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Carlos Stephens


After the Zero Limit army had increased to enormous heights and just like instantly found itself looking for reorganization by the end from the ’90s, Get good at P proceeded to dismiss the rates of his prolific production team, Beats with the Pound, with the only real exception of Carlos Stephens. Since initial collaborating with Get good at P on his 1996 Glaciers Cream Man record, and also making beats for upcoming No Limit military Kane & Abel and Skull Dugrey circa 1996, Stephens quickly discovered himself an associate from the Beats with the Pound creation squad, also including Mo B. Dick and KLC. For another couple of years, Stephens performed a major part in defining the omnipresent No Limit audio on countless albums to the stage where his once brand sound had turn into a little bit trite and common. The public started to undertake his opinion around 1999, and by the start of 2000 Expert P began searching for a new creation visual, dismissing Mo B. Dick and KLC using their rates and producing Stephens his maker of preference. On high-profile songs such as for example “Bout Dat” and “Support off Me,” Stephens maintained his focus on hard-hitting drum machine beats — especially 909-design bass kicks and shuddering, machine gun-like 808 high-hats — but started to integrate inventive synth lines relatively in the soul of Swizz Beats or Mannie New so that they can re-define the No Limit audio.

Quick Facts

Profession Disc jockey, Music Producer
Music Groups The Medicine Men

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