Hydrosonics: Base Jase

Name: Base Jase
Representing: Illinois
Contact: www.rapproduction.com

1) Your site is impressive. How long have you been selling your beats online?
I’ve had my music online since 98, but I didn’t officially have a store until 2006. That’s when Paypal made it easy to setup a site where I didn’t have to physically email tracks to clients. There are still a lot of clients who don’t have the net and want beat cd’s, but I refuse to give them out unless it’s someone that I’m really cool with. I’ve probably lost money by not giving out beat CD’s, but selling beats online is not where my main income is from, it’s from TV Licensing with MTV and Viacom. I would rather do that any day!

2) Sounds like interesting work. How did you get involved in that?

An intern was going through websites back in 2001 or so and ran across illynoise.com (my studio’s website) and I had an flash intro that was playing, they liked it wanted to use it on The Real World. After a few years it just started growing and they started playing more and more. Finally, the music supervisor at The Hills on MTV got me onto a license with the whole network, and I just put everything under my publishing company ILLYNOISE Music with BMI. Now I have some staff producers that I’m sending music out for also, and I’m always looking for new producers and more music!

3) You have established producers selling beats on Myspace on the cheap. Does that make your life harder?

No, it’s the mixtape producers that are making life hard selling (hot) tracks for 10 dollars! My experience with MySpace is that it’s not worth the time for trying to sell beats there. Youtube has brought me more business with beat making videos than MySpace. Having my own site where people focus on just my production and not thousands of other producers gives me a better chance of selling my brand and keeping loyal customers who come back. The difference is that I only sell exclusively and I don’t lease tracks, so when someone buys a track I immediately take it down. I tried Soundclick but I felt like I was trying to compete with a bunch of mixtape producers, selling downloads for 99 cents or whatever. I just wasn’t feelin that! Boon Doc is someone who learned from me in the studio, before he was into making beats, and he has done very nice with Soundclick and Youtube so I’m not putting that hustle down by any means!

4) You charge between $50 and $200 for a track. How do you determine what to price it?
I used to get 400-500 a track and maybe only sell a couple a month, but when I started selling more and having a bigger stockpile of tracks the law of supply and demand came into play, so I was able to sell them cheaper. It’s really a shame that I’m not getting more money, but I’m selling more and my name is getting out there. A 50 dollar track is usually something that I’ve had for a few months or something that hasn’t gotten enough attention. A 200 dollar beat is something that I think is hotter, newer and something that has more demand to it. I look at beats as a commodity and I don’t have an emotional tie to them. If I love a track I don’t put it up for sale.

5) Did you replay the sample on your “Taxi Driver” beat?

No it’s a sample, I always try to hide samples to a point. “Taxi driver” was originally something I sampled back in 92 for a group called PKO. They didn’t like it so I just held on to it, and remade the beat in 2004 on a ASR-10. I only played the bassline over the top of it and played the chopped up drums live on an MPC. I never play the main drums on separate takes, I always play the kicks, snares and hi hats in real time, unless it’s a dirty south beat. The other sounds are from an old Isaac Hayes sample.

6) When did you get started and with what equipment?
Back in 87 I got a Casio Sampler, with the yellow pads, then in 88 I got my first pro sampler, an Ensoniq Mirage. After that I just started building my equipment arsenal, mainly with samplers and drum machines. When I started getting really serious about production, I got a job at a label doing music for 100 dollars a week, and they had a EPS16+, and a SP12, so I just learned on the EPS16plus and sampled everything I could cause it had so much more sampling time. These days I’m using Logic 8 and all virtual instruments!

7) What is your record collection like? Do you DJ?

I used to DJ back in the day, but now I only have some Pioneer CDJ’s that I use in the studio when someone wants some scratches. My record collection is wack! It consists of mainly Sesame Street records, 45’s from my mom, and some jazz records that people gave me or I never took back to the library. Most of my collection is on CD’s and hard drive now.

8 ) Tell me about some of the independent artists you’re working with…

I’m working with Black Pegasus on a constant basis, we have a label partnership. His new album The Black Mexican is out and I’m doing the hook and singing a verse on a song called “Can’t Stay Around” we just put that song on Digiwaxx along with another song “Rep That” he did with Chino XL and Liquid Assassin. We’re also working on the Red Monkeys album (Black P and Liquid Assassin). I’ve also sold a track to Liquid Assassin, and he’s now on Strange Music. The Reminders, who consist of Samir and Aja, I’m just finishing up production on their album they have been working with One Be Lo.

Hydrosonics: Tony Benjaminz

Name: Tony Benjaminz
From: Hartford, CT
Contact: Myspace

Your Talib remix is hot. How did you make it?

I frequent a lot of message boards. One in particular (what up PML!) has a monthly sample battle. The moderator posts an original song up, you have to make a track using that joint and the best joint wins. This one happened to be “I Want You” by The Beatles. I know the sample will probably NEVER get cleared, but I figured it’s just for the battle, I’ll chop it up. But when I finished the beat I knew that particular Talib song would sound hot with it. So I dug for the acapella and dropped everything in Pro Tools.

When did you first start making beats? What were you using?

I messed around with it for a while, but I didn’t start seriously making beats until ‘97. My first board was an ASR-10.

What was the hardest part about getting started?

The hardest part besides getting the money for equipment, was learning how to get what was in my mind to translate to what you hear through the speakers. I spent a lot of years rapping, so I can vocalize what I feel, but to put that feeling into the beat itself is much different.

When did you finally make something you felt comfortable playing “in public”?

I finally knew when my boys started asking to make their beats!

I’m most impressed by your drums. They hit hard. How do you EQ them?

I appreciate that brother! I keep a hard drive full of nothing but snares and kicks that I saved from all my old drum machines. I EQ and compress them a little, save them to a new file then stack them as I need to, depending on the beat. I let the melody dictate the drums most times.

I see you pictured with the MPC, do you use it exclusively or do you mix it with software?

I used to use the MPC a lot, but I recently made the transition to software. So I do a lot of my work in Reason and Pro Tools.

Why do you think it’s been so hard for CT to break out of NY and NJs shadow in northeast hip-hop?

For one, there’s a lot of competition out there in NY and NJ alone. I’ve noticed that a lot of cats feel the need to step on and over each other to try and get some shine. I think it’s counterproductive. It just makes you look like a hater. Second, I think too many of us set unrealistic goals for ourselves. Just put together the best music you can possibly make, keep grinding and networking, leave the hate aside. People will have no choice but to notice CT if we’re consistently putting out hot music.

Do you have any independent projects in the works?

Currently I’m working on my man Sinis’ project, and trying to finish up my own album. I’m also working on some things with my dudes from D.O.S. Media, and a few other cats whose names I don’t wanna drop… you know how that is!

Hydrosonics-Emmanuel Nyei

Name: Emmanuel Nyei
From: The Sudan
Contact: www.myspace.com/nuelmusic1

1) You were born in the Sudan, how has your culture influenced your creation of music?

My culture influenced my music creation because it was the first type of music i heard. At 6 or 7 years of age, our tribe, every now and then has tribal ceremonies or dances called “Nugara”, where they played bongo drums, ashikos, that can be heard from 3 miles away, and they danced all night long. So I would go home and make my own bongos and ashikos, from animal skin, and try to play that same rhythm.

2)In your profile you say “I learned so much, as far as mixing, mastering, track arrangments to name a few.” What exactly have you learned? Can you provide examples?

Well, when I first started I didnt know much, nothing at all. I didn’t know what mixing, mastering, or anything like that. I just looped many sounds together, played and recorded them, period. But then when I go back to listen and compare my tracks to those of the professionals, I’m like “damn, something doesn’t sound right”. Thats when I learned that tracks have to be broken down, correctly arranged, and mixed properly in order to give a whole “feel” to it.

3) So many people pick up Fruity Loops and just go in. Did you ever stop to read the manuals?

Honestly, I was just so eager to create something that reading the manuals never crossed my mind. I’m more of a “hands-on” learner. I just picked up and taught myself everything I know now. For those who read the manuals, it might be seen as an advantage but, those that didn’t read the manuals establish their own way of creating music.

4) Where do you get your sounds? Do you play any instruments?

The sounds in Fruity Loops was all I used at first. But as time went by, I started realizing that their sounds [don't] really sound professional. Thats when I bought sounds from ebay and downloaded some as well. I dont play any instruments, however, I’ll be attending music classes in college this fall. They teach piano and many other instruments, so maybe by next year I’ll be playing something.

5) Have you recorded any of your songs with artists?

I have worked with some local artists, and some upcoming artists in other states, no one who’s really out there.

Hydrosonics-Jack Nickelz

Name: Jack Nickelz

Representing: Hartford,CT

http://www.myspace.com/jacknickelz

1) I see in your setup that you have both an MPC and Fruity Loops. Which were you using first and do you use them together now?

I originally started to learn how to make beats on the MPC 2000XL. And to be honest…I tell everyone if you can get your hands on an MPC 2000XL go on and get that because it is pretty much one of the best machines in my mind to work with. Once I load a sample into it, I pretty much have free reign over it. There is no opening up this program and thing swinging everything over to that program. It’s a one stop spot. The only thing is, I don’t have the mobility with it. Now like all producers I had a rough spot where I was aching for dough and had to choose rent or the MPC. Hated to do it but the MPC had to go. Thus forcing me to get with the 9th Wonder backed FL Studio. It took me a little bit to get used to, but now I love using it. Right now I’m strictly FL Studio. And I’ve learned to do everything inside the program. I’ve remixed songs using just FL and created a lot of joints on it. I love the fact that if I load it on a laptop, I can pretty much make a beat any and everywhere.

2) You seem to have a lot of experience working with indie artists. How did you get started? I started in this game as a DJ, then I became an emcee. One of the main reasons I started making my own beats is so I didn’t have to wait on anyone for a track. Plus the fact that sometimes some producers don’t listen to artists and I didn’t want to always have to deal with that. As I started getting better with my craft, some of the guys that I spit with would come to me for a track. My boys Casino Dialz and Sinis were the first guys to trust in my sound enough to let me do their whole project. That lead to other people hearing my tracks and wanting to work with me. But to be honest things really started popping off when I started using MySpace more than normal. I would jump on MySpace and connect to indie artists and talk to them about working together. I’ve given away a lot of tracks in order to work with a lot of people. But hey…sometimes you have to do things like that. And now I can say I’ve worked with a variety of people such as Apathy from here in CT to Pestalance from Houston and Kehmak in Canada. I’ve come to realize that a lot of guys like working with me because of my unique beat style and sample selection and my ear for the music.

3) You replayed Bob James’ “Angela” (The theme to taxi) on “Latka Kravitz.” What did you play it on? Are you trained in keyboard or did u learn by ear?

The Latka Kravitz actually is the simple chopped up sample from the actually song. I never played it out. What I did was chop the piece I liked and placed them in the order that I would like to hear them song wise. A lot of people think I played it out because of how smoothly the chopped sample pieces connect. Of course the whole track was produced on the MPC for a beat CD project I did with my boy, MF Swayz. As far as being trained in keyboard, of course like everyone else I took classes in school…but I mostly play by ear.

4) Do you have a studio where you record? If so how did you put it together?

Right now I’ve started to get things set where I can record in my own crib. But I’ve recorded in various studios from Jaxsn Music, Studio 26, The Halfway House, etc. As for what I’m putting together in my crib, the pieces I have now are my lovely hand built PC running FL Studio, Adobe Audition and ACID Pro 6. I plan on getting my M-Audio interface so I can move up to Pro Tools or rock with Cubase.

5) Do you have any up-coming projects? Lord do I!! Right now I just finished remixing joints from Blak Philly.

I just finished doing a joint for Apathy as I mentioned before. I have projects from guys in my crew like Casino Dialz, Myk Fevah & Kinkade Tha Bully. I’m currently doing joints for Sinis, Original Soul, Pestalance, ROCKOLEONE, A Rock band named Rotary and others. And I’m really looking forward to hooking up with my old partners, The Forgotten Soulz, Doc Vaporz and Jimmy Fontaine on our upcoming joint. And as always, I’m always looking to work with more people.

To be considered for Hydrosonics send an MP3 or link to a song (imeem or Myspace is fine) to hydrosonics@nodfactor.com. Registered users will get preference in response.

Hydrosonics, Origimoz: “Cool Like Dat”

Name: Origimoz
Age: 19
Repping: UK, Mozambique
Key Track: “Freedom of Speech”
Contact: Myspace

You were born in China and raised in Mozambique. When were you exposed to hip-hop and which artists were you listening to?
I guess I was exposed to hip-hop ever since my older brother was. As far as I can remember it was along the mid-90s when he used to bump cassette tapes of everything from Camp Lo to The Roots to Jay-Z to Wu-Tang to The Lost Boyz and many, MANY more which ended up being the foundation for the love of the music. I was around 8 or 9 years old.

What does your name Origimoz mean?
Origimoz actually means ORIGINALLY from MOZAMBIQUE..that was because by the time I arrived in London a couple of good years ago, I didn’t want to keep my old name because it was quite chessy! So coming up with something that was original and that resembled where I’m from was the best possible option!

I like how you freaked that classic break in “Freedom of Speech.” Did you use the Fruity Sampler, the slicer or what? How did you manipulate it?
The idea for that beat was to make the drums match the sample because it was SO EPIC that normal drums just wouldn’t go because they would get stepped over. So what I did is that I sampled each part (Kick and Snare) individually on Cool Edit, layered the Kick with a 808 kick and a low kick (like a sub-kick)…and added some almost invisible clap with an opened hat on the snare, done my drum pattern and finally I added percussion and reverbed them all to sound as live as the sample was!

Do you have any formal music training? You mention using a midi keyboard, can you play? To be honest I can’t play ANY instruments to save my life! But again, it all depends on the ear that the person has to try and achieve the desired sound. The MIDI keyboard is still very new to me because I STILL draw notes on the piano roll using a mouse! So with time maybe I will try and learn how to professionally play because it helps a WHOLE lot!

“Flying High” has the most plays on your Myspace page, how did you make it? “Flying High” came about when I was listening to a Blaxploitation soundtrack (which I won’t mention for security reasons!) looking for something that could immediately catch an emotion…that came about…I sampled it, added, drums, percussion, bass and the whole lot and there it was!

Who are you working with or who would you like to hear on your beats?
I’m currently working with a few people over there in the U.S. naming LEX, Dave Notti and the whole Thrilla crew, Jae-Nice and local acts such as Mark Asari, Micky Negro, DUKO, NY and more…they are unsigned and got some serious music

What do you love/hate about Fruity Loops?
I’m not a very technical guy in Fruity Loops but I hate I guess I have to go with the interface of it. Sometimes when u are not on a good mood that interface doesn’t really help! But what I love on it is the simplicity of things. Is not a very hard program to understand and with a good examination process everything should be well clear!

HYDROSONICS:Nick Cicero “We Got The Jazz”

Name: Nick Cicero

Contact: Myspace

Do you play any instruments? Any formal music training?
Yeah I’ve been playing jazz trumpet since I was seven, and been in music allmy life. Right now I’m a Music major at Nazareth College in Rochester NY. There are so many great teachers here that have taught me so much, and I’ve tried to take that knowledge and parlay it into my music production.

I see you have some TV deals in the works. How is producing for TV
different than for songs?
Well TV calls upon knowledge in a variety of music genres. I’ve written simple
doo-wop jingles, and I’ve also done large cinematic numbers for independent films. The important thing in composing for video is that you need to realize that people aren’t going to be watching and listening for the music first. If you can put your pride on the backburner you can really have fun decorating the action.

Hydrosonics-Blastah Beatz “Powaful Impakt”

Name: Blastah Beatz
Age: 20
Representing: Portugal
Contact:MySpace
Key Track: “Survive” by Busta Rhymes

1)When did you get started making beats?
I started in 2003, on FruityLoops and my 450 mhz home computer. Back then I was 15, just messing around dropping factory drums over loops. But over time this led me to understand the basics of sample-driven production. I only got serious with beatmaking in 2006. Shout out to my mentor DJ Master Kutt for teaching me the basics of music theory and production.

2) How did you connect with Busta Rhymes for the mixtape track “Survive”? How did you make that beat? Did you just send him the beat or did they ask for you to track it out, etc.?
Ah man, it’s still unreal for me. Busta is one of my all-time favourite artists. I connected with DJ Kay Slay, sent him a few beats and next thing I know I get a Flipmode/Streetsweepers track on a Busta Rhymes project. Me and Slay also worked on “The Last Lyricists,” a track featuring Busta Rhymes, Papoose and Big Lou. They used a stereo 2-track for both songs.

3) What is the biggest lesson you’ve learned in shopping your beats?
Excessive watermarking is prejudicial for you, but find the small tag you want to use as your trademark and always throw it in during the intro of your tracks. That way whenever an artist chooses to record to your beat and not warn you before, your ID will still persist.

4) What’s in your toolbox? Are you more hardware or software based?
I’m definitely more software based, mainly because of my location and budget. You don’t easily find good and cheap equipment in my country, and shipping gear in turns out to be really expensive (one word: Customs). I really want to make the jump to hardware though, it’s just a matter of time.
I always use the same formula to make a beat: Cool Edit 2, FruityLoops3, and Reason 3. I also use a MIDI controller for basslines and sparse instrumentation, KRK RP5 monitors for mixing and occasionally a Boss SP-303 for its crazy effects.

5) )What is the hip-hop scene like in Portugal? Where do you go to get records and equipment?
Although I’m not up to date with everything, I believe it’s developing strong. Nowhere near as the major markets, but you have a few artists reaching gold and platinum status so it’s a great look. There’s still a lot to be made and pioneered, I hope I can help in that matter. We have dope producers, MC’s, groups, DJ’s, breakers, writers, beatboxers and media outlets working hard to make our Kulture better: props to them all. To get records and equipment it’s hell on Earth, like I mentioned before. I’m not even in a major city so I’m forced to get all my records online, and my equipment is mostly virtual. I paid 350€ for my KRK’s; that’s 550 American dollars, just to make my point clear. There’s room for a lot of improvement in this aspect.

6) What do you do to shop and promote your beats, since you have so many underground placements?
The Internet is crazy. That’s how we connected even being thousands of miles away. I always wanted a manager to handle my business since I can’t fly overseas back and forth, but in the end I can cut the middle man with this tool. Everything you see in my discography, I got it myself by looking for the artists/managers/A&R’s contacts online and hitting them up with tracks. MySpace, forums, email adresses, everything works. You need to feel that you’re ready and your beats are on point before you do that though, you only get one first impression and unfortunately I wasted a few in my early stages.

Producer Gal “Ladies First”

Name: Cara (aka Producer Gal)
Age: 26
Where from: Montreal, Canada
Contact:
Producer Gal on Myspace
Key Tracks: “Simply Thankful”

1)Ski Beats just tapped you as the winner of the Crate Kings beat battle. What was that competition like and how did it feel for him to pick you?
I love competing against other talented beatmakers. It’s always interesting to hear how someone else will come at you musically. I’ve won other beat competitions and the feeling is still the same. It’s rewarding to sit in front of my equipment, delve into a track, and make something within the hour that will affect people positively. I appreciate being held as the champion. But I think all the 60 beatmakers that took part in the contest are winners.

2) Are you more software or hardware based?
I love the hands on experience of playing equipment (keyboards, drum machines) as well as software flexibility.

3) What mistakes have you learned from in the studio?
Haha , I’ve learned that you cannot let everyone listen to what you’re creating. Next thing you know, that friend of a friend who came with your friend went home and now is trying to sound like a bad imitation of you.

4)What is the last piece of equipment you purchased?
I got me some EVENT 8 XL studio monitors

5) What is your favorite beat so far and how did you make it?
“Simply thankful” and “Staying away” because they have pretty and many elements. Cubase was the culprit.

6) How has being a woman effected your experience as a producer?
They say that men and women think differently. In many ways, this is true. Musically, I don’t know that there is a difference. If you love and respect music, it shouldn’t matter what your gender is. I don’t know, maybe the fact that I’m a woman makes me less brutal to critique someone’s work? (haha) And as far as work opportunities, it’s all about how consistent a person can be. And how efficient they are in a pressure situation. As someone once said “A real producer will be able to work on the spot. On demand.” This is a skill we all have to work on, no matter what field you work in.

Got some heat? Send an MP3 of your best beat to hydrosonics@nodfactor.com. Registered users will have priority in response!

Hydrosonics-Ken B “Kind of Blue”

Name: Ken B

Age: 27

Representing: Willingboro, New Jersey

Side hustle until first placement:
Audio/Visual Tech for the hotel, resort and conference center industry.

Contact: http://www.myspace.com/kenfocus

Key Tracks: “Black Magic” “Never Blue”

When did you first start producing and with what equipment?
While I was in high school I would piece together instrumentals onto cassettes by recording, then pausing at the end of a 4 or 8 bar break, rewinding the tape and recording the loop over and over again. I broke many play and rewind buttons back then. In 2002 I found a software program called Fruity Loops. A couple years after that, I attended an Audio Engineering school where I was introduced to Reason and thats what I’ve been using since.

How would you describe your sound?
Melodic, Cinematic, Vivid, Jazzy, Dream-like, Epic. I try to maintain the sound and feel of live instrumentation, but with that Hip-Hop groove.

Your “Blue Magic” remix was really good. How did you make it?Well, to be honest, the marriage of that acapella and my beat was kind of random. I had already composed and arranged the music inside of Reason, when I noticed the tempos were similar. I made some adjustments on the beats tempo/BPM (beats per minute) to match up with the acapellas BPM. Then I synced up the vocals with the track and mixed them down together in Cool Edit. The track just so happened to be in key with the hook so it worked out. When your doing remixes, all you really need is the tempo/BPM and its like a kid having the keys to a candy shop. You can flip the song and give it a whole new vibe, with your own little signature. This remix, I felt, represents my sound to a pretty good degree, and I hope people that dig that mellowed out sound like it as much as I do. I had a lot of fun putting it together.

What was the last piece of equipment you acquired? are you more software, hardware or instruments?
An M-Audio Radium 49 Midi Keyboard. Being computer savvy, I would say I’m more software oriented. That being said, nothing beats a good, clean recording of a live instrument.

What mistakes have you made in recording that you’ve learned from?
The first mistake is that I didn’t backup a lot of my early work and a hard-drive crash wiped out two years of worth of work. So BACKUP, BACKUP, BACKUP!

The other thing I’ve learned is that not everything has to be loud in the mix. I recently read an article, in which, a mastering engineer showed how running your sound through equipment that simply made it louder, squashed the stereo image and compromised the dynamics of a good mix. It’s a lesson I’m still learning as I try to sharpen my skills in mixing and mastering. Quality and Dynamics are becoming more important to me as I’ve grown.

What artist would you like to make a beat for the most and why?
It’s a tie between Pharaoh Monch, because of his energy and the way he animates his voice on a track, Black Thought, because of his substance, and Jay-Z, because his conversational tone fits well over my music. One.Be.Lo. is another artist that I would like to work with.

Hydrosonics-JH “Home Bass”

Name: JH

Age: 22

Representing: Virginia

Side hustle until first placement:Network Administrator

Contact: http://www.myspace.com/jhaudio

Key Tracks: “Take Me Home,” “Father Forgive Me”

When did you first start producing and with what equipment?
I started when I was around 14 or 15 with this computer program called Hammerhead Rhythm Station. It was like an emulation of a Roland 909.

How would you describe your sound?
My sound has been described as organic soul. I would definitely say it’s organic. I usually build the drum tracks ‘inside the box’ and then my guitar player, Chris Conner, will typically lay down a live bass and guitar tack. If I add synths, I try to use things that are as realistic sounding as possible just to keep the raw vibe to it. I listen to a wide range of music so when I sit down to make a beat I don’t go in with the intention to make any certain genre. All I want to do is make music that I can enjoy myself and if other people happen to like it, that’s just an added bonus.

What was the last piece of equipment you acquired? Are you more software, hardware or instruments?The last thing I bought was an M-Audio Keystation, recommended by my friend QDIII back when I was trying to move away from using samples. The setup we use pretty much incorporates software, hardware, and live instruments. I do most of the drum programming with software. The live instruments are recorded through a hardware setup. I use several VSTi’s for strings, pianos, trumpets, etc. In the end, everything is sequenced using software. Nothing is really off limits as long as it sounds good.

What mistakes have you made in recording that you’ve learned from?
Trying to over process and clean live guitar and bass tracks. I’ve found its best to leave the little blemishes rather than to process the recording 500 times, because in the end you lose the feeling and soul of it all. I’ts best to be close to the sound you want before recording, rather than trying to achieve it after the fact.
What artist would you like to make a beat for the most and why?
I would love to do a track for Obie Trice. I think he is one of the most talented artists out there today. I don’t think he gets the respect he deserves though.

Who are you currently making beats for/current projects?
Currently, I’m working on some new music with Spot. After we did the song ‘Take Me Home’ it was obvious to both of us I think how well our sounds meshed. His song writing abilities are crazy. He’s definitely an artist to check up on if you haven’t already. I’ve also got something in the works with Rich Hil. He’s extremely talented and the style of music he’s doing really can’t be defined, it’s just great music. That’s what I love most about his stuff though.

Think you got heat? Email an MP3 of your best beat to hydrosonics@nodfactor.com

Note: Submission will automatically add you to Nodfactor.com’s mailing list.

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