On the short list in a city long on talent is one of ATL’s more talented producers who goes by the name Kc Da Beatmonster. Judging by the company he’s kept over the last 10 years, you could say Kc is sporting a monster resume of talent that spans well beyond the rap and hip hop community. He’s worked with The Migos. He did K Camp’s first record, which was “All Night.” He produced Jose Guapo’s first record, Played by a Bitch, which is the one everyone remembers. He’s got tracks with TI, 8-ball. He did a lot of work with Gucci man. Kc even has a track with the Grammy winning rock band, Green Day. Not bad for a man all of 27 years old and still forging full steam ahead.
Tell us a little bit about how you got here?
I came to start producing music at the age of 15. Coming up I started out in FL and basically migrated back to ATL from there. At the age of 15, I ended up doing a record for a group I started called The Rich Kidz. The track was called, “My Partna Dem”, which got me on the radio as a number one record. I had two number one records as a matter of fact with Rich Kidz.
"I started with nothing as a producer growing up in the game. I started on my mom's computer with some basic generic computer speakers."
How do you use the studio as your instrument?
I use everything. I'm coming here. I just basically play around and have fun with it you just do your thing. You come in here, you don't take it serious. You come in here and you play like this is you're playing ground this is what you do if you wanted to be serious and in coming here you're going to get a serious vibe but you want to catch a hit, have fun. That's the most important thing if you've got people in the studio with you make sure they’re vibing with you. Y’all be in here jumping around? Hey, listen to this for me. How does this sound you know what I’m saying. You got something you feel like could be in there.
"Take your time. This is your playground. This is your work. And you got to have fun doing it."
How important is the vocal to the track?
It’s very important. Because if you have a distorted vocal how are you going to do anything? Like that destroys the whole track right there. If your vocals are distorted? Ain’t no mix. You've got to make sure that the vocals sound level, sound good and crisp. So when they go take it to be mixed and mastered it’s gone. You don't want to have to double back or get signed to a record label and they tell you Oh man we've got to do this whole record again. Because the vocals are distorted. It wasn’t recorded right. So that's the key thing. Vocals is just as important as the beat. Make sure that mix is slamming. That's the most important thing because you can't go nowhere without them. Trust me I've had that problem so many times.
So how has the Eyeball changed your production workflow?
"It's amazing! You can go anywhere. You could take into a bathroom. You could be in an airplane. You could be in a car. You can take this thing anywhere and record."
That's the cool thing about this product. It's amazing. It's not just a regular product that’s being put out there just to make money. It’s to improve your sound. It just sounds true. This is your work and it makes your work sound good wherever you go. You could take this thing wherever you want to take it to and not have a problem recording. It's my mobile vocal booth. You might run into a rapper that you might want to do a song where you say hey I got this right now I'll just set up right here. It’s on. We got a portable recording studio here with the Eyeball.
What's one secret that you'd be willing to share about how you put music together that would benefit other artists and producers?
"Listen to an orchestra. Listen to music that you don't normally listen to."
And like for movie soundtracks and stuff with a lot of instruments and you listen very carefully to how they play their instruments. If you can listen to an orchestra and be able to mimic how they played a string. Every little detail in every sound that they make inside that instrumental or whatever you're watching or whatever you’re listening to. If you are able to jot that down in your brain and then mimic it musically, you're going to go a long way.
What advice would you give to young producers just coming up who want to get to the place you are?
I advise producers to reach out to different genres of music. Don't just stay on the hip hop, R&B, trap. Go to raves and listen to EDM. Listen to Coldplay. You can’t get stuck in a box. You have to venture out. You have to reach out and try different stuff. You can’t just be stuck in the box. You got to be a people person to get somewhere in the music business. You cannot be one of those people that comes around a hang and be quiet.
You have to be that person that when you’re in the company of other artists and industry folks, be like ‘Yo I got this bangin’ track right here if you want to hear it. And you bop your head while you’re playing it and create a vibe. Maybe get that artist to start feeling it. Now maybe they want to flip it around. And be like. ‘Oh yeah. Come on. Pull up that track. Here’s how I would flip that.’ Now you just got your placement. Can’t be no wallflower in this business that's for sure. You have to be a lion.
"I’m just here to tell you you can do whatever you want to do. Anything that you want to do you can accomplish. You can work with anybody that you want to work with. Can't nobody tell you can't do that."
Focus on you and what you want to do and learn. The biggest key to the game is learn. Learn what you’re using. If you're going to use a product learn it in and out. Take your time. Don't be stubborn. Somebody tell you some advice. Listen to it. Don't say ‘no, I know how to do this’ because you don't. Apparently, that person knows more than you do. This is my game to young producers that are coming up in the game. Listen. That's all you've got to do.