man. I got school work, music work, things are busy. I just got to New
York, its crazy right now.
give the people some background on yourself
out as a turntablist. I battled throughout Boston and New York. I started
making my own scratch-based music. That got me into recording and production.
I stopped the whole battling thing because it was too much work because
you spend so much time focusing for a six-minute routine. I got focused
on beats and started sending out beat CD's my freshman year of high school.
I got tracks done with Main Flow and Chino XL. From there, I've just been
grinding my ass off. I got a manager recently. I got hired as Krumbsnatcha's
DJ, that's been a good look. I got five tracks on his last album. Now
I'm in New York and I'm doing production with Ill Will Fulton for Full
Clip, which used to be known as Fast Life.
it like working with Ill Will?
cool. He reminds me a lot of myself. We have the same ear for music. He
discovered Ja Rule and Irv Gotti, he was there for the whole Camp Lo album,
he did a bunch of shit with Cormega
he's just a real good influence.
It's fun as shit. Either I'll bring in something to work on or he will,
and we already have a couple joints that AZ took, one with Cormega, we
played some shit for M.O.P
it like working with Cormega?
I was in
the studio with him once. He brought in a sample that he wanted us to
flip. We flipped it in less that 20 minutes, and he came in and killed
it. I'm not sure what it's for. AZ's took a couple of my beats so far,
I'm a big fan of him. I know they're working on an AZ mixtape now and
then another album. I also got to meet Lil' Fame
Disco D comes through.
I've gotten to get a lot of connections already.
with Lil' Fame in the studio?
He came through
during our AZ session. He was vibing out to the track AZ was doing. He
had an MPC, and I gave him some samples. He flipped three beats that night.
I sat there and listened, he'd ask my opinion every once-in-a-while. It
was dope just to sit down and watch him work. And in the other room was
it was a pretty surreal night.
you start working with J.R. Writer?
I got connected
through Spliff, he's an assistant A&R for the Diplomats. That "Mesmerized"
track really blew up, it got on a lot of big mixtapes. We just did the
remix with CL Smooth and Scales from Nappy Roots. I just sent J.R. another
beat CD, and he recorded another song and he said he has some more coming.
I have a lot of shit that fits the Diplomats well.
Krumbsnatcha up to now?
he's doing his own thing. His new album is going to be executive-produced
by Premier. He's still in Lawrence, Mass doing his thing. He's going to
be coming to New York soon. He comes by every once-in-a-while because
he records at Primo's studio. I'm still DJ'ing for him too, so once the
album is done, we'll be going on tour. He really looks out for me. He
really stuck his neck out there for me in the beginning.
is it to break in at first and get people to take you seriously?
especially when I started off. I grew up in New Hampshire, and people
didn't want to take me seriously. All it takes is for a few people to
get on your beats and you can always reference back to them. It's crazy
now when we're in the studio and someone goes "that beat is crazy,
who made this" and it's a little white 18-year-old sitting in the
corner. I still get weird looks, but slowly I'm getting more and more
respect. It's not easy though.
any experience that sticks out in your mind when you really started believing
that you could make it?
When I got
my manager, Dan Green. He manages Termanology and MoSS. He's a big dude
in the industry. He sells a lot of beats in the industry. When he came
to me, I was like "that's what's up." Now we have two minds
working as one. That's when I started taking it more seriously. In Boston,
I had already worked with everyone there within six months of moving there.
Since being in New York, I've already been in the studio with AZ, Cormega,
and CL Smooth. You just have to keep up the good work, I'm trying.
did you start off on with the beats?
I used to
make shit with a little drum machine and an external sampler and recorded
on a tape deck, multi-tracking and playing the drums live. Then I got
an MPC, but I didn't really like that. I'm a visual person, so I got Acid
and Fruity Loops. I just stepped up to ProTools, that makes it crazy.
I want to get an MPC back now because I love banging drums out and I haven't
been able to do that. It's nice to go to the studio I make beats at because
they have everything and you can do whatever.
you progressed as a producer?
I started doing shit, I was really closed-minded when it came to doing
music. I was all about the underground and on some "fuck the mainstream"
type shit. Now, it's about being versatile. You may get hate for doing
a pop joint and then a grimy joint, but I really don't care. I'm trying
to make a career out of this. I really want to push myself to the limit
instead of being closed-minded like before.
you rely on for your beats?
I'm relying on samples because that's the shit that really enthuses me
and makes me want to flip shit. Will's a genius when it comes to playing
original shit. I don't have any training for that, but I've gotten to
the point where I can switch it up from just looping an 8-bar sample to
playing over a sample and making it original by the end where the sample
is gone. I've gotten a lot more versatile, but I still base everything
is it for a producer to have DJ'ing skills?
I think it
helps for a sense of rhythm. I got an ear for things being on-beat and
things matching up. I think it helps, but I don't think it's a necessity.
I just got lucky starting off on that shit. At first, that's all I wanted
to do, just be like the Invisibl Scratch Piklz. But then I realized that
I could do more with my ear. It's real handy. Now I can scratch hooks
and all that. It helps out a lot.
make sure you stay fresh and keep improving?
Will has really helped me. Him and Dan are real strict on things, they
don't just feel anything. I bring shit to them and they're honest with
me. That really helps. When I was sitting in New Hampshire and Boston,
all people would say is "I'm not feeling that." Will will tell
me to make the drums more banging or something. With them, they're trying
to be beneficial to me and help me out. If I send a beat to some random
producer online for feedback, they may just be being competitive and trying
to talk shit, they may not be trying to help me, you never know. I'm just
always trying to make my shit cleaner and more appealing to everyone.
do you draw the line between giving out beats for free and charging?
depends. With the Diplomats, every time they drop they sell 20,000 copies.
I got a lot of beats that they feel, and they have so many producers working
for them, so when I get one on with them, I don't give a fuck about getting
paid. It's a good look. With "Mesmerized," I didn't even think
about getting paid. When it comes to working with Will, he's a professional,
so he's about getting the money. I'm still about building my discography
up. It's not even my first priority right now. I'm still a college student.
your goals right now?
I just want to get my name out. I'm doing a bunch of mixtapes. I'm hosting
a lot of unsigned dudes. I don't have to do much for that and I get my
name on the front of the CD. I'm trying to get on some official releases.
My long-term goal is to do something like the Alchemist and get a compilation
out with all my beats. I want to do that on a major label. I can also
perform. A lot of producers can't perform on stage with the turntables.
I just want to be the full package and make a name for it.
coming up for you?
hosted by Statik Selektah, it's called "For the Customers."
I got crazy people on there. I'm going to have the J.R. Writer joint on
there, C.Rayz Walz
I have to get up with him, he liked a lot of my
beats. I got Big Noyd and Prodigy, Esoteric, Termanology, AZ, Zion I
used to listen to a lot of that underground shit and I'm just trying to
mix it with everything. It'll work because it's all my production so it
will all have my style on it.
you want to say to everyone out there reading this?
making beats, don't worry about getting them out there. I really worried
about getting my shit out there in the beginning, but you really just
have to worry about making the beats hot. If they're hot, people are going
to want them. Don't rush it. And I want people to buy my mixtape when
it comes out!