12.   How did you feel the moment that you learned that you were officially a Platinum Music Producer?

Man, it felt good. I was young and I had just had my first baby and I thought “damn, things are going to be good. I’m Platinum now”. Even at the worst, I still have the Platinum badge attached to my name; if anything else doesn’t come from this, I have a Platinum badge. Its like having a blue check next to your name on instagram I guess, haha

13.   What artist do you think has not been recorded right that you would like to record?

Although I was at Rap-A-Lot with The Geto Boys, I am not going to say they weren’t recorded right but at the time when I was working with them my hands were tied because they only used one person to mix the records which was Mike Dean. He was a competitive producer as well so I know he gave his work particular attention to be the flagship producer of the company like he was. If I had more hands-on like I had with the Geto Boys song I produced on my own, I think the quality control would have been better. I always say, if I could have had production control over the Geto Boys project, I think that would have been one of the most interesting projects that they would have probably done.

14.   How would you record them?

I could match that aggressive landscape that they had put more of a rougher terrain to it because their messages were stiff and sometimes I felt like some of their songs didn’t match the message. I would start by constructing more aggressive tracks. The mixing was impeccable; it was more the content and sound matching.

15.  How did you start working with Uncle Luke at Luke Records?

That came after working with H-Town. Luke came to Houston after I had moved down here from Miami. He came to listen to H-Town and I was working at the studio and I knew him already because we were doing shows together on my previous endeavor in Miami.

16.  Can you explain to people what is the Miami bass sound?

Oh yeah. I have to give that card to Mr. Mixx aka David Hobbs of the 2 Live Crew. Miami bass started out with them because when they came out with “Throw that D”, you didn’t even know when you heard that record that you were stepping into a whole other era. The Miami Bass is relevant to the DJ setting up on 15th Avenue and all over Miami. These DJ’s didn’t set up with just a couple of speakers, they had walls of speakers. So that bass sound that they had out on the block was coming out of all of those speakers. The DJs were active, they weren’t resting and letting records play. They got involved and rapped with the records, they were busy. They were what we call “Ghetto style DJs”. Mr. Mixx was a ghetto style DJ. They called him Trech DJ because he was a treacherous DJ, he was the hardest one, he could scratch, he could do tricks, he could do whatever.

The Miami bass is people having a good time. Miami is a melting pot of people from the islands so the Miami bass wanted to match a good time with that. The up tempo was just because of the rhythm and the way the women moved to the music. The energy thats involved in Miami bass is something else. Being a DJ back then you had to be able to get down. You had to be able to scratch and know your shit. Even though it was fast, you had to keep up

17.  How long were you out in Miami and why did you leave?

I was in Miami for a few years, around 3 or 4 years.

18.  How would you describe yourself as a music producer?

I guess a chameleon. I can adapt to whatever situation I am put in and thrive. I don’t ever limit myself and that begins with the mind and your thought patterns. If they give me a check to do a country record, I am going to a badass country record. There are so many tools at your fingertips that you can get it done. I don’t put myself in any one genre, I don’t consider myself to be a one trick pony. I am not a beat maker, I make music. Shout out to the beat makers, if thats what they are doing, more power to you.

19.  At some point in your music career, you began producing music for Houstons Indie Label known as Rap-A-Lot Records. When did you start working with them?

I started working with Rap-A-Lot Records and J.Prince at the end of 1991. The artist that brought me there who is deceased was Mr. 3-2. The reason I want to mention him is because he was one of the main people that supplied Snoop Dogg with his swag; deez nuts and all of that he got from 3-2. A lot of his rap style comes from 3-2. Snoop Dogg was one of the first people that posted about Mr. 3-2’s death on his Instagram page.

What was your first impression of J. Prince?

The first time I met J. Prince was at a video shoot. I had a positive first impression of him; I was a little perplexed for someone who has so much power to be so reserved and laid back. Most people with power are arrogant and brash and feel like they can say anything to anyone. He was super laid back. The person I had not known at the time that I met him, I realized was Floyd Mayweather  that was at that video shoot. At the time he was over there with J. and I didn’t know that J. Had been signing boxers and thats when he was under contract with J.

– What did you learn from J. Prince?

I learned from J. Prince that I love the position of being neutral because you get to see people come in the door with one state of mind but they have to come back to you because they come to find out that you’re the person they came to see and they just walk right passed you and do not tell you anything. I like practicing neutrality because you can tell whats on a person’s mind. You know, your first impression is what it is. I like to look for respect from a person before I deal with them, its not all about money with me. You can’t disrespect me and pay me and I will be okay, you know. What I’ve taken away from him is all aspects of respect, because if you start with that you will be able to develop an understanding. Being humble and doing good business will take you a very long way in this business and any other business.

20.  Can you tell us the names of dope music producers that you think are overlooked in the industry?

Hell yeah. Adrian Younge. He is a throwback type of guy, he only records on analog shit and uses all old equipment. It’s like stepping in a time machine and he learned how to play on his own just as I did, thats admiration there.

Another guy that is a hard-ass producer is Muhammad 2G. He did a few records here in the city but his talent far exceeds the man of his market. He is like a little brother to me, he is super dope.

21.  Are there any major or indie artists you would like to work with before you retire as a music producer?

Oh yeah. Of course Jay Z. He would be on the top of the list. I’d like to get it in with Dr. Dre one time or two, that would be awesome. Other artists like 2 Chainz, he’s hard as hell. Also, Buddy and Kendrick Lamar. I could accommodate any artist, there will not be something they wont like with me.

22.  We heard that you were once doing a music presentation inside of the Rapper T.I.s Studio. What was going on through your mind at that time and what really happened up in there?

So I traveled to Atlanta to connect with some of his artists and promoters and they said we are going to throw a listening party. It was really me offering an olive branch and saying if you need high quality production, my services are open. I had a little speech and then we got to playing music.

Everybody was sitting around in the studio chilling, like you’re suppose to listen to it and by the time I got to the third or fourth beat, these dudes are forming circles and rapping. It looked like a chanting worship session or something. It was weird, it seemed like everybody lost their cool and started rapping. I sat back and embraced. I thought this is not what I wanted but this is even better. I get to see real test subjects in the lab. They were reacting to this way different and its also something they don’t understand but they are going with this energy and it was awesome. After that session, a few of T.I.’s engineers and producers came up to me and kept asking the same question: “how did you get that sound, man? How did you get that sound”? I said I still use my SP-1200 to make beats with and they were shocked because thats a vintage piece of equipment.

Right then and there I knew that when I took a step in a new direction, the sound proved successful and this is not even 100%. These were just instrumentals that I had put together and there was no concept, no rappers just straight up concepts and they were blown away.

23.  Can you tell us about any Artists/Vocalists that you are currently working with in your studio? When will their music be released and where can we check them out?

I am currently working with this female artist named The Phoenix. She’s incredible. Just as the name, she’s fire and her voice is very strong. She’s brand new, we started from the ground-up with her but it won’t take long for her to gain the ground she needs to have. Her music is like a genre starter. She’s all for women’s empowerment.

A couple of years ago, I worked with Willie D. I did a song called “Coon” and he is talking about people that go against their race. Its a real strong message so you should definitely check it out.