It was probably a couple years ago.
I was just tryna figure out you know how can I push myself to the next step.
And at that point I was so determined to get a result.
One day I just hit up this kid.
His name was like Lil Corn or something.
Do you know any other bigger rappers in the city?"
He's like "Yeah, Famous Dex."
"He's my cousin."
And I'm like, "Who's Famous Dex?”
He was kind of small at the time.
So I DM’d him like, sent him beats.
That was when Rich linked up with him too.
So they're in the studio and then I saw a snippet on I think it was Instagram or Snapchat
or something.
They were recording on my beat and I'm like, "Yo, what?”
I never felt that kind of way.
I started hitting him up, sending him more beats.
And then he just started fucking with me more and more.
I'm from a very musical family.
I've always been into rap since I was a kid.
Being around Toronto is like...
I didn’t realize how all these producers were from my area.
It was like T-Minus and Murda, WondaGurl.
You know what I mean?
So, it's just cool to see how you don't need to be from a certain place.
I like to make one main melody that's just kind of intricate.
I was in Omnisphere.
I was in the LeauxFi-Aurora pack.
There was this sound.
It was called vinyl bell tone.
It's like this spacey vibe for sure.
Drew in this melody here.
Like that’s pretty much how I do all my melodies.
I just kinda draw them in.
It sounded a little fast so I just threw the Gross Beat on it at half-speed.
I basically just copy and pasted the same melody into a new Omnisphere file.
It's like a Rhodes sound and then I just took the two main melodies.
I put it into an Edison clip.
Basically just reversed it.
Put this Gross Beat effect on it.
This swoop effect.
I don’t know where I’d be without Gross Beat.
So that's how I got the intro.
For this beat I chose a clap.
Something I like to do is add another clap or another sound under it.
I put this little perc here.
On the second clap and the fourth clap.
There’s like a subtle difference.
The hi-hats, I wanted to have that normal like to think it’s gonna sound like this
like trap vibe.
But I just cut it off after like three hits.
Second hi-hat under the third note.
I added a little chant in there.
Little sounds, difference, you know.
That one little sound I put in there sounds like…
It’s almost like a spaceship or something, you know?
It’s like I needed to put that in there.
The kick?
I think I took two kicks I liked and combined them.
It's hard to hear but there's actually this synth on top of the bass.
It's like this eerie sound.
And these are all the drums together.
Everything just came together like that.
When I made it I had no idea it would be gold in a month or almost platinum.
I didn't see the potential in it.
When I heard him record I was like, “What?
Really, that's that beat?”
I didn't even like that beat that much.
I may not think this beat is that great but a lot of it has to do with how the artist
uses it.
I’m working with artists I used to listen to.
It’s just crazy.
Now I’m creating the song for them, creating the beat.
It’s all so great to me but at the same time I need more.
It’s never enough for me.
I need to keep working.
That tag is this girl. Her name is Chelsea.
Chelsea voice tags. Like she actually makes voice tags for like a living.