Thick: What equipment do you fuck with?
DJ Quik: We fuckin' with MPC 4000s, MPC 3000s, classic forever, we got a 2500 but didn't really like it, seemed too much like a toy, Roland Groovebox MC-909 blown out with some extra SRX cards, lovin' that piece. Software, Arturia stuff like the ARP 2600 Virtual, all the Native Instruments stuff like the whole bundle, Battery, Absynth, and Kontakt, and Kontakt 2, that shit is hot, GigaStudio, 'cause we use those big ol' crazy strings. Recording to ProTools, Logic, Tascam MX2424 hard drives and shit...(someone stops Quik in the street), what's up my dude? It's a lot of fun right now. Real big old microphones with pre-amps like Telefunken M-16s, Ela 251s, Neumann U 87s, Sony C800Gs, Universal Audio stuff, just the old classic stuff. Bunch of Apex stuff. And any console you can think of, I pretty much mastered every recording console in the book...outside of the ProTools ICON, which is not even a sound it's just a big controller. On the geeky side, that's what we're doin'.
T: That makes me think of when Fortress DVD was pumping out Hip-Hop DVDs and everybody's were like tour DVD but your's was a production DVD.
Q: You mean Visualism? It kinda just happened like that. I decided to go ahead a let a camera follow me. I was having fun. The fucked up thing was it would have been a lot better to me had I not had some of the tragedies and shit that happened where my people were getting killed. I lost two really important people at the turn of the millenium and it kinda dumbed me down and faded me out for a minute. I really couldn't even get my feet on the ground, it was like quicksand...when you lose your real peoples, you know? It was just hard to bounce back from that. That some shit that can cripple you if you don't stay spiritually strong.
T: Penthouse Players Clique, take me back there.
Q: You wanna go back? 1987, that's when partylines was crackin', 976-7070 (singing the jingle) and all this shit. The 976 numbers. My sister met this dude named Cap'n Crunch 20/20 on one of them sexy lines, he was mackin' her up and they got to talkin'. So, he got her number personally and started callin' her. Now, in hindsight, that was like the first Myspace but you pay a dollar a minute. So, they hollerin', she tells him about me, he's like, I'd like to meet him. Said he rapped. I was making beats back in the day. I was a seventeen year-old motivated to do sumthin'. I hollered at Cap'n Crunch, and he was like, man, I rap. I listened to his voice and I'm like, damn dude you got a cool voice, let's put it to this beat here. So, I recorded a song for, did a beat for him, took it back to him and he was blown away. He in turn was friends with this dude Playa Hamm, who was the leader of Penthouse, and they was listening to my shit. And I was listening to them dudes. Back then Playa Hamm kind of had that Slick Rick kinda proper English rappin', but I liked it. Plus, he was generally a good dude, he was a good spirit. So, I'm like, I can fuck with yall. I ain't doing nothing but peddlin' lil' mixtapes in the hood. So, we get together and start recording, and people start hearing some of our recordings and taking us seriously. So, that was the first group I joined. We started clickin', trying to meet the legends of LA rap at that point, LA Dream Team, Rodney-O & Joe Cooley, and stuff. We found ourselves up at Ricola, with World Class Wreckin' Cru, fuckin' with Egyptian Lover. Tried to sign with Rudy Pardi?man, didn't work. So, we just kept workin'. We kept livin' and before we realised it we was partying because we were attractive, not like cute or no shit, but people were attracted to us. They just wanted to flock to us to see what the hell we doin'. So, we started throwing parties. Just the homeboys, then they invitin' people, more people comin'. We started parties and recording them, and writing about the parties we were having. I'm eighteen years-old now and I'm living with Hamm. I moved outta Compton, moved to LA, started working with Hamm and ?, Cap'n Crunch changed his name. That was the core of the group. There was a bunch of people around us, people we were producing on the outside, havin' fun with. Ultimately, around 1989 or 1990 people started taking me seriously as a producer. I met this guy Greg Jesse and started recording seriously. Got a bite from like Profile and Select who saw we was having a new lil' movement just right outside NWA for LA at that point. So, I went on to sign as a solo artist at Profile and help get Penthouse signed to Ruthless Records. And that's kinda it.