We was on a cruise with Cardi B, DJ Khaled, Lil Nas X. Billion Dollar Baby was there,
straight up.
I brought my big ass computer with me.
After I made this one he kinda stopped me, like, “Oh you made this beat?”
People ain’t really heard no song like that from Baby.
You can just tell it was so real.
Bruh baby was like, he kept saying, “Everybody keep trying to send me beats that sound like
‘Suge.’”
He kept saying he wants something big, something different.
That was kinda like my thought process when I was putting the beat together.
And I ran across this one sound that’s too hard, like…
Shout out to my boy Kev.
He had a singer come in, his name Weava.
He sang that part over for us.
It was like 10 different layers though.
I took that melody and I threw a Gross Beat on it, and I half-timed it forreal.
It was kinda like the pre-hook.
It was like the last four bars of the verse entering into the hook.
Immediately after the sample, I went straight to the hi-hats, ‘cause I knew it was gonna
give that bounce to it that you can turn up to.
After I did the hi-hats, I went to the claps.
It’s a clap and a snap at the same time.
I think I did four different claps, added some reverb on them, then I had a snap that
I think I got from a Nick Mira pack.
Shout out to Nick Mira.
After them K.i.D snap-claps, gotta put that kick on there.
After the kick, 808s.
It’s two 808 patterns, so it’s this one...
Then you let it breathe right there, it was like…
When I got down to the Gross Beat part, it’s a whole ‘nother 808 on there.
It’s really like a simple 808.
When I think of the song, it already feels Godly, so it’s like I feel it in my chest.
I wanted people to feel what I had going on, so that heartbeat and that beat kinda did
that.
Last sound that I put on the beat after the K.i.D 808 was the snare.
I only wanted it on that Gross Beat section.
This was kinda like the part of the beat where it was unwinding, giving the artist room to
really do his thing in that part.
It’s this kid on YouTube, it was like from an old commercial back in the day.
But the kid, he like, “Wait a minute, who are you?”
“Wait a minute, who are you?”
And I had already had the tag, “Ayo K.i.D,” like I said that.
That was my DJ tag.
I kinda just put ‘em together.
After I pretty much added all them sounds to it, that
Godly melody, loop, sample, you get this hard ass beat.
When I heard the lyrics, it just all made sense.
Everything that he’s talking about in the song, his pops passing away, and a lot of
other things that’s in the song, it’s like wow.
He’s taking his life and putting it into his music.
As his DJ, I kinda got an ear for his music, and being in the studio with him as an engineer
it’s like I know what he wanna hear.
I know the different type of wave we trying to bring into the world right now.
The fact that this was the first beat that I made that he hopped on, it went #1 on Apple
Music, it charted on Billboard the first day.
It’s like, “Damn, I did that.”
Fasho.
I like to fuck with samples, you feel me?
A lot of producers, they tell younger kids or other producers, “That’s cheating.
You can’t really use samples.”
But bruh, when it come to this producing shit.
You can do whatever you want.