with big boomy 808s that Kenny is known for, insane percussion, snappy claps, and smash mouth snares. Or someone of that caliber, and I walk into a room and hear a record, and I say “Move that hi-hat 1/128th off the grid and take the reverb off the ad libs and then I wanna hear the main vocal auto-panned during the pre-chorus.” And then I walk out of the room, they do what I just said, and go, “Oh my god, that just shifted the whole record. Right around the time that came out, my homie who was a year older than me at Berklee was like, “Yo, there’s this new like trap shit going on with all these EDM DJs. So before I sent one beat out in 2017, I had 300 on my computer. And I get DMs weekly from big ass artists, and I tell every single one of them, “Bro, I could send you some shit, but any of the songs you like from me happened because I was in the room.”. THIS KIT INCLUDES ANOTHER 100+ SPEAKER KNOCKING 808s / KICKs / CLAPs / SNAREs / VOX / SYNTHs / LOOPs + MORE. I produced for Dom Kennedy on that same mixtape. Started getting some of my beats off to people who were on Nah Right and 2DopeBoyz, Fake Shore Drive, and all the blogs I was reading. Or fucking Mark Ronson. I really believe that. Then on top of that be a mix engineer, be a vocal producer. is one of the most cohesive, refreshing rap projects of the year, and sounds like nothing else out right now. I had no fucking idea what’s going right now with rap shit. I was making more money doing shows and traveling the country than I was selling weed or doing rap beats. Go help out Big K.R.I.T. You gotta be good at all of those fucking things if you wanna be a producer today. In fact, if it weren’t for his beat tags attached to the front of his songs, it would be difficult to pin down an actual Kenny beat. My senior year I had a Kenny Beats Myspace. And that’s where a lot of people fuck up. And I needed to pay really careful attention. And those are the moments I do it for. I’m 19 years old, I sell weed.”. A year ago, he started renting out Ron Artest’s old recording studio in Burbank and committed himself to a rigid plan: he would keep his head down and make rap beats all day, every day until he re-emerged making the kind of music that made him proud. Go deposit bank slips. And I was a music business major. I was going into the city every single fucking night to intern for Jonny [record executive Jonny Shipes]. They don’t give all the kids today enough credit for really creating a wave or honing a specific sound. I think your job is to serve the artist, period. And as soon as you think, “Oh, I’m a really good producer, I’m gonna show these young rap kids how to make a really clean, hot rap beat”...You just missed the fucking point. I have no idea how to move forward. These two became friends, and in 2012, they decided to form the EDM duo Loudpvck. Fast forward. Every one of my friends was going D2 for lacrosse or playing football and I’m 6’7”. If you took the kind of shit you’re making for these rappers, and just put up the instrumentals basically, we can get this paper.” So right when I was starting to do a bunch of TDE shit. Kenny was instrumental to Rico Nasty’s more recent thrash-worthy direction, having worked on standouts “Trust Issues” and “Smack A Bitch.” His collaborative tape with Key! does: “I want 160, pink hair shit, Bjork samples only. I don’t know how to reach this rapper. I knew even though I’d done all these songs with big people in the past, that doesn’t mean I understand the wave right now. Kenny Beats style has delivered us, producers, a fire-new kit! But it’s years later and the current sound is completely different. ~ Paul Simpson. All your friends are gassing you up cause all the blogs have your name on it. So I know all sides of their shit. I really wanna get across that there’s a difference between producers and beatmakers. Sometimes it just has to do with a certain feeling. Sometimes I do it and they’ll say, “Nah fuck that, let’s do what we were gonna do anyway.” And sometimes they go, “You just gave me exactly what I wanted.” And you just unleashed a new part of them. According to Kenny, his goal is to throw himself into his work with such intensity that he loses himself in it. And it’s not always because they have a specific song idea for that beat, it’s because they wanna see if they can experiment with you. Kids were like, “What the fuck are you doing? Have it ready.” And then you’re sitting there like “Is he even serious?” And then two hours later you have “Ice Scream Hello.” That’s why 777 is what it is. He considers himself to be a producer, not a beatmaker, so being able to make the beats themselves was only a small part of the process. The subtleties, the sound choice, the vibe, the bounce, everything. Traveled the entire world, played almost every big festival you can name. All he wants to do is continue making this music that, for the first time in years, he and his friends truly care about. These songs are about the artists. In 15 minutes I’ll be back from the store. You’re getting old if you think these kids need to learn how to mix and master from you. You’re a producer. And that’s something that has really become apparent in the last month, with like Rico’s whole switch into the hard shit, with Key!’s big comeback, especially with all the singing shit he’s been doing. EVERY SAMPLE HAS BEEN HANDPICKED & PROCESSED BY LOUDPVCK TO ENSURE THE HIGHEST QUALITY. After successfully touring as LOUDPVCK, Kenny returned to rap a … I’ll say 9 times out of 10, artists like to test you. “Being aware” doesn’t mean you have to make Pi'erre Bourne type beats. And I was going so hard on myself because when I was younger I never had enough beats. So right when the culmination of my rap shit was starting to happen, I veered away to do this DJ shit for about three years. THIS KIT INCLUDES OVER 100 OF THE MOST BRUTAL 808s / KICKs / CLAPs / SNAREs / CYMBALs / SYNTHs / FX + MORE. He also has a whole catalog of unreleased 03 Greedo songs waiting to be put out. And if you wanna be a producer in 2018 that means even more than it meant in 1970. So I kind of stopped the whole ship about a year ago, got myself a different studio, learned how to vocal produce. "Click Clack," a collaboration with NGHTMRE, followed on OWSLA in 2016. Bunch of Smoke DZA shit. He was my first entry into going to XXL, being around rappers, meeting Yams and A$AP. The FADER's longstanding series Beat Construction interviews crucial music producers. I did an Ab-soul, Schoolboy Q, Mac Miller song called “100 Stacks.” I was just starting to get like little thousand dollars, two thousand dollars, here and there. Because Key! That’s what this was missing.” That’s my goal, I wanna be a wizard. Yeah bro, because I knew what it took this time around. If I get some recognition from that, amazing. Copyright © 2020 Apple Inc. All rights reserved. I wanna change how people hear shit. I don’t know who to contact. They made sure the record had the best performance out of everyone involved possible. Like, people are starting to see that my only goal is to get the best performance out of the artist. The real producers back in the day didn’t sit there and play every single instrument. In 2017, the two parted ways and went on to pursue solo endeavors. Make the whole thing yourself, a lot of the time. My goal ten years from now isn’t a big house, a number in my bank account, a number of platinum hits, none of that shit. I’m listening to Mason Ramsey as much as I’m listening to Valee, and that’s not a joke. Like if an artist comes in and says “I’m feeling 160 [BPM] right now. Yams cleared a bunch of our records through RCA that didn’t come out, sadly enough. SOUNDPVCKS BRINGS THOSE SOUNDS TO … Because everyone just thinks, “Oh, just do some simple ass beats with big 808s and four notes.