Dancehall Producer, Engineer

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

A: I produced a Dancehall single end-to-end — built the beat, recorded and comped vocals, edited/tuned, then mixed and mastered (FL Studio → Pro Tools). I focused on preserving the vocals’ raw energy while giving the low end clarity and punch; delivered on a tight deadline, and the artist loved the result.

Q: What are you working on at the moment?

A: At the moment, I’m focused on creating and releasing new beats (I upload a new beat every Friday and maintain a backlog), finishing mixing and mastering projects for independent artists, and running weekly recording sessions. I’m also working on my marketing stack planning, YouTube content, email funnels, and ads to grow my audience while setting up merch and tightening licenses/contracts for beats. All work is done in my home studio (FL Studio & Pro Tools) so I can take projects from raw vocal to release-ready master.

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

A: I don’t personally know anyone on SoundBetter, but I can help find and vet top producers/engineers that fit my sound.

Q: Analog or digital and why?

A: Analog gear brings warmth, character, and tactile magic to recordings. Hardware preamps, compressors, tape machines, and outboard EQ impart subtle harmonic distortion, saturation, and smoothing that many ears hear as “fat” or “musical.” Because analog colors sound nonlinear and interact with the signal in pleasing ways, they’re great for tracking vocals and real instruments when you want a vibe or live mojo that’s hard to fake. The tradeoffs are cost, physical maintenance, noise, and lack of instant recall once you set a hardware chain; recreating the exact settings later can be slow or impossible. Digital setups excel at precision, speed, and flexibility. Recording, editing, mixing and mastering in the box gives you instant recall, nondestructive editing, deep automation, and near-limitless plugin processing. Modern digital emulations do a convincing job of adding analog-style color, while tools like spectral editors and linear-phase EQs let you fix problems surgically. The downsides are that purely digital chains can feel clinical if you don’t add intentional saturation or movement, and cheap plugins or poor monitoring can mask issues that show up on other systems. Short practical takeaway: use digital as your backbone for accuracy and workflow, and reach for analog (or high-quality analog emulations) when you want character and vibe. Record clean, then add color intentionally.

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

A: I deliver professional, release-ready music that stays true to your vision. Expect clean mixes, powerful masters, and custom productions made with care. I’ll communicate clearly, meet agreed deliverables, and handle metadata/credits properly (Producer/Engineer – Impak Beats). One revision is included to fine-tune the result if something still needs work within the agreed revision window. I’ll make it right. Your art is respected and treated confidentially from start to finish.

Q: What do you like most about your job?

A: What I love most is bringing ideas to life with other people, turning a raw melody or a rough vocal into a finished song that moves people. I thrive on the creative problem-solving in production and mixing, the moment a take finally clicks, and hearing a track come together with clarity, energy, and emotion. Working with artists, helping them find their best performance, and then releasing something we’re both proud of, that’s the reward.

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

A: Q: How do we start? A: Send your project brief: service needed (beat/record/mix/master), reference tracks, BPM/key (if known), deadline, and budget. I’ll confirm what I need next and a booking deposit to secure your spot. Q: What files should I send? A: Clean vocal takes (comped and raw if available), guide vocals, any instrumentals or stems, and reference tracks. If you have session files (FLP/PTX), include them; otherwise, stems work fine. Q: Do you work remotely? A: Yes, I accept stems or session files and deliver back WAVs, stems, and MP3s. I’ll give clear instructions for routing and note-taking so we stay tight over distance. Q: What do you deliver? A: Final WAV (industry spec), high-quality MP3 for promos, and stems on request. If you need session files, I can provide them for an additional fee we’ll confirm before starting. Q: How many revisions are included? A: One basic revision is included. Additional revisions or major changes (re-arranges, new vocals) may incur extra fees. Q: Do you record artists? A: Yes, I record vocals in my home studio or at a booked studio. Tell me the number of vocalists/parts and whether you need comping, editing, or tuning. Q: What about credits and metadata? A: I require credit as Producer/Engineer – Impak Beats on releases. Provide songwriter/artist metadata early so I can format it correctly for distribution. Q: Who clears samples? A: The client is responsible for clearing samples. I can advise on clearance, but I don’t clear third-party samples myself. Q: Do you offer leases or exclusives? A: Yes, I offer beat leases and exclusive buys. Terms, pricing, and what each license includes (rights/usage) are agreed upon up front. Q: What if I don’t like the mix? A: Use the included revision to tell me time-stamped notes or voice notes. If more work is needed, we’ll scope it and agree on a fair extra fee. Q: Do you provide refunds? A: Deposits are non-refundable (they secure the booking). Refunds after work has started are handled case-by-case basis per our agreement. Q: What payment methods do you accept? A: We’ll confirm the best method (PayPal, bank transfer, or local method). Deposit amount and final payment terms are agreed upon before work starts. Q: Can you deliver stems for other mixers or for remixes? A: Yes, stems can be supplied in the requested format and sample rate. If you need separate vocal and fx stems, specify that up front. Q: How do we communicate feedback? A: Time-stamped notes, written bullet points, or quick voice notes work best. I’ll confirm preferred channels (WhatsApp/email) before we begin. Q: How do I book you now? (Quick message) A: Hi Impak — I need [beat/record/mix/master]. Ref: {TRACK LINK}. BPM/Key: { }. Deadline: { }. Budget: { }. Files: { }. Ready to book.

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

A: The biggest misconception is that I just “make beats.” Producing is much more than a loop; it’s songcraft, arranging, sound design, recording, editing, mixing, and mastering. People also expect fast fixes: a great mix/master takes time, reference checks, and revisions to sit right on every system. Beyond the music, I handle session prep, file delivery, metadata, credits, and licensing, so you’re paying for a full, professional release-ready service, not just a beat file.

Q: What questions do you ask prospective clients?

A: Project basics: What is the project? Ask for the song title (if any), the type of service (beat, recording, mix, master, full production), genre, and whether it’s a single, EP, or album. Request reference tracks and the desired vibe/mood, plus BPM and key (if known). Example: “Send 1–3 reference tracks and tell me what you like about each.” Creative direction, what’s the vision? Ask about the artist’s target audience, vocal tone, arrangement ideas, and any must-have elements (ad-libs, drops, instrumentation). Also, ask what to avoid: “Is there anything you don’t want in the track?” That saves time and rewrites. Files & technical, what will you deliver? Ask what stems or files they have (raw vocal takes, comped vocals, guide vocals, instrumental stems), sample rate/bit depth, and whether they can provide session files (FLP, PTX). Confirm tempo map and rough timing edits. Ask about plugin use (do they require your plugin chain or stem-only mixes?). Recording specifics: if recording, ask where (your studio or theirs), how many vocalists/parts, preferred mic choice, whether they’ll bring comped takes or need editing, and if they need vocal tuning. Ask if they’ll provide dry and wet takes, and whether background singers/mics are involved. Mix & master expectations, what’s the end goal? Ask for reference masters, loudness targets (LUFS), distribution plans (streaming, radio, club), and deliverables (WAV 48k/24-bit, stems, MP3 promo). Clarify how many revisions are included and what constitutes a revision vs. a new mix. Logistics & timeline, when’s the deadline? Ask for the target release/airdate, preferred milestones, and any blackout dates. Confirm time zone for calls and typical response time for feedback. Ask if they need rush delivery and confirm associated fees. Budget & payment: What’s the budget and payment terms? Ask for their budget or range, deposit amount (if applicable), and preferred payment method. Clarify whether the price includes masters, stems, or exclusivity, and note extra charges for additional revisions, project scope changes, or licensing. Rights, credits & metadata: who owns what? Ask whether they want a lease or exclusive rights, who will own the masters, and how credits should appear (artist, writer, producer, engineer). Confirm if samples are used and who will clear them, and request metadata for distribution (songwriter names, publisher, ISRC request). Communication & feedback: how will we work? Ask the client’s preferred contact (WhatsApp, email), how they prefer to give feedback (time-stamped notes, voice notes), and whether they want regular check-ins. Set expectations for turnaround on replies so the project moves fast.

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

A: When you’re choosing a producer or engineer, start with proof. Listen to their recent work, released tracks, and before/after mixes to make sure the quality and style match what you want. A provider whose portfolio lines up with your vision will get you to the finish line faster and with fewer revisions. Give a clear brief. Tell the producer the song’s mood, tempo, and key, and provide reference tracks or specific elements you want (vocal tone, drum feel, arrangement ideas). The more precise you are up front, the better the results — it saves time and keeps the project on budget. Communication matters as much as skill. Choose someone who asks the right questions, sets milestones, and replies reliably. Regular check-ins and clear expectations prevent misunderstandings and speed up delivery, so look for a provider who treats the project like a partnership. Agree on workflow and deliverables before work begins. Confirm what you’ll receive (stems, WAV 48k/24-bit, session files), how many revisions are included, expected turnaround times, and any rush fees. Knowing these details in advance prevents scope creep and keeps the project professional. Be clear about the budget, payment, and rights. Confirm deposit amounts, payment methods, and the final price. Also discuss licensing: is the beat a lease or exclusive, who owns the masters, and how will credits be listed on the release? Sorting this out up front protects both sides. If you’re recording, come prepared. Warm up, bring reference takes, and have rough edits or comp ideas ready. A focused, prepared artist gets better performances faster, which saves studio time and money. If the provider is mixing only, supply clean, organised stems and notes about what you like or don’t like. After delivery, test the track on multiple systems (phone, car, earbuds) and request small tweaks within the agreed revision window. If you’re unsure about fit, consider a short paid test (one chorus or a short mix) — it’s a low-risk way to evaluate the working relationship before committing to a full track. Quick hire message you can send: “Hi Impak — I need a Dancehall/Trap beat + vocal recording and mix. Reference: {TRACK}. Key: {KEY}, BPM: {BPM}. Deadline: {DATE}. Budget: {BUDGET}. Ready to book?”

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

A: If I were stuck on a desert island and could only take five pieces of gear, I’d bring a laptop with FL Studio/Pro Tools (my DAW and plugins), a compact audio interface like the UAD Volt 1 for clean I/O, an AKM 320 MIDI controller to play and program ideas, a rugged dynamic mic (Shure SM58-style) for reliable vocal/instrument tracking, and closed-back Audio-Technica headphones for accurate monitoring and mixing when monitors aren’t available—those five items let me write, record, arrange, and rough-mix professional-sounding tracks anywhere.

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

A: My career began making beats in 2012 — at first on-and-off, then steadily professional as my skills grew. Over 10+ years, I moved from bedroom beatmaking to full-service production: producing, recording, mixing, and mastering in FL Studio and Pro Tools. I run IMP Records, work with independent artists, handle distribution/metadata, and deliver industry-ready tracks. I now do regular weekly studio work and take projects from demo to release.

Q: How would you describe your style?

A: My style is a fusion of authentic Dancehall, Trap-Dancehall, and Afro-inspired sounds with hard-hitting drums, catchy melodies, and polished clarity. I focus on creating beats that feel modern yet rooted in Caribbean energy, with space for artists to shine. Whether producing, recording, or mixing, I aim for a sound that’s vibrant, industry-ready, and emotionally engaging music that moves people in the studio, on stage, or through headphones.

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

A: I’d love to work with artists like Alkaline, Vybz Kartel, Skillibeng, Skeng, Senseea, Nicki Minaj, Cardi B, YoungBoy Never Broke Again, Drake, Popcaan, Burna Boy, Metro Boomin, Rvssian, Murda Beatz, and Stephen “Di Genius” McGregor. Each of them pushes boundaries in their sound and energy from Dancehall to Hip Hop to Afro-fusion while staying authentic to their roots. Collaborating with artists of this caliber would allow me to bring my Dancehall/Trap-Afro style to a global stage and create music that connects worldwide.

Q: Can you share one music production tip?

A: Less is more. Don’t overcrowd your production with too many sounds. Choose instruments that complement each other and leave space for the vocal to breathe. Focus on balance, clarity, and emotion. Sometimes muting a layer makes the track hit harder than adding another one.

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

A: I usually work on Dancehall, Trap-Dancehall, and Afro-inspired music, blending authentic Caribbean rhythms with modern global sounds. I also produce Hip Hop and crossover tracks when artists want a fusion style. Most of my clients come to me for beats, recording, mixing, and mastering in these genres, and I make sure every track is industry-ready for streaming, radio, and live shows.

Q: What's your strongest skill?

A: My strongest skill is bringing clarity, vibe, and balance to a track. Whether I’m producing a beat, recording an artist, or mixing and mastering, I have a sharp ear for detail and know how to shape sounds so they hit with the right energy. I specialise in building authentic Dancehall, Trap-Dancehall, and Afro-inspired productions while ensuring the final mix is polished and industry-ready for streaming, radio, and live shows.

Q: What do you bring to a song?

A: I bring an authentic vibe, clarity, and energy to every song. As a producer and engineer, I focus on creating beats that inspire performance, capturing clean recordings, and delivering mixes and masters with punch and balance. My goal is to highlight the artist’s voice and emotion while giving the track a polished, industry-ready sound that connects with listeners.

Q: What's your typical work process?

A: My process starts with understanding the artist’s vision, the vibe, style, and emotion they want to capture. For beat production, I build melodies, drums, and arrangements tailored to that sound. If recording, I ensure clean takes with the right energy. From there, I move into mixing and mastering, focusing on clarity, punch, and balance so the track is industry-ready for streaming, radio, or live shows. I keep communication open at every step to make sure the final product matches your vision.

Q: Tell us about your studio setup.

A: I currently run a small but professional home studio setup. My gear includes a UAD Volt 1 interface, KRK monitors, an AKM 320 MIDI keyboard, a Focusrite condenser mic, and Audio-Technica ATH-M20X headphones. This setup allows me to produce, record, mix, and master with industry-level quality while keeping a focused, creative workflow.

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

A: I’m inspired by Metro Boomin, Rvssian, Dr Dre, Murda Beatz, Stephen “Di Genius” McGregor, and Javi (Javi Ambassador). From Metro’s melodic trap to Rvssian’s Dancehall fusion, Dre’s timeless mixes, Murda’s hit-making energy, Di Genius’s innovation, and Javi’s fresh approach each push me to evolve while staying true to my sound.

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

A: The most common work I do for clients is beat production, recording, mixing, and mastering. I specialise in Dancehall, Trap-Dancehall, and Afro-inspired sounds, creating authentic instrumentals and delivering clean, professional mixes. Many artists book me to record their vocals, then I polish the track from start to finish, ensuring it’s industry-ready for streaming, radio, and live performance.