The craziest thing about "Gucci Gang" is I made it at Record Plant.
The same studio back in the 70s where my dad was trying to audition for a band.
He stole the singer of that band's wife and now she's my step-mom.
Another funny part is that I brought a girl to that studio.
I didn’t even make a beat yet.
I just took her to this lounge scene they have and got it poppin' back there real quick.
Then I went in the studio and then just started making the beat.
And I always tell my dad that and he's just like, "Okay."
As a kid, I just always wanted to do music.
I started getting into production when I was like 17.
I was listening to Wiz Khalifa 'Cabin Fever,' and I would always see "prod. by Lex Luger."
All them people.
I was seeing that they were using Fruity Loops so I just downloaded it on my mom's computer.
From there I just got addicted to it.
I stopped everything I was doing because I was staying up all night making beats.
I have to be in the right mood to make beats.
Sometimes I won't be in the right mood and then I think every beat sucks.
And I can't make beats without having a full outfit on.
Like shoes and everything.
Even if I’m in my house.
Because when I make a beat…
Usually I hate all my beats.
That’s my problem.
So I at least have to have a good outfit on to feel confident.
Like, “Ok, I can do this.”
The funny thing about Record Plant is that it has a basketball court in there.
And Pump, I already knew he wasn't recording that night.
He was just gonna play basketball.
So I was gonna make a beat there, I wasn't gonna waste studio time.
I like being in studios that's big and loud and nice.
I pulled up just some piano in Sytrus and that’s a stock plugin which is funny.
And then I added this Gross Beat.
Every Fruity Loops dude and everybody that uses Gross Beat knows about the half speeding
thing.
And I half sped it but I don’t want it all the way half sped so I turned it like halfway
off.
This is a little secret.
Instead of sounding so dry it sounded like this.
Makes it sound like more is going on right there.
You kinda still hear the notes I play but then it adds these random notes that hit off
each other.
The next thing I did after having the piano and I was content with the piano.
I went to DUNE and I found the sequence.
I felt like it was too fast and like, “Woah, too much is going on.”
It was really fast.
And so I pulled up Gross Beat and just half sped it.
Then it sounded like this.
I was kind of just experimenting.
I found that sound and I just laid the note out.
And then I was like I’m going to put a gross beat just to see how it sounds.
They like added together perfectly.
So I was like, “Ok, that’s sweet.”
I didn’t put too much thought into it.
So after I had the melodies laid out, I just moved on to hi-hats.
Like very simple.
Usually I’ll always do that too.
I’ll go melodies and then hi-hat and then clap.
And then I layered that clap with this snare.
After I added some percussion with the melodies playing.
I felt like, “Ok, it’s sounding good. I got something.”
It was going somewhere.
And then usually after I do the percussion and all of that, I add the 808.
It sounded good.
I felt like if I added too much more distortion or any EQ it would’ve been like overkill
so I kind of like it to have a cleaner sound.
The thing is I like having Gnealz around me when I’m making a beat because we collab.
He’ll like hype it up better like, “Nah that’s good. That’s good.”
Like motivation.
Like, “Nah, you’re good.”
And I was like yo, add something to the beat.
He switched up some of the hi-hats and then he added this rim.
It added like a little bounce because it was kind of like on the off beat of it.
The kick followed the 808 pattern pretty much very simple so didn’t do too much to that.
I found a little open hi-hat and it’s very simple.
That was pretty much the whole beat but it needed like one more melody.
Everything else sounded really low and dark.
Something in my head just popped up.
And I was like, “I wanna add this higher piano.”
I feel like that part is stuck in people’s brains.
So the last thing after the beat was laid out and I added that little high pitch piano.
Everything sounded great.
We added our tags, like every producer.
But then I remember this rise I always use.
That’s all it is but it sounds like something epic is about to happen.
I always use that one.
I love that rise.
So with the whole beat, it sounds like this.
I knew the beat was done because Pump was like, “Yeah that’s it. It’s good.”
So i didn’t have to add anything and he knew what the hook was.
I rather make beats in front of the rapper on the spot.
It doesn’t adds no pressure to me.
That’s perfect.
And I don’t care if you don’t like any of the beats I end up making like, “Oh well."
"I’ll come back another time.”
But I always like doing it on the spot because I feel like when I’m by myself I add too
much sounds.
That one sounded perfect.
I can loop it forever and I would never get annoyed of it.
Everytime I went to the studio with Pump I always wanted to make him his biggest song.
That’s my goal with like every rapper.
I want people to know that when you get a beat from Big Head, it’s going to be your
biggest song.
'Cause like nothing is ever good enough.
I’ll be like.
I’ll set a goal and I wanna do this or whatever.
And then it happens.
And then it’s like I want 10 of those.
Like I wanna fill the Billboard charts.