good, just working. I'm actually working on a beat right now as we speak.
you want to introduce yourself to the HipHopGame audience?
I'm an up-and-coming
producer. I have a lot of heat and I'm very versatile. I want to be one
of those producers that everybody checks for and I want a slot on everybody's
your work with AZ coming?
on a new album. I know it should be out this year. We've done two joints.
We've done a joint featuring Little Brother that came out hot. I don't
know when he's planning on dropping anything, but the music is solid.
AZ in the studio?
I grew up
listening to him. It's a pleasure to work with AZ. It's fun. It's real
exciting. He cracks a lot of jokes and its fun. It's a learning experience.
your work with Craig Mack coming?
good. I met him through a mutual friend. He's got his Mack World Entertainment
that he's dropping on. We've got a couple of records done and they're
also worked with Jean Grae, how was that experience?
She was the
first artist that I ever worked with in the industry. She took a chance
on me. We did two records for "This Week." I appreciate her
putting me on. We're actually working on a new record for her new album.
It's sounding real hot. We'll see what happens.
it about Termanology that's made you want work with him?
him. He's like a brother to me. We're both from the same area in Massachusetts.
We're trying to put Mass on. As a producer, I don't speak, so no one knows
where I'm from. Term is representing that 617. He's on his grind and I'm
trying to take it to the top with him. The movement's there.
Saigon's "Breathe Thru The Years" come about?
was working with him. I came through Baseline [Studios] and we laid down
about three joints. It's one of the best songs I've ever done. I wish
it could have went further than the mixtape, but it's hard with the sample
clearances. I'm trying to do something for his album.
disappointed that Whoo Kid didn't play his third verse on the mixtape?
Saigon had wanted the third verse on it, but he said the third verse didn't
really fit the first two. I thought the track was hot with the two verses.
Whoo Kid shouted out Kanye West on the hook and a lot of people might
have thought it was Kanye West did that beat. I'm trying to let everyone
know that I did that joint.
you start taking producing seriously?
In 2003 when
me and my manager Zack Einhorn got together. He's from New York but he
was living in Boston at the time. We sat down to figure out our direction
and where we wanted to go. We formed Dice Management and a year after
that we met Jean Grae. I realized that I have to do this for a living,
not as a hobby.
the hardest part about getting that first big track done?
It was hard
coming from Boston. I would go to New York and try to network for two
or three days. That definitely wasn't enough. I was real tired of catching
the boat back to Boston. The reality wasn't kicking in how tough and how
much work this industry takes. I had to stop everything I was doing and
do it full-time. I decided to move to New York and run with it. I definitely
needed a couple of years to realize the drive I needed. That didn't develop
being in New York help you?
the middle of everything. I worked at Bad Boy for a little bit, and it's
easy to network. Other places, you can't network. You can't chill at labels
if you don't live in New York. It's networking central out here. New York
City is where it's at. I'm trying to be living proof. I'm climbing these
stairs and it's happening.
find more people trying to work with you once they see your resume?
When I first started off with Jean Grae, it was a real slow process of
people trying to get at me. Once I did Jean Grae and then Saigon, people
started listening to me more. Then once I got Talib Kweli and AZ, then
Prospect, that's what made people open their eyes more.
are you using right now?
I got the
MPC and Triton setup with Pro Tools in my computer. I've been using Acid
a lot. It's easier to do a lot of drops and to remix records on there.
I've been on the computer hard lately.
do computers offer?
to chop up and load in a sample. The MPC is limited like that, plus you
don't see the sample. On a computer, you can deal with the wave's and
chop up what you want. The MPC is a different vibe. You're banging on
it. I have good rhythm where people can't tell what I'm doing. You can
be more stiff on a computer and you sound more live and natural on the
MPC. I think I've found a way to compliment both. A computer is faster,
though. MPC's are definitely more time consuming.
do you see the technology going?
is going towards the computer. 15 years ago, they didn't even have computers
to record vocals. It was all on tapes and DAT's. A lot of up-and-coming
producers are using Reason and software to make beats. 9th Wonder uses
Fruity Loops. I think that in the next five or ten years, we may be on
straight computers. Everything is going to be all computers. It's easier
and faster, and it's the universal language.
a lot more competition now than when you started?
a lot more competition. The last five years, it became the main thing
to be a producer. Everybody's a producer now. I don't know if it has to
do with programs, but I think that for the younger generation that's doing
it, they're all using Cubase and Reason. Computers are taught in school.
You don't have to know anything about hardware. It's easy. Kids aren't
taking it as seriously because they see how easy it is. There's definitely
a lot more competition. I don't mind it. It gives every individual a stronger
drive. It should make you hungrier. It should make every individual go
a J-Cardim beat made?
If I have
a hot sample, I'll cut up the parts that I want to take and I'll load
them into Acid. I'll start my drums first, from the hi-hats and snares
to the kicks. I'll put the sample in and play with it. I'll chop it up
even more after the sample is laid. I'll make the drums swing if I have
to and sometimes I'll change the drum sounds depending on the vibe that
I get. After I get an 8-bar loop, I'll add the bassline and start adding
build-ups and a hook. I try to change it up. I try not to make it a straight
loop. It'll take me about 15 minutes to do the simple things. I'll always
do an 8-bar intro, 16-bar verses, and 8-bar hooks. Then I'll start detailing
the beat. If a rapper wants a 20-bar verse, I'll change it up.
coming up for you?
is going to stay working. There's a couple of other producers we're trying
to bring up. I have a squad in Boston, Certified G'z. That's Zay da Young
Don and Chief C. There's also G-Eyez. Hopefully by the summertime their
albums will be coming out. That's one of the main projects that I'm working
on right now. I want to get them popping. I'm also trying to get some
work done with Rhymefest and Saigon, plus the AZ and Craig Mack projects.
you want to say to everyone?
looking for beats, get at me. I got beats for days. I'm willing to work
with any artist. I'm trying to be nice and do it. I'm trying to be on
everybody's project. I'm trying to make J-Cardim a household name. Be
on the lookout.
and be sure to visit www.respectandpower.net