Very often, when discussing the greatest boom bap hip-hop producers of all time, two or three names usually enter the ring. DJ Premier, J Dilla and the subject of this producer profile: Pete Rock. So, let’s take a closer look at the man behind some of the genre’s most soulful and timeless beats.

A Brief History

Born Peter Phillips in the Bronx in 1970 and raised in nearby Mount Vernon, New York, Pete Rock grew up surrounded by music. His Jamaican father’s extensive record collection introduced him to reggae, soul and jazz. These influences would go on to define his sound. That and a chance meeting with his hero James Brown where he seemed to anoint a very young Peter Phillips with the funk. But it was his cousin, the late Heavy D, who had the biggest impact in guiding a young, eager Pete into the music industry.

As Heavy D rose to fame with Heavy D & the Boyz, he would bring a young Pete into professional studios where he would be inspired by the equipment as well as the producers and recording engineers. Heavy D also gave a very young and green Pete Rock his first real production opportunities. Pete’s early work on tracks like “Gyrlz, They Love Me” and “Don’t Curse” gave us a little glimpse into what was to come, showcasing his ear for warm samples and tight drum programming.

At the same time as these early productions, Pete was honing his craft as a DJ for his hero, Marley Marl’s In Control radio show on WBLS. This would be a formative experience that would help sharpen his skills behind the turntables and give him direct exposure to the latest sounds before they hit the streets. By 1991, Pete teamed up with longtime friend C.L. Smooth and signed to Electra Records. The release of their All Souled Out EP built anticipation ahead of their critically acclaimed debut LP Mecca and the Soul Brother, released in 1992. The standout single “They Reminisce Over You (T.R.O.Y.)” became one of hip-hop’s most enduring classics and is considered by many to be one of the greatest beats of all time. Pete and CL released another classic LP before going their separate ways.

As the ’90s unfolded, Pete Rock established himself as one of hip-hop’s premier producers, known for crafting soulful, groove-driven beats with unmatched technical skill. He worked with a wide range of artists, including East Coast legends like Nas and The Notorious B.I.G. His remix of Public Enemy’s Shut Em Down further cemented his reputation as a go-to producer for standout remixes.

And while hip hop production styles have changed dramatically over the preceding years, Pete Rock has remained consistently active. In 2024, his collaborative LP with Common, The Auditorium Vol 1, earned widespread critical acclaim, proving that there is still a healthy appetite for soulful, organic-sounding hip-hop production.

Signature Sound

When you hear a Pete Rock beat, the first thing that usually comes to mind is its extreme soulfulness and high groove levels. The self-proclaimed Soul Brother Number One seems to exude a funky musicality that is unmatched in Hip-Hop. A devoted crate digger, Pete’s sample-heavy production is both a homage to the past and a clear expression of his deep appreciation and love for great music.

More specifically, Pete’s signature sound has evolved over time, in part influenced by the equipment he used. During the 90’s Pete famously championed the classic combo of an E-mu SP1200 and Akai S950 sampler. This blueprint can be heard most vividly on his Mecca and the Soul Brother era production, which was famous for its heavy use of horn samples. These would often be used as hooks or short, echoed one shots.

But it was his drum programming that would most strongly come to define Pete Rocks’ various eras. The drums of the Mecca and the soul brother era were heavily layered, often using Mountain’s “Long Red live” break. They also featured a recurring hi-hat quantised rigidly to 8th notes that cut through his productions like a knife. He was also a fan of the filtered bassline technique using the classic S950 filters to great effect. His expert use of melodic sample layering is what truly set Pete Rock apart from his contemporaries. He would deconstruct samples using various elements from the same record as well as combine multiple different ones to create dense, cohesive soundscapes.

By the time The Main Ingredient dropped, Pete’s drum programming had shifted, relying heavily on breaks like The Brethren’s “Outside Love.” The drum sound was less dense, allowing his diverse sample material to breathe and connect more naturally. With the release of his solo masterpiece Soul Survivor in 1998, Pete had fully honed his craft and he has stuck more or less to this formula ever since. His drum hits now carried a subtle, bit-crushed metallic edge. Punchy and resonant, they cut through the mix perfectly, giving his productions an instantly recognisable identity. Difficult to describe, these drum sounds have been sampled and emulated ever since and while Dilla has the monopoly on influential rhythmic swings, Pete’s distinctive resonating drum sound can be heard in countless productions, most notably in the production of 9th Wonder.

As well as influential and distinctive drums, by the time Soul Surviver dropped, Pete was hard to touch when it came to intricate sample chopping and manipulation. It was as though Pete Rock and DJ Premier were on a mission to outdo each other, inspiring each other to get ever more creative. Where Pete has always had the edge, however, is the bassline. Early on, he filtered epic sampled basslines; later, he began programming and even playing his own live electric basslines. These melodic lines tied his compositions together, creating arrangements that were harmonically and rhythmically cohesive.

And while Pete Rock has stuck rigidly to his signature sound and the boom bap rule book over the years, he has also embraced technical developments. Now an advocate for the new wave of MPC samplers such as the Renaissance, he has been heard utilising the vast potential of stem separation. On his latest collaboration project with Common, for instance, you can hear samples that have had the vocals removed, such as on the Curtis Mayfield “Only Just Begun“ sample used on the track “We’re on our way”.

One thing that you can be assured of with Pete Rock is that he will never compromise his style. His style very much comes from the soul and as such has a genuinely authentic quality. And while he might not have the distinctive signature sound of a Primo or Dilla, you can usually sense his musical fingerprints rooted in his production.

Equipment List

And while Pete Rock has remained vocal about some of his gear choices, let’s take a more detailed look at some of the equipment that’s helped shape his classic sound.

DAWs (Digital Audio Workstations)

• Pro Tools
  Pete Rock has gone down on record as saying he only composes using hardware, but he has been credited as using Protools for recording and mixing.

Drum Machines & Samplers

• E-mu SP-1200
  Known for its gritty sound, Pete Rock is to the SP what Dilla is to the Akai MPC 3000.
• Akai S950
  This 12 bit rack mount sampler would be triggered by the SP1200, making up what many people consider THE classic Boom Bap sampler combo.
• Akai MPC 2000xl
  Pete is thought to have made the jump to the MPC 2000xl sometime around the late 90’s, early 2000’s.
• Akai MPC Renaissance
  With its faster workflow and improved features, this became Pete Rock’s weapon of choice during the 2010’s
• Akai Professional MPC X
  Pete announced he had just bought an MPC X in 2019 despite still claiming to mainly be using his MPC 2000XL

Keyboards & Synths

• Fender rhodes
  Seen in pictures of his famous Basement studio, it’s unsure how much his Rhodes actually got used in his production.
• Korg MicroKorg
  It has been documented that Pete owns and likes this small analogue modelled synth.

Mixing & Outboard Gear

• Rane MM8Z Mojo Mixer
  This compact mixer can be seen in a video, hooked up to his MPC2000XL
• Akai MG 614 Mixer / 4 Track Recorder
  Cassette 4 track seen on the back of the main ingredient LP. Most probably used for making early demos
• Focusrite Platinum Voicemaster Pro
  Voicechannel seen in a video of Pete Rocks home studio set up

Musical Legacy

When tracing the architects of ’90s hip-hop, the era that defined innovative sampling and gave rise to the boom bap sound, it’s impossible to overlook Pete Rock as one of its true innovators. Alongside fellow pioneers like DJ Premier, Diamond D, Large Professor, and RZA, he demonstrated what could be achieved through the artful selection and combination of samples. His diverse and often unconventional sample choices inspired a generation of producers to dig deeper, proving that you shouldn’t judge a record by its cover alone but by the content of the grooves.

Always pushing the boundaries of musicality within hip-hop, his productions balance rich harmonic layers with an authentic hard-hitting hip-hop beat aesthetic. Refusing to settle for looping a single sample over basic drums, he perfected advanced sample chopping techniques and multi-layering of both melodic and drum elements. These methods have since become blueprints for future producers, and his work remains the benchmark for soulful underground boom bap production. Pete’s influence also extended to the gear producers still swear by and covet today. The enduring demand for E-mu SP-1200s, often paired with Akai S950 samplers, speaks to how deeply his sound defined an era and how modern beatmakers continue to chase that unmistakable ’90s warmth.

Another thing we haven’t mentioned yet is his tendency to also step to the mic and rap over his productions as well as provide his very unique brand of vocal ad lib. Pete Rocks’ funky delivery and distinctive voice helped establish him as one of the top producer-rappers in the game.

So Pete’s legacy is assured with one of the most enviable production and remix catalogues in hip-hop. His name is synonymous with authenticity, creativity, and soul, and when it comes to the Mount Rushmore of boom bap producers, Pete Rock’s place is guaranteed.

Top 5 Productions

Shut em Down (Pete Rock Remix) – Public Enemy (1991)

They Reminice over You (T.R.O.Y) – Pete Rock & CL Smooth (1992)

The World is Yours – Nas (1994)

Half Man Half Amazing – Pete Rock feat Method Man (1998)

All I Know – Rahzel (1999)

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