HipHop Prod. / Engineer

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: A project I’m especially proud of is PHIZZIA. It stands out because the majority of it was performed live — no heavy quantizing, no over‑editing, just pure, human groove. I wanted the music to feel alive, so every swing, every imperfection, and every moment of spontaneity is part of the final sound. My role was everything: producer, performer, engineer, and visual creator. What makes the project even more meaningful is that I created custom visuals for each beat. The idea was to let people actually see the moment each track was born — the textures, the energy, the atmosphere behind the music. PHIZZIA isn’t just a beat tape; it’s a snapshot of real-time creativity, captured both sonically and visually.

Q: What are you working on at the moment?

A: Right now, I’m working on my beat tape and art show “MERCY.EXE,” a visual hip‑hop project that blends music, storytelling, and historical imagery. The concept is inspired by African American soldiers from the 1800s — their resilience, their untold stories, and the emotional weight of that era. I’m using hardware‑driven production, atmospheric textures, and original compositions to build a sound that feels both modern and rooted in history. The goal is to create an experience where the visuals and the music speak to each other, forming a narrative that honors the past while pushing the culture forward.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: Right now, I don’t personally know anyone on SoundBetter well enough to recommend them yet. I’m still new to the platform, and I’m here to build my network from the ground up — connecting with artists, producers, engineers, and other creatives who take their craft seriously. As I collaborate with more people and get a better feel for the community, I’ll definitely be able to point clients toward other trusted professionals whose work I believe in. For now, I’m focused on establishing real relationships, delivering high‑quality work, and finding the right long‑term collaborators.

Q: Analog or digital and why?

A: I’d say both, without hesitation. Analog and digital each bring something different to the table, and my workflow depends on blending the strengths of both worlds. Analog gear gives me warmth, character, and that natural imperfection that makes music feel alive. Digital tools give me precision, flexibility, and the ability to move quickly when I need to refine or finalize a mix. Using both lets me shape a sound that’s textured and emotional, but still clean and professional. It’s not about choosing sides — it’s about using whatever tools help the music hit the way it’s supposed to.

Q: What's your 'promise' to your clients?

A: My promise to my clients is simple: I’ll treat your music with the same level of care, intention, and detail that I put into my own. When you work with me, you’re not just getting a beat or a mix — you’re getting a fully committed partner who’s focused on bringing out the best version of your sound. I promise clear communication, a professional workflow, and a final product that feels cohesive, textured, and true to your vision. My goal is always to elevate your ideas, respect your artistic identity, and deliver work that stands up in any environment, from headphones to major platforms.

Q: What do you like most about your job?

A: What I like most about my job is the moment when an idea turns into a world. There’s something powerful about starting with a simple groove or chord progression and watching it grow into a full atmosphere that an artist can step into. I love shaping that space — the texture, the mood, the movement — and seeing how it brings out a different side of someone’s voice or creativity. I also enjoy the balance between technical precision and pure instinct. Engineering lets me dial in the details, while producing lets me follow the feeling. When those two sides line up, and the artist hears the final result and connects with it, that’s the part that makes all the hours worth it.

Q: What questions do customers most commonly ask you? What's your answer?

A: The questions I get most often are about my process, my sound, and how the workflow will go. A lot of clients ask how I build my beats, and I explain that I usually start with a drum groove, then build a piano progression, add atmospheric layers, and shape everything through hardware so the track feels warm and textured. Another common question is how long a project takes. My answer is that it depends on the scope, but I always move efficiently and keep communication clear so the client knows exactly where things stand. People also ask whether I can match a certain vibe or artist reference, and I tell them yes — as long as they can describe the mood they’re after, I can translate that into a cohesive sound that still carries my signature style.

Q: What's the biggest misconception about what you do?

A: One of the biggest misconceptions about what I do is that producers just “add a beat” or engineers just “clean up the vocals.” In reality, my job is far deeper and far more involved. I’m shaping the entire sonic environment around an artist — the mood, the texture, the groove, the space, and the emotional tone of the record. Every decision, from the drum pocket to the chord voicing to the atmospheric layers, is intentional and crafted to support the artist’s voice. Another misconception is that hardware‑based production is slow or limiting. For me, it’s the opposite. Working on machines like the MPC, SP‑404, and MC‑101 gives my music a character and authenticity you can’t fake with presets. It’s not about convenience — it’s about creating a sound that feels alive.

Q: What questions do you ask prospective clients?

A: When I talk to a new client, I like to understand their vision before anything else. I usually ask what kind of mood or feeling they want the music to carry, and which artists or songs inspire the direction they’re aiming for. I also ask about their workflow—how they record, how prepared their vocals or ideas are, and what stage their project is in. From there, I dig into specifics like tempo preferences, whether they want something more sample‑styled or more modern, and if they’re open to blending hip‑hop with house‑influenced drums. Finally, I ask about deadlines, revision expectations, and how they plan to use the final product so I can deliver exactly what they need with no surprises.

Q: What advice do you have for a customer looking to hire a provider like you?

A: When you’re looking to hire a provider like me, the biggest thing is to know what kind of sound and workflow you actually want. If you’re drawn to textured, hardware‑driven production, warm chords, gritty drums, and a cohesive atmosphere, then you’ll get the best results by choosing someone who truly works in that lane—not someone trying to imitate it with presets or shortcuts. Be clear about your vision, your influences, and the feeling you want the music to carry. A good producer can translate your ideas, but the more honest and specific you are, the stronger the final product will be. It also helps to trust the process. When you hire someone with a defined style, you’re not just paying for technical skill—you’re paying for taste, experience, and the ability to shape a world around your voice. Let the producer bring their strengths to the table, and the collaboration becomes much more powerful.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: If I were on a desert island and could only take five pieces of gear, I’d bring the tools that let me create full records from start to finish. I’d take my MPC Key 37 because it’s the center of my workflow and lets me compose, sequence, and arrange complete ideas. I’d bring the SP‑404MKII for its texture, grit, and resampling capabilities, which give my music that lived‑in character. I’d take the Roland MC‑101 for its portability and its ability to add synth layers and house‑style drums whenever I want to shift the groove. I’d bring the Tascam Model 12 so I could still mix with an analog feel and have a reliable front end for anything I record. And finally, I’d take a solid pair of headphones, because on a desert island, that’s the only monitoring setup that makes sense.

Q: What was your career path? How long have you been doing this?

A: My career path started in audio engineering, where I learned the fundamentals of sound, signal flow, and how to shape a mix with intention. That foundation naturally led me into full‑time music production, and I’ve been mixing and producing for over 10 years. Working across hardware, vocals, and original compositions has allowed me to develop a sound that’s both technical and creative, blending engineering precision with a producer’s instinct. Over the years, I’ve built a workflow that’s fast, reliable, and rooted in experience, giving every project the same level of detail and professionalism.

Q: How would you describe your style?

A: My style is a blend of sample‑styled hip‑hop and atmospheric, jazz‑influenced sound design, built entirely through hardware so everything feels warm, textured, and intentionally imperfect. I lean toward moody piano progressions, gritty drum grooves, dark harmonic movement, and layered guitar, creating beats that feel like they were pulled from a rare vinyl record even though they’re fully original. I also bring in house‑influenced drum patterns at times—often crafted on the MC‑101—to give certain tracks a more rhythmic, dance‑driven pulse while still keeping the soul and grit of classic hip‑hop. The result is a sound that’s cinematic, emotional, and rooted in groove, with a strong sense of atmosphere and identity.

Q: Which artist would you like to work with and why?

A: If I had the chance to collaborate with any artist, Kendrick Lamar would be at the top of my list. His approach to music is intentional, layered, and deeply narrative-driven — the kind of artistry that demands production with real texture and emotional weight. Kendrick doesn’t just rap over beats; he builds worlds, and that aligns perfectly with the way I create. My sound is rooted in original, sample‑styled compositions, atmospheric layers, and hardware‑driven grit. Kendrick thrives on production that feels alive, human, and slightly imperfect in the best way — the exact qualities that come out of my workflow with the MPC, SP‑404, and MC‑101. He’s one of the few artists who can take a moody piano progression, a dusty drum groove, or a dark jazz‑influenced chord structure and turn it into something cinematic and culturally meaningful. Working with Kendrick would be less about making a song and more about building a full sonic environment. His storytelling and my sound design would complement each other naturally, creating something that feels intentional, textured, and timeless. If you want, I can help you shape this into a shorter profile‑ready version for your portfolio.

Q: Can you share one music production tip?

A: One of the strongest production tips I can share is this: build the mood before you build the beat. Instead of jumping straight into drums or melodies, take a moment to shape the atmosphere first — a texture, a pad, a vinyl‑style noise bed, or even a simple chord drone. When you establish a mood early, every decision that follows becomes more intentional. Your drums fall into the right pocket, your chords feel more connected, and your arrangement develops naturally instead of feeling forced. This approach keeps your music cohesive and gives your tracks that “world‑building” quality listeners connect with.

Q: What type of music do you usually work on?

A: I usually work on classic, sample‑styled hip‑hop built from original compositions, warm piano progressions, atmospheric textures, and layered guitar. My sound is rooted in the grit and mood of traditional hip‑hop, but I also blend these elements with house‑influenced drum patterns, often crafted on the Roland MC‑101, to create a unique hybrid groove. This lets me move between dusty, vintage‑leaning beats and more rhythmic, dance‑driven energy while keeping everything grounded in my hardware‑based, analog‑textured style.

Q: What's your strongest skill?

A: My strongest skill is creating original music that feels like a vintage sample. I’m able to take completely new compositions—built from my own piano progressions, atmospheric textures, guitar layers, and hardware‑driven sound design—and make them feel like they were lifted straight off a rare record. That blend of authenticity and originality is what sets my work apart. On top of that, I bring a strong sense of rhythm, mood, and arrangement, building beats that feel intentional from the first drum groove to the final mix. Because I work entirely on hardware, my sound carries a natural warmth and grit that artists immediately connect with.

Q: What do you bring to a song?

A: I bring a very specific fingerprint to every song I touch. My production is built on feel, texture, and intention, so when I step into a record, I’m not just adding sounds — I’m shaping the entire atmosphere around the artist. I bring a strong rhythmic foundation, sample‑styled originality, and a sense of mood that comes from years of studying classic hip‑hop and dark, jazz‑influenced harmony. Because I work entirely on hardware, everything I create has a natural grit and warmth that feels lived‑in, not manufactured. I also bring structure and clarity. Whether it’s drums that lock the pocket, chords that set the emotional tone, or atmospheric layers that make the record feel cinematic, my goal is always to elevate the artist’s voice without overpowering it. When I mix vocals, I focus on presence, space, and translation — making sure the performance sits perfectly inside the world the beat creates. In short, I bring identity, depth, and a cohesive sonic direction that helps a song feel intentional, polished, and unmistakably unique to the artist.

Q: What's your typical work process?

A: My typical work process starts with establishing a strong rhythmic foundation. I usually begin by crafting a drum groove that sets the tone and movement of the track—something with the swing, grit, and pocket that defines my sound. Once the rhythm is locked in, I build a piano progression that shapes the emotional core of the piece, keeping the chords warm, moody, and harmonically rich. From there, I layer atmospheric textures and subtle guitar elements to create depth, space, and a sense of environment around the beat. Each layer is added with purpose, allowing the track to feel lived‑in and cinematic while still maintaining the raw energy of classic hip‑hop. This structured yet intuitive workflow helps me create music that feels cohesive, expressive, and uniquely mine.

Q: Tell us about your studio setup.

A: My studio is built around a fully hardware‑driven workflow. I don’t rely on software instruments or in‑the‑box production—everything I create comes straight from machines that give my sound weight, texture, and character. My main production tools are the MPC Key 37, the SP‑404MKII, and the Roland MC‑101. The MPC is where I build and sequence most of my ideas, the SP‑404 is where I shape tone and add that vinyl‑like grit, and the MC‑101 gives me extra synth layers and rhythmic elements. Because I work this way, every beat I make feels warm, imperfect in the right ways, and rooted in the classic hip‑hop tradition. For mixing, I run everything through the Tascam Model 12, which gives me hands‑on control and an analog feel that you can’t fake. I also use the ART Voice Channel Strip to shape vocals and instruments before they ever hit the DAW. Between the hardware processing on the MPC and SP‑404 and the analog path through the Model 12, my studio is designed to deliver a sound that feels lived‑in, textured, and authentically mine.

Q: What other musicians or music production professionals inspire you?

A: My creative foundation is shaped by the architects of sample‑driven hip‑hop—DJ Premier’s precision, The Alchemist’s cinematic grit, J Dilla’s human swing, and Hit‑Boy’s modern classicism. But my inspiration reaches beyond producers into the world of jazz musicians who understood mood and atmosphere as a language of their own. Miles Davis’ In a Silent Way era, with its dark, spacious textures, informs the tonal world I gravitate toward: minimal, moody, and deeply intentional. I’m equally influenced by Herbie Hancock’s layered harmonics and Ahmad Jamal’s mastery of space and restraint. Together, these voices form the backbone of my sound—hardware‑crafted, sample‑styled, and rooted in the lineage of artists who turned feeling into form.

Q: Describe the most common type of work you do for your clients.

A: I specialize in crafting original, sample‑styled hip‑hop production built entirely on hardware. Most clients come to me for beats that feel like rare vinyl—gritty, warm, and rooted in the lineage of classic producers—yet fully original and legally clean. I also provide fast, high‑quality vocal mixing, typically completed within 24 hours, giving artists a polished, performance‑ready sound that pairs naturally with my production style. My work spans artist projects, commercial placements, and film scoring, all centered around a signature aesthetic that blends classic hip‑hop with dark, jazz‑influenced textures.