just grinding down here, cranking out these hits.
are just coming up and the Diplomats have already embraced you. How did
you get down with them?
my boy Spliff, who is an assistant A&R for them. He's my manager now.
We met up and I played him 30 beats, and it was on from there.
you guys break in with the Dipset family?
first joint we did was for JR Writer. It hasn't come out yet and I don't
think it ever will. We also did "Magic" for JR Writer, which
got a lot of mixtape buzz. That was a good look.
"Get Down" on the Diplomats album. How was it working with them
we couldn't be in the studio together. I met Juelz in Orlando and I played
him that beat, and he said that him and Cam had already done a song to
you make that beat?
I was thinking I had to make some shit that would make Cam want to go
to the studio as soon as he heard it. I had Cam in mind when I made it.
I wanted to make it a dancehall drum pattern. I had a sample that I chopped
up, and that was pretty much it. It wasn't that hard.
it working with JR Writer?
cool. I really respect him because he has some really hot words. I fuck
with him because he was the first cat to really get on our beats. We were
on "Writer's Block 2" for a beat that Jinx made. JR's cool.
the Diplomats usually record their songs?
my manager is there. Since we work in Miami and they're in New York, we
can't always make their studio sessions. I have met with them and recorded
with them a little bit.
hurt the production process?
but it's the Diplomats and they do what they want. We'll worry about the
also on the Cam album. How's it sounding so far?
far, it sounds crazy. From what I've heard, it's going to be ridiculous.
I did the intro track, and it sounds ridiculous. I can't divulge too many
secrets, but it's definitely going to be something that the people are
going to love.
are known for having a certain sound, does that ever limit you in the
beats you give them?
because I see them moving on and rocking a variety of beats. One of the
things about Treetown is that we're so versatile. We can do R&B, dancehall,
soca, reggaeton. My man Jinx is so versatile.
working with any artists in Miami?
We're working with this group Blood Money Records. That's my boy Monte.
We're working with this dude named Fuse who used to be signed to Universal.
We have a possible track on I-20's next album too.
is it to be versatile in today's game?
think it's definitely important. You have to have a certain sound, but
you can't get pigeonholed into one certain style. That's not what we're
trying to do. We're trying to have something for everybody.
you guys work together?
we just make tracks solo, but when we collab, we usually sit down and
start with the sample, add some drums, tweak them
also so that's an advantage we have in making things sound nice.
you been doing as an engineer?
also been working at Circle House Studios in Miami for the last four months
as an assistant engineer. I've been able to do work over there with Lil'
Wayne, Trick Daddy, Jim Jones, and some others.
of young producers today aren't very well-rounded. How does your engineering
helps to know what sounds good together and to be able to mix and balance
all the sounds to make the shit bang.
you guys come together to form Treetown?
met back in Ann Arbor, Michigan where we grew up. We were both taking
classes at this community college up there. For the fall semester, we
both signed up for all the audio classes they had. We started making bangers
in those classes and then we started working on more. We decided to move
out to Miami to go to recording school. Once we got down here, that's
when things with Dipset really started popping for us.
in Miami ever hurt you being that a lot of artists are based out of New
Jinx: A little
bit. There's a hustle element to New York that makes you grind real hard.
In Miami, we can just chill. We have a lot of influences down here to
our sound that we wouldn't have had growing up in Michigan. We try to
be very versatile.
has the internet been to getting your beats out to artists?
internet is crazy because you can get a beat to somebody on the other
side of the world. I've sold a beat to somebody in Thailand. The downside
is people jacking your stuff and stealing your style.
had any problems with that?
little bit, but nothing serious.
are you guys using?
now, we're pretty software-based. Reason, Fruity Loops, Pro Tools, Cubase,
some midi controllers, DST plug-ins
that's pretty much it.
your production progressed from when you started making beats to today?
would say that we've gotten more productive, making more beats, and basically
getting more productive with each beat.
you stay fresh and original in today's industry?
definitely have to keep your ear to the radio but not so much so that
you're biting everyone's style. We just feel that we have to do us, make
the hottest shit that we can, and rise to the top.
have more work with the Diplomats in the future?
definitely have more work with the Diplomats. We're trying to score more
films as well. We just scored an independent film.
your goals for the new year?
now we're just trying to get some more placements.
of big artists never pay for beats
do the Diplomats pay for their
the mixtape stuff, we just get a good look on the promotion tip. For albums,
we definitely get compensated.
next for you guys?
next thing dropping is the NBA Ballers game, we got two beats on there.
We're working with artists out of Michigan, M.Dot and Young T, and we're
going to have the Killa shit dropping and the JR Writer album dropping
after that. Jinx also has a song with I-20 that will probably come out
over the summer.
you want to say to everyone out there?
out for Treetown. If you're looking for a banger or looking for a single,
you have to check for us.