When I was making the beat I knew it was super hard.
Usually if I make a beat and I think it's a smash with no vocals, it's an instant smash
with vocals.
When I found out Cardi and Nicki were on the record together I was like
"These guys are geniuses."
I started banging on drums when I was five years old.
My dad was trying to ... RIP my dad.
He was definitely trying to get me to play guitar at a young age and I just really wanted
to play drums.
That definitely gave me a good grasp of how I make beats.
The first time I linked with the Migos was in Atlanta probably five or six years ago
in the hood.
I used to always hit people up on Twitter.
Like if I wanted to get to the Migos
I'd find their friends on Twitter and I hit them up.
So I hit someone up and I was like, "Yo, I'll give you beats if you play my beats for Quavo and Takeoff"
because Offset was locked up at the time.
They hit me back two weeks later.
They flew me out to Atlanta, I started living with them, then we just kept working.
So I was at my buddy's house just cooking up in his condo, on his little Bose speaker.
Cubeatz sent me the melody, the bell melody.
And then I just looped the one part.
I feel like a big part of music nowadays is collaborating but I also want to protect my
sound.
So I'm kind of picky of who I like to collaborate with.
I collaborate with Cubeatz a lot because I feel like we have a good chemistry and every
time we make a beat or makes a song it becomes a big record.
And then for the hook I put Gross Beat on.
I just half-speeded the one part.
Then for the intro I added a texture underneath.
I just chopped up the loop and put a texture on it, and Gross Beat it and stuff.
So the intro together is just…
I feel like that gave it like an anthem feel.
Stacking is a big component of making music.
I'm not going to use one melody and just loop it throughout the whole thing.
I'm going to add different textures, Gross Beat this part, have this texture and just
have little formulas on how I want it to change throughout the beat.
Definitely my drums are what makes my beats fire.
Breaking it down, these are all the hi-hats I put into it.
Because my beats are so simple, the random hi-hats and stuff, I feel like they fill in
the beat.
And then with the Murda chant.
You hear that chant in all my beats.
This is an old sound from a drum kit I found when I first started producing and I just
liked it.
It sounded like someone saying, "Hot," or some shit.
Right?
Then the claps with the snare.
Then the 808 with the kick.
I kept it really simple because I couldn't really hear what was going on.
‘Cause like I said, I made it on the smallest speaker ever.
I think the speaker was this big.
So I just kept it on the right note.
Just the simplicity of the bells and the 808 together I feel like is a standout component
of this beat.
Yeah that’s definitely the key to the beat.
So this is the whole pattern together.
I named the beat "Six Anthem” because I was in Toronto and yeah.
It was around ‘More Life’ time too.
So I made the beat and I was like, "Drake is going to body this."
So I sent it over to him.
Then I ended up being in New York with the Migos.
Then I pulled up the beat and then Quavo made it in New York.
So it was dope.
I just knew it was going to be a huge record.
With the Migos it would've been a huge record, just them. Obviously bringing Nicki and
Cardi B together on the record made it such a big moment in music.
I want people to not know what to do when they hear this beat because it's just so hard
that they get confused and overwhelmed.
This song is fire.
This song is the Murda sauce, and the Murda sauce is fire.