Behind The Boards: League Of Starz

Dnyce and Trend are two individual producers from the producer collective of 8 dubbed the "League Of Starz' which was named by the CEO Tavon "Pun" Alexander.

Where are you from?

Trend: I’m from Los Angeles, California

Dnyce: I’m from Compton, California

How did you get into producing?

Trend: I got into producing by affiliating myself with Dnyce back in '04-'05. He was making
music and put me on, showed me the basics. I took it from there & created my own way of
producing my music.

Dnyce: I started out rapping before I took the producer route. I would always get impatient when
it came to getting beats, they just weren't being sent to me fast enough. Eventually I got tired of
rapping over and waiting on other people's beats so I said “F**k it, I’m a do it myself”, and the
rest is history.

What kind of equipment do you use?

Trend: My laptop and keyboard if necessary. That’s it and that's all, very simple right?

Dnyce: I use my PC laptop and Fruity Loops, the best program there is of course. Fruity Loops
holla at League Of Starz we need that sponsorship though.

(For Dynce) You used to rap I read in an interview before you produced Faded. Do you still
rap or is production you main avenue now?

Dnyce: I gave rap up to focus mainly on my production. Rapping took up too much of my
thought process, sounds crazy right? While producing on the other hand, that comes super easy
to me!

(For Trend) How did it feel working with E-40 a rap legend and giving him a banger like
Function?

Trend: It’s a good feeling, scratch that, it feels great! No lie, working with a Westcoast hip-hop
pioneer/ rap mogul/ ambassador like E-40 was one of my producer goals. Hearing the whole city,
especially since our L.A radio station Power 106 blast our music continually. I hear it daily while
in traffic, it’s a super great feeling.

How does it feel to have tracks that have made the Billboard charts and are making
an impact on the streets?

Dnyce: It seems unreal. It doesn't matter how many times I hear Faded I be like damn I made
that. Then for it to become a official top 40 hit was crazy to me and my team, shout out to Tyga
and the whole YMCMB as well.

Trend: It's an accomplishment to League Of Starz and to me personally. A stepping stone
toward success. I value my achievement and where our hard work has gotten me thus far.

Some producers are their own engineers now are you the same or do you have the a
guy who is strictly the engineer?

Trend: Yes, the same as well. Mixing your own sounds before they get mastered and tracked out
is of great importance. Not only does it sound clearer, but it highlights the individual sounds that
make the tracks stand out.

Dnyce: Yes, I’m my own engineer. It’s a must I mix and master my own beats, anything else
would be uncivilized.

Also some producers have used new marketing techniques like mixtapes specifically
around their production. Do you that or would you do that in the future?

Trend: Mixtape marketing is a big deal. It's like an exhibition match before the real thing aka
the album. League Of Starz will continue to put out some hot music rather on a mixtape or on a
album, stay consistent, and captivate the streets.

Dnyce: If you're referring to a beat mixtape then thats not really my avenue I choose to take
but much respect to those who do. You will continue to hear much more from us tho on artist
mixtapes and albums. We got a lot of new work and singles coming out real soon.

What is the next step?

Trend: The next step for us is to continue working with artists from different areas of the hip
hip/ pop culture and blending genres locking down the Westcoast and soon after the industry.

Dnyce: Score more placements and continue to put on for my team and our coast and always
remember, when you hear the “League Of Starz” tag in front of the beat then you know it’s a hit! 

-Lulaine

Dnyce

Trend

League Of Starz

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Chris Lighty, Founder Of Violator Found Dead

UPDATE: Police reports confirm that Chris Lighty took his own life amidst a difficult year for the veteran music executive.

Longtime Hip Hop executive Chris Lighty has died. News broke today (August 30) first on Twitter and thenconfirmed on VIBE.com that the Bronx, New York native and founder of Violator Entertainment died from an alleged suicide. Details are still emerging.

Lighty was integral to the careers of 50 Cent, Busta Rhymes, N.O.R.E., Diamond D, and many others. After growing up under the tutelage of Hip Hop icons like DJ Red Alert, Lighty began working professional at Russell Simmons' RUSH Management firm in the late 1980s, where he helped work with Def Jam Records artists and others in securing endorsement deals and touring.

A part of the Native Tongues at the turn of the decade, Lighty and his brother as The Violators, helped the movement alongside A Tribe Called Quest and De La Soul.

The Violator name carried on in the late 1990s and 2000s, when Lighty launched his own firm. The management company handled clients ranging from Diamond D and Foxy Brown to Busta Rhymes and Q-Tip. In recent years, Lighty was working on Brand Asset Group with Lyor Cohen, his longtime associate and friend, and Warner Music Group. Last September, Violator merged with Primary Wave to form powerhouse management company Primary Violator.

N.O.R.E. mourned the passing on Twitter, saying, "I will be a Violator for life 4ever."

UPDATE: The New York Daily News confirms that Lighty was found dead at his apartment in Bronx, New York this morning at 11:30 am EST. He was shot in the head in what arriving officers reported was self-inflicted. Police officials also told the newspaper that Lighty, 44 years old, was newly divorced and owed the IRS several million dollars.

BANGIN-TABLES extends our condolences to the Lighty family, Violator and all of Chris' friends and associates.

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@SaLaAMReMi breaks down his classic records

What transpired between Stillmatic, and God’s Son was turmoil for him, and myself. While we were working onStillmatic, my mom had passed. That week I had worked on a Sade remix, and I had actually put him on the Sade remix. It was before the funeral even, and I was still working.

 Stillmatic was when he was going through all the stuff with Jay-Z. He was kind of in that underdog spot but he still handled it. Unfortunately the whole situation with Hot 97 showed up next summer, to the point where he was even at odds with Flex and Angie, who were not just people I know. That’s like talking to my brother. He knew that I was that tight with Flex and Angie, so at first he started the album and made his anti-Hot 97 records without me being around.

The inception of “Made You Look” was: what did it sound like when Rakim had his “I Ain’t No Joke” video, and that was the first time you saw him, and Flavor Flav is in the video, and the whole energy of “Run’s House,” and then BDP busting on stage in the “My Philosophy” video. Between those three visuals, what did that music feel like. I was chopping up [classic breakbeat] “Apache” for Ricky Martin. 

I was working with him when I first moved to Miami. It was gonna go, “den-den-den-den-den-den…Ricky! Ricky!” That’s what I was going to do. And then I slowed it down as I was chopping the sample up. I called [Nas] and left him a voicemail that had the beat on it. He hit me like yo, come through. 

He was in Orlando, I had just moved to Miami, so I packed up my truck and stayed in the house they had out there. I left for a day and he Rakim-ed it: “Let’s get it all in perspective…”  You can actually hear how Ra would have sounded on the track. I sat there for about three or four days [doing] edits, putting the glass breaking and the reverses, and just messing with the track.

His birthday party, Sept. 14, was the first time we played it publicly, and everybody’s face was just like what the fuck just happened. We tweaked it a little more did the mixes, his whole crew was in Miami and they did the “BRAVEHEARTS” and just made it feel good, and when it eventually came out, I went and personally talked to Flex, let’s squash the beef, and Flex, because he and I were so close for that amount of time, he entertained the conversation differently, and was like alright, it’s squashed.

 Then I went and erased the song that was dissing Hot 97, actually. But ”Made You Look” was created out of the tension going on in his life and his career, and at the same time showing how cool he was in the middle of the tension. 

When people say “play some real hip-hop,” they play that, because it stands up. It was the accumulation of a lot of tension, moms dying, his mom, my mom. I never articulated it as I just said, but that’s what it really was. All the crazy New Yorkers, the Mobb Deeps were making R&B records. Irv Gotti and them were winning at the time, they were controlling the radio. I just moved out here to Miami, walking around with sandals all day calling them my Jesus Tims. I literally had sandals on and shorts when I made that…

JiMi KenDrix Presents: Chicks, Beats, G-strings & Bottles (CBGB) August 30th, At Sapphire Lounge In NYC RAYDO CREATOR OF BANGIN-TABLES WILL BE ON STAGE.

Dr. Dre Only Hip-Hop Star In Forbes’ Highest Paid Celebrity List

Dr. Dre is cashin’ out. Forbes has released their annual list of highest paid celebrities and the good doctor is the only person from the world of Hip-Hop to make it. Dr. Dre comes in at a surprising number 5, thanks to his $110 million earning through Beat By Dre headphones. Most part of that sum comes from Beats’ deal with HTC last August where the phone maker paid $300 million to buy 51% stake in Dr. Dre and Jimmy Iovine’s company. Forbes also predicts that he may not make the list next year because this was a one-off deal.

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Stu Bangas & Vanderslice Break Down "Diggaz With Attitude," Work With Blaq Poet & Vinnie Paz

Exclusive: The hardcore Hip Hop production pair explains the state of record digging in modern-era sampling, and discuss work with Alchemist, Evidence, Roc Marciano, Copywrite, Ill Bill and Slaine.

The scope of a journalist’s interview base is wide. One can go from interviewing a person who creates the most ratchet music straight to the dark cellar of a 90s vinyl collector who still has a hard time giving up the 4-track stored in the musty corner of his or her basement. While they may not use anything older than a late 90s MPC, it’s safe to assume producing duo Stu Bangas and Vanderslice fit the latter description better. Fresh off their 2011 collaboration with Blaq Poet (not to mention a repeat partnership soon to be finished), the Diggaz with Attitude talk about their latest joint effort Diggaz with Attitude and explain a phenomenon that is becoming less and less common each and every day.

“I think it’s just a lost art man,” Vanderslice says speaking on record digging. “I think it really shows and I think the music really suffers because of it. I’ve put years into this and the Internet is a very useful tool but it doesn’t replace going out and finding records.”

HipHopDX recently talked with Stu Bangas and Vanderslice about their new album and while they aren’t set out to be crusaders of how it once was, they’re damn sure that’s how they’ll keep it. The duo also talks about their collaboration with Stepbrothers (Alchemist and Evidence) and also how their taste for the same records is originally how they were brought together.

HipHopDX: Diggaz with Attitude, you guys linked for the Blaq Poet album last year. First, tell us how you came together again to do this project.

Vanderslice: I first met Stu [Bangas], I bought records from him on eBay and we have similar taste in records and we pretty much have the same vision, we just teamed up like "Fuck it. Let’s just team up and kill more birds with more stones."

Stu Bangas: Basically on specific records, we started working with Copywrite a little bit, his last record so then Ryan [Lynch, CEO of Man Bites Dog Records] then he saw what we did on [Blaq Poet Societyby Blaq Poet]. So he approached us. First he approached me to do a record with Jakki [Da Motamouth], this other dude that’s in MHz and that kind of fell through so he was like, “Okay, we’ll still produce a record with you and [Vanderslice].” And so we just kind of teamed up with him on this one.

DX: On this project though what did you hope to accomplish when putting this together? Were there any goals for this one?

Vanderslice: I know, me personally, I was trying to branch out and work with people that I’d never worked with before that way I could do something different cause Stu and I have both been noted for heavy guitars and really hardcore street records. We work with Vinnie Paz, Outerspace, you know really tough guy-music and we have a lot more to offer than that kind of sound so I was trying to branch out and so something different all the while maintaining who we are as artists and people. We also have friends of ours wondering ah Paz is on there, Outerspace is on there, Blaq Poet, you know what I mean? So we had to keep a core of what we already built and try to branch out and expand to do more with less essentially. We tried to do as much we could with what we had.

Stu Bangas: I’d agree, we don’t wanna get pigeon-holed as just doing like gloomy, hardcore shit. That’s my favorite shit to do but we try to do other shit. We try to bring an array of sounds and kind of make it consistent. As long as everything’s cohesive but not always doing hardcore shit, ya know what I mean?

DX: Sound-wise, at least in this project I think it’s comparable to Violence Begets Violence and it’s only fitting that you have Vinnie Paz on this. I hate doing comparisons but when you are putting that record together, any record, what are you looking for and when you’re going over that final cut, how do you know that song is one that makes the project?

Vanderslice: Me personally, as long as it evokes some sort of emotion that’s really what I go for. Whether it’s something like the Paz record is really really rough and rugged and then “The Gusto” is a tad smoother but it’s still hard at the same time. I don’t know. Whenever I hear something, I just know. When it evokes some sort of emotion in me, I’m like, “That’s the one.” My favorite record on the album is the Slaine and Ill Bill joint and it’s probably the oldest record on the album but it’s just so gangster and I love that song. It’s just the hook’s killer, the beat’s killer. It just evokes some sort of emotion like I just wanna go run to my car and run somebody over. [Laughs] But it’s abrasive and it’s done right, it’s not overdone. It’s not zombie-feeding hardcore bullshit, it’s just funny to me I don’t know. You just hear it and it evokes some sort of old school Mike Tyson Punch Out.

Stu Bangas: Some things that didn’t make the cut, it’s like you hear some shit and you’re like, “eh.” It’s hard to put in words but there’s definitely a reason for why it didn’t make the cut.

DX: You just dropped the video for “Casino Royale.” Interesting to say the least. Tell us how that all came together…

Stu Bangas: The video was actually Ryan Lynch’s idea, from Man Bites Dog. We did the song and he had the idea from the movie Eyes Wide Shut and then he reached out to [Apathy] for the video and he was obviously down. And with Apathy in Connecticut he got connections to Mohican Sun [Casino] and they agreed to film it so we decided it would look pretty cool to do that.

DX: Diggaz With Attitude, “digging” obviously relating to digging for records. I kind of feel digging for records and finding that perfect sample is sadly an art that is being lost in Hip Hop but it’s one that’s hard to replace quality-wise. Do you feel it’s becoming a less frequent activity in Hip Hop music?

Vanderslice: Absolutely, and I think it really shows and I think the music really suffers because of it. I’ve put years into this and the Internet is a very useful tool but it doesn’t replace going out and finding records. It just doesn’t man. Also the thing that I really love about records and digging in general is there’s a much greater chance that if I find a record, like if I can’t Google it or find it on the Internet, that’s much less of a chance that somebody else is going to have it where as a lot of stuff that just leaks on the Internet like if I have it, Stu has it, MGK has it, anybody who’s anybody can have it but it takes away the lure so I think that shows in the music. If everybody uses the same samples, I think it’s just a lost art man.

Stu Bangas: Everything’s changed now, we’re in our early thirties but the generation behind us, they hear our beat and they’ll be like, “Oh, give me the name of the sample.” I don’t know, man, things have changed.

DX: That’s interesting that you mention the uniqueness and the rarity that’s missing. Usually it’s the quality that’s lost and it’s hard to replace that aspect of it. How important is it to find that correct sample for a record and how do you go about that process?

Vanderslice: It’s everything. To me, it’s everything. I like records more than I like beats. I put a lot of time into records. I don’t know to me it’s everything. I can’t even say it in any other way. And even if you look over the past couple years and everyone’s trying to get away from sampling, almost every big rap single over the past five years has been a sample, every one of them. So it’s not going anywhere. People just need to dig a little deeper I think. So I think it’s everything. If you’ve got wack samples, you’ve got wack beats. [Laughs] I can’t even say it any more polite than that. If you don’t know what you’re doing, it ruins everything. It’s like bad drums make bad beats, bad samples make bad beats it’s all the same and it takes time. It happens over a span of time. We’ve been digging for years. Do you know how many Chinese records I’ve bought that there’s not even English writing on it so I couldn’t tell who’s on it but I like the cover there’s like a guy standing. I can’t really tell much about the album but then I take it home and it’s amazing like there’s always new records. It just takes you going out and digging for some crazy shit and you can find records that go for thousands of dollars for a dollar and you can’t really do that with many other things. So any time I travel, no matter where I’m at, I always try and go find some hole in the wall record store and just spend a couple hours digging for whatever, it doesn’t even matter. It’s amazing.

DX: You’ve got some classic record diggers on this record and a lot of underground guys that all fit very well together in Alchemist, Vinnie Paz, Celph Titled. A lot of them you’ve worked with before. How did you go about getting features and why do you have these guys on here?

Stu Bangas: I’d say 90% of the dudes we’ve worked with already, have built some rapport with to be able to say, “Hey I need a verse,” and they’ll be like, “Okay, give me a beat,” we’re straight with them. Other than that, the people that weren’t, we would do our best, you mentioned Alchemist, he’s one of them and we had the opportunity to get in touch with him through a couple other people that we know so we were like let’s go ahead and do it. He is one of me and 'Slice’s biggest influences.

Vanderslice: Yeah, big time.

Stu Bangas: So we showed him the utmost respect so like him and Evidence and then Roc Marciano, those are dudes that we don’t necessarily work with that often so we wanted to go ahead and we were really feeling it and we were able to get in touch with them so we went out and got those. The rest of the guys, if you look at our history, we’ve worked with these people and they’re our favorite people.

Vanderslice: The key was to keep it all organic. Like if we’re going to get something from Evidence, he’s in the group with Alchemist, Stepbrothers and pull that off. They both work with Roc Marciano. I’ve worked with Roc a few years ago so I’ve stayed in contact with him just in case I ever did something so we hooked that up. We just try to keep everything organic. We don’t just try and reach out just for the sake of reaching out. Like A$AP Rocky’s not on D.W.A. because he’s blown up, that’s not really our style. Like I’d rather work with people that I like to listen to and keep things as organic as possible than just try and slap a bunch of names on a CD so the sticker has more appeal. I’ve never been into that.

DX: Yeah when I listened, I mean Alchemist is a big name but he definitely fits in with what you’re doing. Often times, like you said you get the one, you get the three, Ev and Roc Marci. I thought it meshed really well.

Vanderslice: Well see that’s good. That’s exactly what I was going for. To hear someone that wasn’t involved in making it say that, that’s definitely what we were going for. I’m glad that’s how it comes off.

DX: How did each of you get into producing?

Vanderslice: I used to loop up old Gang Starr instrumentals for my cousin and I to rap over. That’s how I learned how to chop. If it wasn’t for DJ Premier I wouldn’t be making beats. We got tired of rapping over instrumentals that were out so I would chop up the intro and then I would chop up bits and pieces from either dead spots or the outros of records and I would try to loop them up and we would try to rhyme them and that’s how I started making music.

Stu Bangas: Yeah, man, same thing for me. [I am influenced by] Primo, after I saw the “Mass Appeal” video. I used to get those VHS tapes with like 10 videos a month in high school and shit and then I saw that video and I’m like, “Man, fuck this, I’m gonna get tables.” At one point I went to college and basically I never went to class, just scratched and played records and then sophomore year I wanted to start making beats. I got an MPC and one of my buddies chops and we started working on the MPC and he kind of showed me the ropes and then. He kind of showed me how to dig first and then finding Vanderslice kind of enhanced what I was doing.

DX: Yeah, I think Primo was the beginning of a lot of artist’s careers as far as inspiration goes especially for producers. What’s next for you guys after you get this release out?

Stu Bangas: I’ve got this joint on Vinnie Paz’s next record with Mobb Deep that I’m pretty hyped about and that’s pretty crazy and that was kind of a bucket list item for me to work with them. I’ve got a joint on Mic Tyson that Sean Price fed to me and I’m really pumped about that and then I’ve got a joint on Ill Bill’s upcoming record and then I’m doing a whole record with Esoteric for 2013.

Vanderslice: We’re also doing another record with Poet.

Stu Bangas: Yeah, another record with Poet. And it’s almost done.

Vanderslice: My boy AWAR, we’re doing a whole record together called The Winning Team. His [Laws Of Nature] record is out doing well, I’m working with him pretty much and the Blaq Poet joint and I don’t even know what else, man.

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@RZA Launches New Record Label

Wu-Tang Clan producer RZA has announced the launch of his new label, Soul Temple Records. The imprint will release indie artists from a variety of genres, and Soul Temple's first official release will be the soundtrack to RZA's directorial debut, The Man With the Iron Fists.

He discussed some of the details regarding the project, which will be distributed by Stax.

“We went and got some of The Wu-Tang original songs…we took out a lot of stuff that was in it, and we re-orchestrated it,” RZA said. “Stax also came on board to help us out, and they gave me about 10 of their famous Stax cues, songs from William Bell, from Isaac Hayes, from Mable John. So you’re going to have a great time listening to this movie as a soundtrack.”

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Young Money Entertainment Sued For Not Paying Producers' Royalties

Once again, Lil Wayne's Young Money Entertainment has apparently failed to pay its producers.

In what is now a regular occurrence, two producers are suing Lil Wayne's Young Money Entertainment for shady business dealings.

Andrew "Drew" Correa and Marcos "Infamous" Rodriguez have filed federal lawsuits against Young Money, reportsTMZ.

In the first suit, Correa claims he had a deal with YME in 2008 to produce music that ended up being on Tha Carter III, Re-Birth, I Am Not a Human Being, and Priceless.

Correa says he was paid some royalties, but then the checks stopped coming.

In the second suit, Rodriguez claims that in 2007, he agreed to produce for YME and that his work was used on Tha Carter III, Re-Birth, We Are Young Money, Tha Carter IV, and Priceless, and that his royalty payments stopped coming as well.

This appears to be a pattern with Young Money, as In the past producers Deezle, Bangladesh, Jim Johnson, and David Kirkwood, and Play-N-Skillz have sued for unpaid royalties.

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Timbaland reveals that not one, but two Missy Elliott singles are on their way.

Fans of Missy Elliott can rejoice. Not only as Missy Elliott dropping a single soon, but the Virginia rapper/producer will actually be dropping two.

Moreover, it appears Missy will actually be gracing fans with the singles on Labor Day weekend. If longtime collaborator Timbaland's tweet is accurate, the song titles will be "9th Inning" and "Triple Threat":

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iStandard Helps ‘Beast of The Beats V’ Winners @TheMeKanics Place New Record w/ Ace Hood

The Mekanics, last years Beast of The Beats V winners met Indy, Ace Hood’s Engineer, at the last iStaMiami show they were featured in, Indy took them to studio and rest is history, full story below. Then check out “Let It Go,” the single along with cover art and tracklisting for Ace Hood’s Body Bag, where the track is featured, as well as the download link for the whole project!

What’s up ‘The Mekanics’?, Congrats on your new placement with Ace Hood on Bodybag2, how did it all come together?
We were at the May iStandard showcase in Miami, FL that we were featured in, Ace hood is someone we always wanted to work with so our manager went that night and chopped it up with Indy, Ace Hood’s recording engineer who was a guest judge at the event. Our manager and Indy set up a listening session at We The Best and they were impressed they took a folder of 15 tracks and within the week we got a call that Ace Hood recorded 2 tracks, we were excited. What was dope Ace hood invited us the studio to listen to the tracks the following week and to celebrate he took us out to LIV nightclub in Miami, it was a crazy night to say the least the bottles kept coming non-stop we were like… we could get use to this! lol….
You guys won iStandard’s ‘Beast of the Beats 5′ and also worked with Yelawolf as grand prize, how was that experience and how has iStandard helped your brand grow?
It helped solidify as producers in the game, it help get our name out there in the industry and people began to call to work with us. It showed us the ropes when working with a major artist the work ethics,
quality, and how to let the vibe flow in a session just let it be organic some of best work from just going with the flow. iStandard has helped our brand grown tremendously by being the First producers
sponsored by Monster Energy on Google our brand is on the first 8 landing pages when you search for us. Special Thanks to iStandard for the opportunity and will continue to work hard and promote the iStandard brand because it gave us our platform. We suggest every producer take part in the showcase build your network.

Who else have you been working with recently?
Timbaland, Zach Katz, Chief Keef, Pleasure P, Teedra Moses,  Kevin Cossum, Ice Berg, Scotty Boi, Choo Choo, International artist NALDO, Unscripted and The Frontrunnaz and Joyy and Mica Javier who are signed to Timbaland Productions

Where can we find you online?
You can find us on Twitter @TheMekanics, on Facebook “LIKE” our page The MeKanics and our Youtube Channel: OfficialMekanics subscribe to our page are website is in the works and coming soon.

The Beat Junkies Return to London for 20th Anniversary Show

All Access Music’s Winning Duo @BudaDaFuture and @GrandzMuzik Talk DJ Young Guru and Big Payoffs

The All Access Music Conference or (AAMC) is a unique conference that combines music industry experts with up and coming musical talents to create a flavorful musical event peppered with education, excellence, and understanding for all involved.

It is a rare conference in that it was formulated by veterans of various important major label enterprises. These industry titans also possess experience in the A&R realm which creates a win-win for all involved. The AAMC music competitions are not to be missed, so AllHipHop.com checked in with two of its recent winners – Buda Da Future and Grandz Muzik – who are making their mark as sought-after producers:

AllHipHop.com: First off, congratulations on your win! That is completely impressive! How did you guys hear about the contest and then go about entering it in the first place?

Grandz Muzik: Thank you! We’re graciously humbled by this win! The competition was fierce, and we were up against some impressive producers. We heard about the event through Walter Randolph; he reached out to us and encouraged us to participate. Our hard work and collaborative efforts were recognized. The All Access Music Conference is the very best music conference out there for up and coming producers.

AllHipHop.com: What is different about this conference that makes you guys feel that way?

Grandz Muzik: We don’t think that just because we won it either! We feel that way because there are a lot of bogus conferences out there that take advantage of artists and producers, but this one doesn’t do that. They really come through on what they promise. We are proud to have been a part of it whether we won or not.

AllHipHop.com: Buda, I recall you telling a really amazing story about how you got started in the industry and production game. If I remember correctly, you said it had something to do with being inspired from a meeting with Young Guru. Would you care to let the readers hear about how he inspired you, and what it all means to you at this special moment in your career?

Buda Da Future: One fall NYC day, before I even knew what a MPC was, I went to meet my good friend, The Hitmen/Platinum Boy Music Inc. producer Amadeus, at zomba studios. It was my first experience in a recording studio, and it was a session with Amadeus, the rapper Shellz from the Bx, and the legendary engineer/DJ Young Guru . I was amazed at the atmosphere, the vibe, and all of the equipment.

Young Guru

The session was for a new EA sports game called “FIGHT NIGHT”, and Amadeus was producing the theme song to the video game. As soon as I sat down, I began to watch and observe. I had to ask questions after an hour of watching Guru and Amadeus go to work. From the jump, Young Guru was super cool, and when I started asking questions about the recording process, Guru was very receptive to me and began giving me advice on engineering and production through out the whole session. We were going back and forth about our favorite times in Hip-Hop, and he was shared some of his experiences in the game. I can’t front just him building throughout the session and explaining his experiences in the game got me inspired to the utmost, and it changed my life forever. Not to mention watching what Amadeus did with his crazy production during that session. It was amazing to see Guru add his expertise mixing.

That 12-hour session changed my life forever. The very next day I thought I was dreaming, like I hadn’t really been there! But it was real! Real enough to even make me decide to quit my job! I had a good paying job after high school, but I had the urge to start a new path in Audio Engineering and Music Production. My family thought I was buggin’ – well, with the exception of my grandma. My grandmother was extremely supportive. I also had a few friends who supported me, too.

I decided to enroll in the Institute Of Audio Research in NYC also known as IAR. The very first day of class I met my brother, Grandz Muzik. Our group Voltron was formed. The days turned to months, and while we were in school, we got our first placement. Our very first time hearing someone on one of our tracks was a 50 Cent song called “Paper Chaser”. That placement created a monster! We thanked God for every opportunity. But once again, if it wasn’t for Amadeus inviting me to that session and having that life changing conversation with Young Guru, who knows where we’d be? (laughter) But I’m grateful for every moment, and super grateful for meeting my brother, Grandz Muzik!

AllHipHop.com: That is quite a story, sir. Thanks for telling it again, Buda! OK, so Grandz, given the whirlwind that you guys have been enveloped in since you first got started in your careers, I’m sure there have been a lot of amazing moments that you have experienced along the way. What are a few of your favorites so far?

Grandz Muzik: Yes, there have been many moments which stand out; winning the UMA Producers of the Year in 2011 at BB Kings was surreal! The fans voted on this win, so it really was a testament to our hard work, and it showed! This win showed us how many supporters we have out there, including family and friends who encourage us every day to keep winning.
Being a guest judge on “106 and Park” on BET was an awesome experience. To be seen on national television was a huge moment for us. It was definitely a reality check; a proud moment.

AllHipHop.com: Anyone who has seen you working either in the studio, judging beat battles, on TV, or speaking at music conferences can see there is a unique friendship between the two of you and a loyalty that can’t be sabotaged. How important do you feel your friendship has been in getting you through the rougher periods so that you could find your way to where you are today?

Buda Da Future: Our friendship is beyond the “music or entertainment industry.” Grandz is the brother I never had. I wouldn’t want to be a producer if Grandz was not my teammate. He’s my left hand, and I’m a righty. I consider him family. Words can’t describe how Grandz and his family have been there for me. This bond is beyond music or legal tender.

Grandz Muzik: Since day one, we have had mutual respect for one another, we share many common interests. Working together for almost a decade has really brought us together on a very personal level. Our friendship goes way beyond music. Our families connect and are huge supporters of what we do, we see each other on a regular basis, and we work as a team. At first it was rough juggling our occupations, family schedules, and personal responsibilities; but our strong bond allowed us to compromise our hectic schedules to make sure the beats didn’t slow down…we are finally starting to see our hard work pay off, and I can’t thank anyone but Buda. We inspire one another, always have.

AllHipHop.com: Jumping back to the contest for a moment, $15,000 is a lot of money. What does winning the $15,000 prize mean for your immediate future and your ability to do what you love?

Buda Da Future: It allows us to continue to work hard and make sure to complete our obligation to give back to Hip-Hop. We always want to give quality music, and do our part to preserve the culture – this will help that.

Grandz Muzik: We feel extremely blessed to win this contract. Faith and prayer are part of our everyday lives. Some major upgrades are due and necessary. Certain personal matters can finally be taken care of.

AllHipHop.com: What advice if any would you give to other young producers out there who are trying to get their music to the industry?

Buda Da Future: Build a brand! Be a visionary and show love and inspire the next person to do better. There’s a lot of musicians, producers and artists with the same mission to make history while making a great living, so stay positive and spread the love if you have the ability to help someone. And always keep GOD first.

Grandz Muzik: Believe in yourself, have patience but stay confident, work hard at your craft; mentally invest in furthering your education, keep family first, and keep striving!

AllHipHop.com: Those familiar with you know, that you guys are all about being positive and giving back, what roll does this play in your lives both musically and personally?

Buda Da Future: Musically, I believe that being positive and keeping good karma in your actions and movements will help you advance conscientiously and in life. It continues to bless you in everything you do. Personally, I was raised in a rough background but was extremely loved by both my parents and have very good friends.

Grandz Muzik: It plays a big role. We believe in always giving back; we strongly believe that positive energy creates positive results! As a father, my children keep me grounded, and that enables me to be a better role model for all the young, up and coming producers. Education is the key for our future generation. Keep music alive in schools!

AllHipHop.com: What’s up next for Grandz Muzik and Buda Da Future?

Buda Da Future: Everything! More production, more room to grow as producers. We learn and get inspired everyday, so it means more projects. Each learning experience is a stepping stone to greatness, so we just gotta put in work, and we are prepared and qualified to do that! You will hear more from us, God willing.

Grandz Muzik: We are currently working with a very talented singer/writer by the name of Katt Rockell; we are working on an album with her. We continue to work with Fred The Godson, a tremendous artist; he’s family. Look out for our track on his new mixtape,Gordo Federico featuring Fat Joe! We are working with Joe Buddens, and of course, our Geffen Interscope family!

AllHipHop.com: If someone is interested in working with you guys, how should they go about it? And how can people keep up with you in general, be it online or otherwise?

Buda Da Future: They can contact us directly via Twitter – @BudaDaFuture and @GrandzMuzik, and for all other music inquiries, holla at @Wayno119.

Be on the lookout for new projects dropping soon from Buda Da Future and Grandz Muzik.