in a Queensbridge park. | Marley Marl becomes the band's engineer. | This was the "organic" start where Marley Marl learned the fundamentals of engineering and production. |
| T Scott introduces Arthur Baker to keyboardist Andre Booth during the "Happy Days" session. | Arthur Baker uses Andre Booth for the "Jazzy Sensation" session. | This session was a turning point; it was Arthur's last rap record using live musicians before moving to the 808. |
| Marley Marl engineers for Andre Booth’s band and attends the "Jazzy Sensation" session. | Marley Marl meets Arthur Baker and Jazzy Jay. | Establishes the professional network between Marley and Arthur at Unique Recording Studio. |
| Marley Marl becomes an intern at Unique Recording Studio. | Marley watches engineers (like Chris and Tom Lodgie) use the Emulator and AMS delay units. | Marley discovers sampling by observing engineers "catch" kicks and snares to trigger them. |
| Marley Marl and Andre Booth play a demo for Arthur Baker at Unique. | Arthur Baker hears a one-second snippet and signs Dimples D ("Sucker DJ"). | This was the official start of Marley Marl's Hip Hop career. |
| Arthur Baker pays Marley Marl a $5,000 check for the Dimples D record. | Marley Marl goes to Sam Ash and buys a Roland TR-808. | This specific 808 was used to create all of Biz Markie’s records and became a staple of Marley’s sound. |
| Marley Marl uses the 808 to trigger a one-shot guitar sampler. | Marley Marl decides to "put Hip Hop in that shit". | This connects his observations at Unique to his own production, effectively bringing sampling into Hip Hop. |
| Roxanne Shanté freestyles over a UTFO instrumental on a cassette in Marley's apartment. | Marley Marl plays the air check on Mr. Magic’s WBLS radio show. | The immediate response leads to "Roxanne’s Revenge" and the formation of the Juice Crew as "ammunition" for the radio. |
| Eric B hangs out at Marley Marl’s house to watch him work. | Eric B brings Rakim to Marley Marl’s house. | This leads to the recording of the "Paid in Full" sessions, though Marley notes he was never paid for the initial house session. |
| LL Cool J visits Marley Marl at WBLS to discuss his album Walking with a Panther. | Marley Marl remixes "Jingling Baby" and later produces Mama Said Knock You Out. | Marley uses his "street" sound and radio influence to restore LL's credibility, eventually winning a Grammy. |
In general, you can view Unique Recording Studio as a high-tech workshop: Marley Marl entered as an apprentice, watching master craftsmen use new tools (the samplers and abundance of gear). When Arthur Baker provided the "seed money" (the first check), Marley bought his own tools (the 808) and used the techniques he had witnessed to build an entirely new architectural style for music.
Mastering the E mu SP1200 Sound with eSPi Emulation
If you’re a regular visitor of my blog, most likely you already know the distinct SP sound the second it comes on. You know, that legendary "warm," "dirty," and "gritty" texture that helped to define the golden age of hip hop? It’s all rooted in the E mu SP1200, a machine whose strengths—and deliberate weaknesses—sculpted an entire era of music. The SP is characterized by crunchy digitized drums, choppy segmented samples, and murky filtered basslines. Even more than 35 years after its debut, the thirst for this production sound remains. Above all, it’s attributed to the SP’s low 26.04 kHz sampling rate, 12-bit sampling resolution, analog SSM2044 filter chips (ICs), and unique drop-sample pitch-shifting.
How Hip Hop Producers Redefined The E MU SP1200
Back in the day, pioneering producers like Pete Rock, Easy Mo Bee, and Large Pro weren't working with unlimited memory. In fact, they had to squeeze their entire beatmaking session into just 10 seconds of total sample time. This necessary technical constraint, combined with ingenious user techniques, is exactly what reduced production costs and increased creative control for hip-hop artists. As a result, the combination of the SP1200 and Hip Hop forever changed music. In this article, I'd like to highlight some newer artists who do their thing on the SP, classic Hip Hop style.
A Modern Alternative To Classic 12-Bit Sound
Thankfully, we now have the power and authenticity of the eSPi software emulation which is laid out exactly like the original SP. With that said, the challenge isn't learning the menus—it’s learning the workarounds,. My tutorial goes beyond basic button pushes of this software. Instead, this is a comprehensive guide to mastering the eSPi app by intentionally exploiting the very limitations that defined the SP-1200’s sound. We’ll go over the legendary SP production methods used by golden age Hip Hop artists:
10 Seconds To Glory On The eSPi
To begin, I’ll demonstrate how to achieve the signature gritty texture by using the tuning functions of the eSPi to replicate the drop-sample pitch-shifting effect. Secondly, how to utilize the sequencing section to unlock the iconic double-time swing, a trick necessary for overcoming the hardware’s low rhythmic resolution. By the end of this, you’ll be ready to achieve your own "10 Seconds to Glory."
As you can see by the demonstration video above, the eSPi has been updated and the app is now available to download here at Apple.
The Gritty Sound: Replicating Artifacts via Pitch & Sampling
If the E MU SP1200 had a secret sauce, it was its inability to sound "clean." The sound is legendary precisely because of the artifacts introduced by its low 12-bit sampling resolution and 26.04 kHz sampling rate. Mecca:83's instrumental project "Ninety Four" displays this gritty type of sound in fine form. To truly master the eSPi app, you have to stop thinking like a modern producer trying to maintain fidelity and start thinking like a pioneer trying to break the machine. This means embracing the noisy filters and the distortion produced by the pitch-shifting.
The 10-Second Workaround: Intentional Sample Degradation
Most importantly, the technique that stamped the SP-1200's character onto the golden age of Hip Hop was the pitch-up, sample, pitch-down trick. This workaround was born out of sheer necessity: because the original unit only offered 10 seconds of total sample time.
Understanding The Unique Sound Of The E MU SP1200
As soon as people in Hip Hop started sampling hits, loops and drum breaks into the SP, that 10-second limit became a serious problem. The solution? Producers would literally speed up their source material (often a vinyl turntable) and pitch it up so they could sample longer material into the SP1200’s limited RAM. When the sound was played back and pitched down to its original tempo in the SP-1200, the result was a reduction in fidelity and the introduction of "notably more audible artifacts". Above, the DXA crew are a great example of SP1200 technique in Hip Hop and generously teach how to use the machine at their YouTube channel.
This drop-sample pitch-shifting algorithm is why the machine sounds so unique, because pitching samples up and down is "really where the SP1200 and the SPI actually shine" and where you get that "gritty crunchy texture". For instance, the lo-fi sound of SRAW on his neck-snapping project "On & On" which you can stream below.
A. Loading & Tuning Samples in an eSPi Workflow
1. Import: Load your long sample into eSPi. You can even sample a full song via the "Sample from file" option.
2. Exploit the Pitch: Go to the Performance section, select the Tune menu, and use the sliders to pitch the sample down. This digital process closely emulates the way the SP1200 hardware degrades the sample when dropping it back down to speed, providing that crunch you're looking for. (I can assure you, the eSPi pitch function sounds "really close to the real thing" in a blind test.)
B. Sculpting The Tone Of Your Samples with Analog Filter Emulation
Most notably, the filters on the original hardware play an essential role in crafting those "murky filtered basslines" that define the classic SP-produced Hip Hop sound. The SP-1200 used analog SSM2044 filter chips (ICs), but crucially, not all channels were treated equally. Here’s the purpose of each channel:
• Channels 1 and 2 had dynamic filters.
• Channels 3 through 6 were filtered by a constant amount.
• Channels 7 and 8 were totally unfiltered.
This is a huge deal for sound design! If you wanted a raw, gritty drum sound, you intentionally assigned it to channels 7 or 8.
Filtering & Channel Assignment in an eSPi Workflow
1. Select Filter: Go to Set-up 14 (Filters). For that authentic tone, select the SSM 2044 filter emulation. Unlike the original, eSPi gives you control over frequency and resonance.
2. Manage Channels: Use Set-up 17 (Channel Assign) to strategically place your samples. Assign sounds meant to be raw and dry (like hi-hats or crispy percussion) to channel 7 or 8 to ensure they receive no digital filtering, just like the hardware legends intended.
C. Leveraging Time Stretch for Textural Degradation
The eSPi app gives you a powerful tool which the original machine didn't have: time stretching. But don't expect clean, modern DAW fidelity here; the app is designed to provide the analog grit and old school sound. Sorta like the mysterious and funky sound of Lewis Parker's instrumental project "Sniper Beats" above.
Time Stretching & Texture in an eSPi Workflow
1. Access: Find the Time Stretch function next to the Tune menu.
2. Adjust: Use the fader to make the sample longer/slower (down) or quicker/shorter (up).
3. Combine for Textures: Because the algorithm is barebones, combining the time stretch with the pitch control will generate "some pretty cool textures" and artifacts that can add unique grit to your sample, further exploiting the limitations of lo-fi digital manipulation.
D. Imprecise Chopping: The Secret to Swing
Before visual waveform editing, producers used the SP-1200's truncation feature (Set-up 19) to combine with sequencing features and "slice (or 'chop') samples". This sound chopping workflow was done entirely by ear, which introduced subtle imperfections.
Chopping Your Samples in an eSPi Workflow
1. Access the Old School Method: Ignore the visual waveform editor. Go to Set-up 19 (Truncate).
2. Use the Faders: The original method relies entirely on the coarse and fine faders (the first four sliders) to adjust the start and end points.
3. Embrace the Imprecision: Trust your ears and know that this lack of visual accuracy in the chopping process is what "gave a lot of the '90s boom bap beats some of that kind of swing" that modern, perfectly quantized music often lacks.
E. Multi-Level Mode: The Fake Delay
Need a classic '90s effect that sounds like a subtle delay or echo, but without actual delay effects? You know, the echoed horn effect you heard on records by Pete Rock, D.I.T.C., Large Pro etc? Producers back then found a way to use the Multi-level function (Set-up 12) to create that effect on the original 1200. However, you can still do the same thing today on the eSPi SP1200 emulation.
Achieving The Multi-Level Effect in an eSPi Workflow:
1. Activate: Go to Set-up 12 (Multi-level) and assign your sound (like a horn stab) to the mode.
2. Set Gain: Switch to the Mix menu and adjust the gain level of each step/pad independently.
3. The Result: Playing the pads in sequence, each at a slightly different gain level, creates the "sort of fake delay effect" that was used "a lot by producers in the 90s with like horn sounds".
III. The Double-Time Swing: Sequencing and Rhythmic Fidelity
Truthfully, the real magic of the E mu SP1200 and the key to that 90’s Hip Hop bounce it gave beats is in the sequencing. You can replicate the grit all day long, but if your rhythm doesn’t have that specific forward drag, it won’t sound authentic. If you’re asking how the legends got that undeniable groove, the answer is counterintuitive: they actively worked around the machine’s weaknesses in sequencing ability.
A. Running the Sequencer in Double Time
The E MU SP-1200’s sequencer was actually very low resolution. It operates at 24 Pulse Per Quarter Note (PPQ), which means for every quarter note, your rhythm has only 24 possible slots to fall into. That low resolution can make rhythms sound stiff or mechanical.
If you want to achieve that signature boom bap feel in the eSPi app, you have to use the classic hack developed by pioneer producers: running the sequencer in double time.
Emulating The Classic E MU SP1200 Sequencer Hack in an eSPi Workflow:
1. Set Tempo: If you want a 90 BPM groove, set the Tempo button in eSPi to 180 BPM (90 multiplied by 2).
2. Record: Record your segment as usual in Segment Mode,.
3. The Result: By running it at double time, you effectively double the resolution, giving you 48 slots per quarter note. This provides the space needed for those subtle rhythmic pushes and pulls that make the swing sound natural. This trick "affects how the swing sounds".
--------------------------------------------------------------------------------
"To achieve the authentic boom bap swing in eSPi, you must overcome the original machine's low 24 Pulse Per Quarter Note (PPQ) resolution. Producers ran the sequence in double time (e.g., 180 BPM for a 90 BPM track) to effectively double the resolution."
--------------------------------------------------------------------------------
B. Setting the Authentic Swing Factor
Once you have your segment recorded, you can refine the rhythm using the Swing function. The SP-1200 defaults to 50% swing, which is just straight quantization, but you can adjust the swing factor up to 70%,.
Refining Your Rhythm With The Swing Function in an eSPi Workflow:
1. Select Swing: Access the Swing menu.
2. Dial In the Classic Feel: For a historically accurate rhythmic feel, select 67% swing. This setting is considered the “classic” jazz swing factor, meaning the first eighth note takes up two-thirds of the quarter note, while the second eighth note takes up the remaining one-third. If that sounds too "perfect," the source suggests trying 64% instead.
3. Recording Caution: If you are recording or erasing individual hits, it's best to go out of swing mode first, and then re-enter it after you've made your alterations. This prevents timing errors and ensures the beat falls where you want it.
C. Strategic Channel Management for the Cutoff Effect
A key technique for creating tight, professional drum parts is managing how sounds interact. The SP-1200 is polyphonic with 8 voices, and if two drum sounds are assigned to the same output channel, one of the sounds will be cancelled (sometimes called "channel ripoff").
eSPi Workflow (Addressing P3 Q: Channel Management):
1. Access: Go to Set-up 17 (Channel Assign).
2. For Cutting Effects: When sequencing hi-hats or specific kicks and snares that should cut each other off (like an open hat ending immediately when a closed hat starts), assign those samples to the same channel number (e.g., channel 17),.
3. For Overlap: Assign sounds you want to play simultaneously (like a kick and a shaker) to different channels.
Expert Insight on Filters:
Understanding the original hardware's signal path is crucial here. When assigning channels, remember that the SP-1200 originally featured three different types of filtering on the outputs:
• Channels 1 and 2 received dynamic filters.
• Channels 3 through 6 were filtered by a constant amount.
• Channels 7 and 8 were totally unfiltered.
If you want raw, unfiltered percussion to retain that classic dry texture, you can strategically use channels 7 and 8 when assigning sounds in the eSPi, knowing that these were the purest outputs on the original hardware.
Note on Hardware Constraints: On the original SP-1200, you were forced to choose whether a slider adjusted the sample's tuning (pitch) or its decay (Set-up 18), but not both simultaneously. The eSPi app removes this limitation, giving you both Decay and Pitch control without compromise.
IV. Advanced Project Management and Output
You’ve mastered the sample crunch, locked in the groove using the double-time trick, and now you’ve programmed a groovy sequence. The last step in achieving your "10 Seconds to Glory" is managing your project flow and exporting your beat so that "the crunchy digitized drums" and "murky filtered basslines" are ready for final mixing. You'll be close to sounding like the head-nod Hip Hop of producers Mike Flips & Seize on "Minds Combined".
A. Sequencing Flow and Project Structure
The workflow in eSPi follows the classic SP-1200 paradigm: you build small parts first, then arrange them later. This method allows you to focus intensely on the rhythm of each individual section.
1. Segment Mode: This is your foundation. In segment mode, you create and edit individual rhythm patterns, typically a few measures long. The labels at the bottom of the buttons in the Programming Section control these segment functions. A typical beat creation process involves recording several segments, such as your intro, your chorus, and your hook.
2. Song Mode: Once you have your segments defined, you switch to song mode (using the top labels of the Programming Section buttons) to chain those segments together to create a complete track.
3. Efficiency Tools: You can use the Copy menu to copy an entire segment to another segment, or you can use the append feature to copy a segment onto itself, lengthening the loop. This is critical for building a full song structure efficiently.
B. Channel Management for the Cutoff Effect
One of the deepest technical tricks of the original hardware was managing its eight voices via its eight individual output channel jacks. This is essential for controlling polyphony and creating those tight, non-overlapping drum sounds.
1. The Cutoff Rule: If two drum sounds are assigned to the exact same channel and are played simultaneously, one of the sounds will be canceled—a phenomenon sometimes called "channel ripoff".
2. How To Get The eSPi Cutoff: To manage this in eSPi, use the Set-up 17 (Channel Assign) menu. If you want your closed hi-hat to immediately cut off your open hi-hat, assign both sounds to the same channel number. You need to assign sounds that you want to overlap (like a kick drum and a snare) to different channels.
3. Expert Mixing Insight: When choosing channels, remember the original analog filtering of the SP-1200. Originally, the SP-1200 had three different types of filtering on its outputs: channels 1 and 2 had dynamic filters, channels 3 through 6 were filtered by a constant amount, and critically, channels 7 and 8 were totally unfiltered entirely. This advanced knowledge allows you to strategically place sounds (such as placing a dry kick or hi-hat on channel 7 or 8) to ensure it remains completely raw and unfiltered, just as the legends would have done.
--------------------------------------------------------------------------------
"When mixing in eSPi, remember that the original SP-1200's signal path had channels 7 and 8 totally unfiltered. Use these channels via the Channel Assign menu (Set-up 17) for sounds you want to remain raw and dry."
--------------------------------------------------------------------------------
C. Finalizing and Exporting the Project (The eSPi Advantage)
Unlike the original hardware, which relied on the integrated disk drive for storing data, eSPi offers flexible digital export options that simplify getting your classic sounds into a modern DAW environment.
1. Saving: You can save and load your entire project via the Save Project menu (Disk 1).
2. Exporting a Pad: If you want to sample-swap with a friend or just save one perfected sound, you can export a pad. This renders the sound with all the pitch, time stretching, effects, and filters applied.
3. Recording the Beat: You can record the entire output of the app as a WAV file by selecting Record Beat (Disk 4), pressing play, and pressing stop when finished.
4. Exporting Stems: This is huge. The Export Stems feature will render your entire song or segment by separating each channel as separate stems. This allows you to import these individual audio files into your favorite DAW for final mixing, mastering, or adding external VST effects to your authentic SP-1200 drum textures.
VI. Conclusion: The Legacy of E-mu Systems and cratesofjr Authority
In conclusion, I hope you now understand that reproducing the magic of classic 90’s Hip Hop requires more than just launching the eSPi app. Actually, it demands mastering the technical workarounds that were originally forced by the hardware’s limitations. Whether you were dialing in that gritty crunchy texture via intentional drop-sample pitch-shifting or employing the double-time sequencing trick to achieve proper rhythmic resolution. Hopefully, you’ve learned the mindset of the production legends who used the SP-1200 sequencer/sampler from reading my article.
A. The Designers and the Enduring Legacy
It’s impossible to talk about the SP-1200 without giving huge props to the people behind the machine. The E-mu Systems co-founders, including Scott Wedge and Dave Rossum, were the brains behind this technology. Rossum, an electronic engineering master, led the design for the SP-1200 and was involved in creating the analog SSM2044 filter chips (ICs) that heavily contributed to the unit's distinctive timbre. Wedge and Rossum even pioneered the compromise between bandwidth and sampling time that resulted in the crucial 26.04 kHz sampling rate chosen early on, which is part of why the sound is so unique. Learn more about the SP legacy in the SP1200 book, a rare publication available here at eBay.
Even when the original SP-1200 was discontinued in 1998 due to the unavailability of aging parts like those SSM2044 filter chips, the demand for that "warm," "dirty," and "gritty" sound never stopped. Today, Rossum Electro-Music continues this legacy, even reissuing the SP-1200 with functionally identical SSI2144 filter chips. The continued enthusiasm proves that the character of the SP-1200's sound "has sustained demand... despite the availability of digital audio workstations and samplers/sequencers with superior technical specifications".
B. Final Call to Action
Fortunately, you don't need to hunt down a vintage unit or mortgage your house for the reissue to create authentic boom bap. By understanding the intentional constraints, like the low 12-bit sampling resolution and the 10 seconds of total sample time you're ready to use the eSPi app as the ultimate digital canvas. I encourage you to use the advanced techniques you've learned above: master your channel assignment via Set-up 17, strategically choose your low-pass filter emulation (SSM2044), and most importantly, use the truncate menu (Set-up 19) to embrace rhythmic imprecision for that vintage swing.
Here at cratesofjr, I aim to be your authority on translating the necessary limitations of historical gear into powerful modern production techniques. I’ve shown you how to move beyond basic operation and into the true craft of the golden age SP masters. Now go make some beats!
Posts
