Compatible Mics

AKG 414
AKG
414
EYEBALL
AKG C214
AKG
C214
EYEBALL
AKG C3000
AKG
C3000
EYEBALL
AKG C314
AKG
C314
EYEBALL
AKG C414 XLII
AKG
C414 XLII
EYEBALL
AKG C414 XLS
AKG
C414 XLS
EYEBALL
AKG P120
AKG
P120
EYEBALL
AKG P220
AKG
P220
EYEBALL
AKG P420
AKG
P420
EYEBALL
Aston Origin
Aston
Origin
EYEBALL
Aston Spirit
Aston
Spirit
EYEBALL
Audio-Technica AT2020
Audio-Technica
AT2020
EYEBALL
Audio-Technica AT2020USB+
Audio-Technica
AT2020USB+
EYEBALL
Audio-Technica AT2020USBi
Audio-Technica
AT2020USBi
EYEBALL
Audio-Technica AT2035
Audio-Technica
AT2035
EYEBALL
Audio-Technica AT2050 (Special Instructions Shock Mount)
Audio-Technica
AT2050 (Special Instructions Shock Mount)
EYEBALL
Audio-Technica AT3035
Audio-Technica
AT3035
EYEBALL
Audio-Technica AT4033a
Audio-Technica
AT4033a
EYEBALL
Audio-Technica AT4040
Audio-Technica
AT4040
EYEBALL
Audio-Technica AT4047
Audio-Technica
AT4047
EYEBALL
Audio-Technica AT4047/SV
Audio-Technica
AT4047/SV
EYEBALL
Audio-Technica AT4050
Audio-Technica
AT4050
EYEBALL
Audio-Technica AT4060a
Audio-Technica
AT4060a
EYEBALL
Audio-Technica AT5047
Audio-Technica
AT5047
EYEBALL
Audio-Technica ATR2500-USB
Audio-Technica
ATR2500-USB
EYEBALL
Avantone BV-1
Avantone
BV-1
FATBOY
Avantone CV-12
Avantone
CV-12
EYEBALL
Beyerdynamic FOX USB
Beyerdynamic
FOX USB
EYEBALL
Blue Bird
Blue
Bird
EYEBALL
Blue Raspberry
Blue
Raspberry
EYEBALL
Blue Spark
Blue
Spark
EYEBALL
Blue Yeti Mic Wired
Blue
Yeti Mic Wired
FATBOY
Blue Yeti Pro Studio
Blue
Yeti Pro Studio
FATBOY
Blue Yeti Pro USB
Blue
Yeti Pro USB
FATBOY
Focusrite Scarlett Studio CM25
Focusrite
Scarlett Studio CM25
EYEBALL
Gauge Precision Instruments ECM-87
Gauge Precision Instruments
ECM-87
EYEBALL
Genesis GenesisHE
Genesis
GenesisHE
EYEBALL
Lauten Audio Atlantis FC-387
Lauten Audio
Atlantis FC-387
FATBOY
Lauten Audio LA-120
Lauten Audio
LA-120
EYEBALL
Lauten Audio LA-220
Lauten Audio
LA-220
EYEBALL
Lauten Audio LA-320
Lauten Audio
LA-320
EYEBALL
Lauten Audio Lauten Audio Clarion FC-357
Lauten Audio
Lauten Audio Clarion FC-357
FATBOY
Lauten Audio LT-386
Lauten Audio
LT-386
FATBOY
Lewitt LCT 240 Pro
Lewitt
LCT 240 Pro
EYEBALL
Lewitt Lewitt LCT 550
Lewitt
Lewitt LCT 550
EYEBALL
Manley Reference Cardioid
Manley
Reference Cardioid
EYEBALL
Manley Reference Gold
Manley
Reference Gold
EYEBALL
Manley Reference Silver
Manley
Reference Silver
EYEBALL
MXL 2003A
MXL
2003A
EYEBALL
MXL 2006
MXL
2006
EYEBALL
MXL 3000
MXL
3000
EYEBALL
MXL 4000
MXL
4000
EYEBALL
MXL 550
MXL
550
EYEBALL
MXL 770
MXL
770
FATBOY
MXL 770X
MXL
770X
FATBOY
MXL 910
MXL
910
EYEBALL
MXL 990
MXL
990
EYEBALL
MXL 990HE
MXL
990HE
EYEBALL
MXL 990USB
MXL
990USB
EYEBALL
MXL Blizzard 990
MXL
Blizzard 990
EYEBALL
MXL CR89
MXL
CR89
FATBOY
MXL Genesis
MXL
Genesis
EYEBALL
MXL R144
MXL
R144
EYEBALL
MXL R44 HE
MXL
R44 HE
EYEBALL
MXL Studio 24 USB
MXL
Studio 24 USB
EYEBALL
MXL Tempo
MXL
Tempo
EYEBALL
MXL USB006
MXL
USB006
EYEBALL
MXL V63M
MXL
V63M
EYEBALL
MXL V67
MXL
V67
EYEBALL
MXL V67G HE
MXL
V67G HE
EYEBALL
MXL V67i
MXL
V67i
EYEBALL
MXL V69 EDT
MXL
V69 EDT
EYEBALL
MXL V69 HE
MXL
V69 HE
EYEBALL
MXL V87
MXL
V87
EYEBALL
Neumann Neumann U89I
Neumann
Neumann U89I
EYEBALL
Neumann TLM 102
Neumann
TLM 102
EYEBALL
Neumann TLM 103
Neumann
TLM 103
EYEBALL
Neumann TLM 107
Neumann
TLM 107
FATBOY
Neumann TLM 193
Neumann
TLM 193
EYEBALL
Neumann TM49
Neumann
TM49
FATBOY
Neumann U87
Neumann
U87
EYEBALL
Oktava MK-105
Oktava
MK-105
EYEBALL
Oktava MK-220
Oktava
MK-220
EYEBALL
Oktava MK-319
Oktava
MK-319
EYEBALL
Pearlman TM1
Pearlman
TM1
RODE K2
RODE
K2
EYEBALL
RODE NT USB
RODE
NT USB
EYEBALL
RODE NT1
RODE
NT1
EYEBALL
RODE NT1-A
RODE
NT1-A
EYEBALL
RODE NT1000
RODE
NT1000
EYEBALL
RODE NT2-A
RODE
NT2-A
EYEBALL
RODE NT2000
RODE
NT2000
EYEBALL
RODE NTK
RODE
NTK
EYEBALL
Roswell COLARES
Roswell
COLARES
FATBOY
Roswell DELPHOS
Roswell
DELPHOS
FATBOY
Roswell MINI 47
Roswell
MINI 47
Roswell MINI 87
Roswell
MINI 87
Samson C01
Samson
C01
Samson CO1
Samson
CO1
Samson CO3 & COS3U
Samson
CO3 & COS3U
EYEBALL
Samson MTR-201 | 231
Samson
MTR-201 | 231
Samson MTR101
Samson
MTR101
Samson VR-88
Samson
VR-88
EYEBALL
sE Electronics RNT
sE Electronics
RNT
FATBOY
sE Electronics sE2200
sE Electronics
sE2200
EYEBALL
sE Electronics X1A Series
sE Electronics
X1A Series
EYEBALL
sE Electronics X1S Series
sE Electronics
X1S Series
EYEBALL
sE Electronics Z5600a II
sE Electronics
Z5600a II
EYEBALL
Sennheiser MK4
Sennheiser
MK4
EYEBALL
Sennheiser MK8
Sennheiser
MK8
EYEBALL
SHURE KSM 313
SHURE
KSM 313
EYEBALL
SHURE KSM 42
SHURE
KSM 42
EYEBALL
Slate Digital Slate ML1
Slate Digital
Slate ML1
EYEBALL
Slate Digital Slate ML1 Vintage
Slate Digital
Slate ML1 Vintage
EYEBALL
Slate Digital Slate Virtual Microphone System
Slate Digital
Slate Virtual Microphone System
EYEBALL
Sony C-100
Sony
C-100
EYEBALL
Sony C-800
Sony
C-800
EYEBALL
Townsend Labs Sphere L22
Townsend Labs
Sphere L22
FATBOY
Warm Audio 251
Warm Audio
251
Warm Audio FC-357
Warm Audio
FC-357
FATBOY
Warm Audio WA-47
Warm Audio
WA-47
FATBOY
Warm Audio WA-87
Warm Audio
WA-87
Wunder CM49
Wunder
CM49
FATBOY
Wunder CM50
Wunder
CM50
FATBOY
Wunder CM67
Wunder
CM67
FATBOY
Wunder CM7
Wunder
CM7
FATBOY
No Compatible Microphones Found

Reezy Tunez

Songwriter | Ludacris - Eric Bellinger - DarkChild

Interview

 

ReezyTunez, is making a major splash in Dallas with his exceptional production talents. A veteran of beat battles, Reezy won a producer/songwriter competition with Rodney "Darkchild" Jerkins in 2010. He entered a producer competition in 2014 with S1 aka Symbolyc One and took first place.

He has produced multiple tracks on season three of Empire, which is on Fox. He did three records on that show.

Those tracks were premiered on the show and then two of them actually made it onto the soundtrack. He has worked with one of Beyonce's signees, Chloe and Howie. Worked with them in the studio and of course worked with Rodney Jerkins  a.k.a Darkchild. He has also worked with Symbolic One or S1. He did some mixing work for Eric Bellinger and another artist they signed from Houston named Lo Play. He's the guy who wrote “My Chick Bad” for Ludacris.

 

Speaking of Empire, were these tracks you produced for the show or previously recorded tracks you licensed?

Yes. So I mean speaking about the placements there are two of them. It was records I've already worked on in the past and of course at the time you know Rodney and I've been collaborating. I'm one of the producers that's part of this little team to produce records for Star and Empire. The first placement that I got was an instrumental that I produced like last year. When he heard the potential of it and it was kind of like a co-production thing.

He added his little flare to it and then obviously it got pitched and three of the biggest stars on the show ended up getting on it and that was it.

 

What sets you apart from other producers?

I would say probably the type of sound I produce. It’s a blend that I call genre bending. It's like a blend of genres. I usually take elements that I like out of each genre and just sort of make it my own. And then of course I would say obviously the programming. The cadences of the drums and the rhythm. That would be another thing that's like unique and different that I bring to the table.

 

Could you elaborate on this genre bending?

Yeah, for example if I'm working on a pop record I try to take elements from R&B, hip hop and urban elements and bring them into the pop world to see if it still makes sense for that artist you know, stuff like that and vice versa. Like if I’m working on hip hop I'll try to bring in dubstep or electro kind of stuff but it's still like hip hop you know from that artists.

"So I think of things that way when I'm approaching producing."

 

What is one secret tip that you would be willing to share from your secret sauce? You know one ingredient in the way you put your music together that you might want to share that could really benefit another artist or producer?

I think this will apply to everything. I went to school for audio engineering so I’m heavy into mixing and making sure things sound right and using sound design and everything. One thing that I will say that's a great tip is. Cut first, boost later. When it comes to EQ’ing, you always want to cut out first before you want to boost anything. Most likely when you cut out you're actually making it sound better.

I think a lot of producers sometimes we’re just like, OK that's a frequency we want. So we'll just go ahead crank it up. Well, not necessarily. If you actually cut out the unwanted sound first you may not have to boost anything. Like the sound may already be there and it is going to be more clear and it's going to be more present within the mix. That's why I love the Eyeball for cutting tracks on the road. It's the secret weapon in my portable recording studio because I don't have to cut out or boost a lot of frequencies when it comes time to mix.

 

Where do you get your inspiration from?

I know this may sound funny. Like of course spending family time. I'm married. I have a wife and two kids.

"So you know spending as much family time as I can kind of like takes my mind off of music for a little bit. That’s where a lot of my inspiration comes."

And it actually hits a lot stronger because the second you're not thinking about music you'll have an idea that will just abruptly appear. So that's one thing I usually have, a voice memo app that I can just pull up and just hum or beat box. So as soon as I get home I can just lay it down.

And another thing too. I'm like a scientist when it comes to creating music so I love sound design and making my own sounds like usually throughout the week I’ll have like one or two days where I'm just creating new sounds. Like new drums, new synths new sound effects or finding new things that I can. Kind of just throw in a beat and then I'll challenge myself for the rest of the week to only use those sounds.

So or most of the time I know it sounds funny. I actually. Try to use stock sounds within the software but then I'll ask myself OK you know everybody has the sound so what can I do to make it sound different but at the same time keep your own identity. So I always try to manipulate sound so they can be ‘Oh yeah, this sounds like a Reezy sound now that I've ran it through filters and distortion and reverse it, add reverb. Now it sounds like something I would use all the time. Often I use stock sounds because it kind of just teaches you to use what you have but like broaden your horizons. So that kind of stuff inspires me all the time.

 

Why does music matter?

"Music is a type of language that I feel a majority of people gravitate to."

And what I mean by that is it speaks a lot of emotion and speaks feeling. When you're down and depressed you might put on a song that will uplift you or keep you in that state of mind.

So most of the time when you hear music it's more of a feeling first. Like I know you could play your favorite songs and you can remember the exact time, where you were when you first heard the song, what you were we wearing. What time of the day it was. Everybody needs music. Music can get you out of anything. You know if you're trying to get motivated. Or you want to set the mood right, you know. Music has that much power to determine the day in and day out of how people live their lives. Music is like a story that people can fill in. 

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