I was showing some of my friends, like,
a beat prior to "Whoopty" and they loved it,
and they were like, yo, so good.
And then I made, I was making "Whoopty,"
and I was like, okay, okay, okay,
delete the beat I sent you, wait till you hear this.
When I made "Whoopty,"
I think it was like my fifth attempt on drill.
It was really, really early on.
So, you know, as soon as I'd done drill,
done, it was a hit.
So there's no development, there's no, but like,
obviously still feels nice,
but it's just the feeling of,
like I worked so hard for this, it's not there.
I was like on YouTube just looking at stuff.
And, like, I came across a video
like a pretty standard video,
like songs and the samples of something.
And there was this one song
by an artist named Richi called "Tit-for-Tat."
And it's a trap song using this sample.
So when I heard that, I was like wait,
why didn't he make this sample into drill?
After like a week of making it, I uploaded it to YouTube.
And "Whoopty" I found out about "Whoopty"
like maybe like a month after its release.
It had like 600K at the time or something like that.
It was pretty small compared to now.
I criticize like really strictly, I guess.
So like, you know, just because you use something of mine
doesn't mean that like, you know,
I won't tell you it's good, I won't lie to you,
I wont, you know, all that.
So I heard that, I was like, whoa, wait a minute.
This is actually, like this is a whole, an actual song.
It's not some kid freestyling,
is not, you know, it's like, it's like an actual song,
video clips, like visuals are crazy.
You know, I reached out and to my surprise,
he said, yo dude, we already reached out
and you haven't answered.
To be honest, it was scary at first
'cause it has a sample in it.
When it was getting big, you know,
all these labels wanted to get involved.
And yeah, we have...we have this, we have that.
And me, I had no idea what they were saying.
You know, I had no idea.
And in the meantime,
I had other artists, you know, listening to it,
enjoying my music, wanting to work.
And I was in this like dilemma, like, what do I do?
Do I focus on what to do with "Whoopty" right now
or do I work?
But luckily, you know, CJ and his team, you know,
they were just being helpful and like relax, you know,
we know what to do and stuff like that.
So basically, if you take, you know,
the "Sanam Re" sample and you pitch it up by 600 semi tones,
you get this.
When you hear it, you hear the sample,
it's like, I don't know.
It almost like brings memories you've never had.
And as soon as I heard it, I loved it.
After the sample, I always go to the hi-hats.
On the main hi-hats, I added like some high notes.
The next sounds are basically just some more hi-hats
to fill in the blanks.
Here are some more, some rolls.
The final hi-hat, this.
If the hi-hats suck, then the beat sucks.
That's how I see it.
After my hi-hats, I always go to my snare.
Obviously the snare is popular by,
from 808Melo, from Dior.
It's like really sharp, you know?
Like it hits.
But it wasn't enough for me,
so I wanted to add one more snare and layer over it.
And that's when it really started kicking in.
So if you add those together, you get.
After the hi-hats and the snare,
I pulled up an 808 from my buddy...
I have three 808 patterns,
and this is the first one.
Second one, I changed some notes,
I added some notes and take some slides out.
And then for the third pattern,
I changed the first half of the 808.
Without the kick, the 808 is like nothing.
But same goes for the kick, you know?
But when they're together,
it gives you that like push, you know, that rush.
You always need a kick on the one so it like punches.
And then, you know, some kicks in between.
So next I pulled up the sound from Electra-X
as a counter melody to compliment the sample.
So later on throughout the beat,
I had to change the notes a little bit
so it doesn't get repetitive.
This specific sound, it's like very high-pitched,
so it like perfectly blends in with the sample.
Like, you can't really hear it,
but you can feel it when it plays.
So I added some risers before the drops
to give them like a rush, you know, like a build up.
At some point throughout the beat,
there's this one sound playing
that I noticed a lot of people, you know,
like there were curious or some noticed it.
And it's basically from an anime.
So basically, "Naruto,"
there's this one like family or clan named Uchiha
and they have special like powers with their eyes.
And whenever they use their eyes, this sound effect plays.
Then at some point throughout the beat,
I added some crashers, you know,
to kind of spice things up a little bit.
I also pulled up this one vox
and just added it throughout the beat.
I don't know who made it,
I don't know who made it popular,
but I believe it was from Kenny Beats.
The first time I heard this specific vox,
I'm not sure where I found the sound,
but I believe it might be from Kenny, Kenny Beats.
After everything was put together,
the last thing I added was the tag.
Now you have the tag, you know, the hi-hats, snares,
all these sounds, you know, the ear candy,
risers and stuff.
If you add them all together, then you get "Whoopty."
I can't escape "Whoopty."
Like everywhere I go, they keep playing "Whoopty"
in Cyprus with such a small population.
So I can only imagine what's going on,
you know, like worldwide.
People who come from like places like me,
where there's no music industry,
there's no like, there's no hope for us, you know?
But thankfully, with the internet, you know,
we can show our talent, you know, show what we can do.
I just don't want like younger producers to get discouraged.
And, you know, like even if they need help,
they can contact me, I'm always there for people.
My favorite part of the song is when the beat cuts
and then, you know, it says whoopty,
bitch I'm outside it's a movie,
and then it like slowly rises up towards the drop.
I think that's my favorite part of the whole record.