What equipment did you start with?
When I was 17 I got my first Roland sampler, but it didn't sequence so I was punching samples in live... it was a mess, but I thought I was doing something hot! Then my partners and I copped an MPC and it was on!

How did your first beats sound?
There were no holds barred! No rules! As far as creativity, they were cool, but technically they were awful! It was a learning experience and the beginning of all the crazy shit I'm making now...WICZ!

How did you improve?
Through dedication, sacrifice, and a constant search for the next level. I love to grow, and I know growing pains hurt, but after it's all over, you are where you want to be.Whatever aspect of production that I needed improvement on I focused on it until I had it down to a science—and that still happens everyday. There is always room for growth.

What equipment do you use now?
Protools HD, MPC 2000xl, Motif ES, Roland 5080, Virus Indigo. Live instruments (guitar, bass and percussion). I work with the illest instrumentalist out there; my man Con.

When you sample, what type of sample do you look for?
Whatever catches my ear. I never really try to find something that sounds like this or that, it's just a feel—whatever feels hot to me. It's got to make me say "oh shit!".

What's the first thing you do when you make a beat?
I do something different every single time I approach a track. Sometimes I start with a sample, sometimes it's drums, guitar, keys, etc. It's whatever I'm feeling at that moment. I feed off of emotion, so whatever mood I'm in will determine what my next track will sound like.

How do you make sure the drums fit the beat?
By taking my time to make sure the drums pop. Drums are the most important element of hip-hop, so it's got to be right. I like to stack drums—three kicks, four snares or claps, whatever to make it sound right, as long as the drums are in tune with each other. Sometimes the feel might need just one kick and one snare to keep it light. It's all how it feels.

How do you make sure you bring the most out of a sample?
If I find a hot sample I usually analyze the entire song at least 2 or 3 times to see what that song has to offer. Then I get it in the MPC or Protools and go to work. I'm really good at mixing. I mix most of my own shit so I know how to make elements stand out from one another without making it muddy and also knowing how to maximize the sample.

How do you know when a beat is finished?
When it is mixed, mastered and pressed on a cd. I can always add or subtract from a beat, especially once vocals are on the track. I have done songs where the beat sounded great alone, but once the vocals are on it, the track got muddy and bunched up, so I took out an element or two and it sounded great. Sometimes less is more.

You're working with Rakim, what's that like?
First of all, I have so much respect for Ra, he's not only a legend and an icon, but he's personally one of my favorite artists of all time, so it's crazy. I have dealt with a lot of industry cats, but Rakim's truly one of the most humble individuals in the game, he definitely has class. He's timeless.
I don't know anyone who knows Hip Hop that doesn't consider Rakim one of the best, it must have felt great the first time you heard him over your beat...

How does Rakim sound now?
He's the God...he'll always sound great!

Have you heard any of his Dre material?
Just the "When You Die" joint, that shit is crazy!

You've also worked with LL, what was that like?
That was truly an amazing experience. I was really young and inexperienced and the song was suppose to be on the Rush Hour 2 soundtrack, but it got pulled because of political, industry bullshit (the A&R fucked it up). But the opportunity was great and LL told me that I have what it takes and not to give up. It was inspiring because I grew up listening to his music and had mad respect for him.

What's he like in the studio?
He's one with the music, he knows exactly what the track needs and how it should go. What can I say? He's a legend.

What about Joe Budden...what are you doing with him?
I just did a song called "Still My Hood" for his new release that is scheduled to drop in the summer. The track is bangin'! That feel-good summertime shit. I really like working with Joe, he has a lot to say and he has his own style—you gotta respect that! I hope Def Jam pushes his album hard cause it's hot as fuck!

Are you worried that working with him could prevent you from working with G-Unit?
Not at all. First off, I'm not sure if there's still animosity between the two, and secondly Scott Storch was laying tracks for G-Unit and Dre and then did "Clap Back" for Ja at the same time. This is a business above everything else. Eventually everyone's gonna want to cop tracks from WICZ (cuz I got that shit!).

What's up with Kid Capri now?
Kid is doing his thing right now, he's got his sneaker (KC Steppa/Diadora) and his new label, No Kid'n Records. His first artist is Natalie, an R&B singer. She's dope for real. She's one of those artists that'll be around for a while because of her vocal range and lyrical content.

What made you want to work with his R&B artist?
Working with Kid in general is an incredible experience, especially coming from a DJ background. Everyone knows he's one of the greatest DJ's ever. Plus, I already do R&B and like I said, his artist is dope so it ain't nothin' for us to put something great together.

How was it working with Shells?
That was first taste of how nasty this business is. Me and my man Jay produced like 40 tracks for Shells, basically developed him into an artist and not just a battle rapper. Some major labels scouted him, J Records signed him and he just bounced on us. He basically got signed off of the music we made for him and we didn't even get one track on the album! But it's cool, it was a learning experience and now I got my partner/lawyer Chris Corabi to watch my back so that shit doesn't go down again. It's all good though— we were hungry, he was young and he just wanted a platinum chain (same old shit).

What about Ali Vegas?
Ali's got a lot of skills, he reminds me of a young Nas. We did this song called "Come and Get Me", but a few months after we recorded it, Kanye used the same sample on Twista's album, so Casablanca didn't want to use it. I don't know what happened to his project, but he's definitely nice.

Who is the nicest MC coming out in your opinion right now?
As far as new artists, I would have to say Saigon, and Game's album was bananas! Established artists I am waiting to hear Kanye's new shit, Common. Ludacris is crazy! I need to get on his new album—Chaka, hit the kid up! Plus cats gotta check for MARVO.

What young artists do you think have potential?
This new dude from VA his name is Treie, he's gonna take the world by storm! My man Godwon from Houston. I also like Cory Gunz and Maino.

What artists would you give free beats to?
Jay-Z, Mick Jagger, Janet Jackson and Jack White.

What do you think about the production game now?
The game is pretty crazy right now. It's competitive so a lot of the shit out there is monotonous—but it's always changing. I know in the immediate future, shit's gonna be more musical. As buying music song-by-song online increases, artists are gonna be forced to put out better, more creative music (or they're just not gonna get paid as much as before). The game needs WICZ!

There's a lot of stories out there about artists stealing beats, labels stealing beats…how do you make sure you don't get played?
Basically keeping on my toes, and copywriting my tracks, and having a great lawyer and manager to watch my back.

What producers do you respect in the game?
Definitely Dr.Dre and Timbaland, they always know how to reinvent themselves. I like the Neptunes, Rick Rubin, Kanye, and Just Blaze. Oh, did I mention WICZ?!

What's the best part about being WICZ?
Besides being one of the coolest dudes I know? I would say my passion. I have endured a tremendous amount of loss and tragedy in my life, so in turn, that fuels the passion that I put into my music—and life in general. I'm not going to stop until I am considered one of the greatest ever. I am coming into the game producing three different genres (Hip-Hop, R&B, and Rock). Some producers come into the game and get comfortable. I don't wanna be that dude. I want to constantly grow, just keep learning.

What's in the works for you?
My group Uninvited Guests. It's me and my man Rock Noxious. It's crazy, we call it Street Rock, there nothing out there that sounds like it. I captures the essence of New York City in '80s when hip-hop and punk stood for the same thing...definitely the next big thing in music, trust. We're putting the finishing touches on the album now and are about to start performing with Headrush— my man Con's group. I got deals in the works with a couple of multi-platinum artists, but they're are not closed yet so I won't drop names. Also, I'm working on tracks with Chinky, she's with Nokio and Sisqo, Hollis "Treie" Mason from VA and Tina Brown, they're with Hipnotic Entertainment, I got tracks with KING from Upstate, New York (ILL-ANT Ent.), MARVO (High Society/Scram Jones), Godwon from Houston, Imani Walker from South Central, LA. Also, I got movie and television things happening—scoring, soundtracks, etc..

How can MC's get beats off you?
They can hit up my manager John Malozzi at 347.495.1235 or jmny@tmo.blackberry.net

Shout Outs: ILL-ANT Entertainment, Uninvited Guests, Rock, John Malozzi, Chris Corabi, KING, MARVO, Jacqie Perry and Brillians, Erskin Isaac, Hipnotic, Randy Acker, Kid Capri, Joe Budden, Skane, Rakim, Con (Headrush), Sai (SONY), Imani RIG Ent., Chaoz, Iz, my Moms and Pops (my guardian angels), hiphopgame.com and all those haters that made me into the beast I am now...buckle up, I'm WICZ Bitch!

By Brian Kayser