January 5, 2024 • 29 mins
When Bronx creativity meets Connecticut's burgeoning music scene, you get Dante Tweaks, a force to be reckoned with in the world of indie music production and engineering. This episode takes you on a journey from the gritty beginnings of ghostwriting in the Bronx to the polished halls of Howell Records, Dante's own studio mecca. With tales of collaboration on the project "Back on my Feet" and an independent hustle with Empire Records, Dante's narrative is punctuated with anecdotes of learning from industry greats, giving listeners a front-row seat to the evolution of a music maestro.
As the conversation shifts gears, I, Elliot Carterr, wax nostalgic about my own production escapades, revealing a penchant for Studio One and the indispensability of Pro Tools for our engineering wizards. Recounting radio days in Staten Island and the current podcast adventures, I draw parallels between the two worlds, focusing on the technical dance involved in delivering seamless audio experiences. This chapter peels back the curtain to reveal the gritty reality of learning the ropes in audio production, where ear-training and adaptability become your best friends.
Looking ahead, we cast a spotlight on the studio's plans for 2024, where amplifying local talents like Fly Boy and Medusa takes precedence. As we chat about the often underappreciated intricacies of mixing and mastering, the conversation underscores the studio's mission of fostering community and making top-tier recording services more accessible. With whispers of a second studio location, the anticipation for what's unfolding in the Connecticut music landscape is palpable. Join us as we weave through the trials, triumphs, and transformative tales of music, fatherhood, and professional ambition that resonate long after the final note fades.
Follow our IG & Twitter for live updates @LFTGRadio
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:04):
I, I Need.
Speaker 2 (01:44):
Reporting live from the motherfucking gutters your
boy Elliot Carter, here withDante tweaks.
That was a.
Why can I fall in love by Dantetweaks from the Bronx?
Speaker 3 (01:57):
Yes.
Speaker 2 (02:01):
Talk to me what you got coming up for 2024 2024.
Speaker 3 (02:06):
right now.
I got up, I got this record.
I'm working with my man'sHollywood Jake, it's called Back
on my feet.
I'm about to probably drop thevideo for that, probably in
February or March.
Okay, full fat, are you signed?
Yeah, it's something like that.
It's a little distributionthrough through Empire records
(02:30):
that they got with how records.
So, yeah, something like thatit's.
It's more of an independentventure, if anything for real
and how records is your studio?
Yeah, it's my studio, but it'salso my record label too.
Speaker 2 (02:42):
Oh, okay, so it's two and one for fact.
Speaker 3 (02:44):
Okay, I'll fuck for a fact.
Speaker 2 (02:46):
Okay, and you're the CEO.
Founder and that's him newBritain for fact I'm downtown.
Speaker 3 (02:53):
You bring, we had hard for square.
That's the main headquartersright now.
Speaker 2 (02:57):
Okay, yeah, I've been there.
It's a beautiful studio.
So how'd you get your startinto music and engineering?
Speaker 3 (03:07):
so, I'm not gonna lie , started out in the Bronx some.
So I started out really on aghost writing team.
That I can't really saypublicly.
But Start out on ghost writingteam.
I was on a ghost writing team.
I kind of picked up theengineering thing a little bit.
Then I started Fucking withtweak tune.
Tweak tune.
Really, I'm not gonna lie, I'mmissing my cousin out.
(03:29):
Come on, cousin really startedme up with the music thing I was
rapping in Denzel Porter studiofrom team backpack.
Matter of fact Shout out ConnieConnie diamond, cuz she just
should.
He just got signed to Def Jam.
She was in she's killing, shewas in the studio when I was,
when I, when I was 16, like shewas back there just starting it
you know I'm saying yeah, so wewas all in the same studio is
(03:51):
called wreck house.
Okay, I don't know if you fuckwith wreck house anymore, connie
or whatever, but you feel meshout out to the old days for a
fact, I'm not fucking.
But yeah, that's really why Istarted on with wreck house.
I was rapping.
Then, after that love, love forquarter, that wreck house
started fucking with this niggaFor the ghost writing team for
(04:12):
that large New York artist.
The artist popped off.
Then I started fucking with anigga named tweak tune and he's
on.
That's a sat fir producer.
So I started fucking with thatteam real quick.
That shit ain't really turnedout well for me.
Shit Kind of went sour.
So I came up to to Connecticutand started the studio.
Then, after I started thestudio for real that's really
(04:34):
when I really really, reallyreally got my head down into
this engineering shit Startedtaking mad clients and just
really really finessing the arm,the mixing and mastering Studio
for a fact, yeah.
And then we just we just builtover time, bro, like notable
clients, like you know, we gotsome French Montana of French
Montana record under the belt.
(04:55):
We got a arm.
Wu-tang clan Um, grab, shoutout, graph, that's my bro.
Speaker 2 (05:02):
Okay.
Speaker 3 (05:02):
Yeah, bro, so we do got some records under the ball.
Well, yeah, I'm fucking builtthat shit from scratch bro.
Speaker 2 (05:09):
And how was?
Studios is what you started assoon as you came to Connecticut.
That's the first one.
Speaker 3 (05:13):
I came to Connecticut .
I was, I was going to college.
Speaker 2 (05:16):
Okay.
Speaker 3 (05:16):
I was going to college and then I was gonna you
hurt.
I'm on a business scholarship.
Then after I got out of, Idropped out of you.
I dropped out of you hurt.
After like the first semester Idon't think I spent more than
two months in that motherfucker.
And then when I dropped out, Iwas I live.
I was back in the Bronx for alittle bit Okay.
I came back up here Then I waslike, yeah, I see a gap in the
(05:39):
market because I was trying tobook studio time I was trying to
book mad studio time and niggaswas not like, niggas was not
Mixing the records correctly atall, like this is absolutely
horrible.
So then I seen a gap in themarket.
I'm like, damn, if I could mix,I know niggas will definitely
definitely so then I startedjust you know, saying, makes in
(06:03):
the shit for real like.
And then they started fuckingwith it, especially after we
have, um, shout out, kid fresh.
We had to add with kid fresh.
After that nigga really didthat add.
We just started really crankingit over there the studio.
Niggas are taking us realserious.
Speaker 2 (06:17):
Yeah, yeah.
So how long have you been onthe engineering side of music?
Speaker 3 (06:23):
now you could call it five, six years, six years now
and do you feel like you'vegrown each year?
Yeah, now you grow every daywith that shit because, like
everybody, vocals be different.
Yeah, so a niggas be coming in.
You never know what's gonnacome out of a nigga.
So it's always a learningexperience, because I don't know
(06:43):
bro I don't know bro from ahole in the world if he booked,
so I gotta learn his vocals thatday, and then you know.
So you might start adding somesauce that you never added
before, or you might got to takeaway some sauce that you always
do, because that nigga vocalsis just different.
So that shit is always alearning experience, bro.
I don't think I'm gonna ever bedone learning.
Yeah shit for real.
Yeah for fact and um.
Speaker 2 (07:07):
Do you use other programs or are you just locked
in on studio one?
Speaker 3 (07:12):
So studio one, studio one, really the program that I
like to use.
The fucking studio one get alot of hate out there.
Well, that's really the programthat niggas like to use.
But I do got, I got.
I do got pro tools running inthe studio too, cuz I got five
engineers that work in there.
So, my fucking, we got, we gotpro tools, we got studio one.
But me personally, I'm a studioone head.
(07:33):
That's where I started.
That's what my first singlesstarted.
Yeah, I'm locked into for afact.
Speaker 2 (07:38):
That's what you know how to operate best with right
right right.
Do you have Any radioexperience on the about?
Speaker 3 (07:45):
Radio.
I'm not gonna lie, I gotta saynow, but I was hosting a little
radio show in fucking on inManhattan 2017, but that shit
wasn't really nothing.
Crazy, bro, like yeah you know,I'm saying I was just getting
my feet.
Well, I think I was, I was 19,I was getting my feet wet bro.
(08:07):
Okay it might have been earlierthan that to.
It might have been 2016 forreal, cuz I really think I was
18 when I did that radio show.
Yeah, I was 18 for fact.
So it was 2016.
Yeah, I was just getting myfeet wet.
That shit was that.
Shit wasn't nothing.
That shit wasn't about nothing,cuz I really had no topics to
talk about.
Bro, I was excited that I wasin a big building as an engineer
?
Speaker 2 (08:26):
Have you Dibbled and dabbled in podcasting at all, or
is like this your first?
You know I'm saying you'relearning with this, yeah.
Speaker 3 (08:34):
I'm Really, I'm really getting into it from this
.
You know experience in terms ofthe tech, the technical side.
Yeah like deal of it, like likedealing with other podcast
Ventures.
I, you know, I got, I got a lotof niggas that really you know
lock in on the podcast ventureand do the thing.
(08:56):
But I've never been on thetechnical side, I've always been
on the just watch.
Speaker 2 (09:00):
Yeah.
Speaker 3 (09:02):
But I'm like man, this shit kind of the same shit,
bro, the wiring is definitelythe same.
Speaker 2 (09:07):
Yeah.
Speaker 3 (09:08):
Me and the microphones is the same shit.
Yeah, I just know on the backI'm gonna come down to the mix
and it shit like that.
Niggas don't gotta do heavymixing for this type of shit.
Speaker 2 (09:17):
No, no, I don't think so.
It should just regular for surebut I mean even just I learning
how to operate the program with, with, with studio one and
podcast, and like learningcoming coming from someone that
doesn't know how to operate atall.
It could be a quite complicated.
Speaker 3 (09:37):
I mean it could be, bro, like the thing, is it just
be about the routing for real,like and everything.
Always be about the routingwhen they come down to these
damn microphones, because a lotof the times Different
microphones got differentchannels, different programs
ain't picking shit up, and thenyou got to download different
drivers for different bolsters.
That's a bunch of bullshit.
If you don't know where to look, you just gonna your head is
(09:59):
gonna spin for yeah, so how didyou learn all that?
Speaker 2 (10:03):
you went to school for that.
Speaker 3 (10:04):
No.
So I learned all of it, cuzniggas threw me in the fucking
gutter.
Speaker 2 (10:08):
Niggas threw me in the jungle and you was just able
to pick it up watching.
Speaker 3 (10:12):
Yeah, but not even watching.
I had to do it myself becausewhat it was was.
I started the studio withsomebody that was knowledgeable.
Yeah, in order this shit Okayand then, after the first week,
ain't no, ain't no hate on thatside, all love on that side, cuz
the nigga know you feel me, soit's still loves in this day.
But when a nigga, the nigga,the nigga was there for the
(10:33):
first week and we only got oneclient, the nigga like yo, bro,
where's my pay, where's my pay?
I'm like nigga, I can't fuckingpay you.
I just put out X amount ofdollars for the studio.
X amount of dollars for theequipment, x amount of dollars
for this, and that I still gotto Pay rent over there, rent at
my crib, all this bullshit.
So I'm like man, I Can't payyou, bro.
(10:53):
Like you, take the commissionnigga.
Yeah the niggas like oh no, Iwant to be hourly.
Nigga was young, so he 18, andso I'm telling nigga.
And so he like oh bro, you knowthat fucked my week up cuz, um,
I had prom.
But he said that to the wrongnigga, cuz I never went to my
prom, I never went to mygraduation.
Cuz I was really.
I was really locked in, bro,I'm not gonna lie that point.
(11:14):
I really was recording musicand I never went to my prom on
my graduation Cuz I just wasn'tfucking with it.
Speaker 2 (11:19):
I ain't go to my prom , neither.
Speaker 3 (11:20):
Yeah, I was a fuck on my high school.
I was a fucking with niggas atall, bro.
So when he said that to me I'mlike fuck that problem.
Yeah, I'm like fuck about thatproblem.
So niggas felt a type of wayabout that and then it was that
whole relationship went left.
Speaker 2 (11:38):
So that was sour from there.
Speaker 3 (11:43):
They didn't know that prom shit gang.
So so yeah, I'm like now, bro,I can't pay you hourly, so the
nigga like I quit or whatever.
I'm like whatever.
Like damn, has somebody quit onme already, so I'm like fuck it
.
Speaker 2 (11:53):
So now you have to learn his job.
Speaker 3 (11:55):
I had to learn his job.
Buckle down, get with the shit.
Well, I just I learned overtime that I'm a buy air nigga
like yeah, if.
I hear something I know I wantto replicate that thing and then
eventually what I learned isI'll just be putting all like
the pieces to the puzzle.
Like, let's say, for example, Ihear a nigga mix, I'm like yo
vocals is fire, like those shitis you know pumping in the in
(12:19):
the same right in the mix.
I might go look up, like I whatcompressor this nigga use?
Or even before that, likewhat's the term?
Like what's that term?
Like you can't just be like yobro, the vocals sound higher.
It's like what's the technicalterm for that?
Like that's compression.
You might look like okay, what'sthe best compressor to use for
hip-hop vocals.
(12:39):
Then you started learning thatcompressor because you already
know that what you looking for?
Volume, type shit like that.
That's how I learned witheverything, bro.
It was like I, what am Ilooking for?
Now I'm looking for volume.
I, what's that?
What's that called compression?
I'm not looking for clarity,what's that called equalization?
And just learning them.
And eventually I mean like whenI first started two hours and
(13:02):
waxing niggas to come to thestudio, I was charging niggas
$25 an hour because I know whatthe fuck I was doing.
So I'm like for nigga, forniggas spent $50 in the track,
fucked up.
I mean Built it from therethough, bro, now we have $50 and
$75 an hour.
(13:23):
We always give back perfection.
Speaker 2 (13:26):
Yeah, so that's what you mean when you say you have
more to learn and you learnevery day right, right, right,
right, right, cuz this shitnever stop.
Speaker 3 (13:37):
And then the program is always progressing.
There's always gonna be a newprogram.
There's always gonna be a newplug-in to fuck with.
Speaker 2 (13:44):
But you're at the point now where you could
troubleshoot or identifyanything.
Speaker 3 (13:48):
That's why I feel most things.
I feel like I couldtroubleshoot or identify
technically or with the vocals,like what's sounding wrong, like
what sounds yeah, like evenjust now, identifying with the
dynamic and the condensers, likeyeah.
Speaker 2 (14:02):
It's impressive watching you work.
Speaker 3 (14:04):
No much love my bro.
Yeah, not for fat Bro.
Yeah, that'd be me, man, thefucking, the technicalities for
the shit, so that I could putnames to shit, cuz if I can't
put a name to the shit, I feellike I'm all over the place for
fat.
Speaker 2 (14:15):
Okay, what are some some of the big names you
recorded with in your studiohere at how?
Speaker 3 (14:22):
I only mixed French Montana record he ain't come
over there.
Record.
Okay, so he sent it to you, hesent it over and then I Did at
the studio.
Though I did um, you couldreally say I did the the record
with conscience and graph.
Okay because conscience had torecord a lot, of, a lot of his
stuff at the studio.
(14:43):
Okay so you could kind of say Idid the record with him and
graph Graphing recorded thestudio.
But also his shit wasn't mixedwhen he sent it in, so that was
like I had to do that work.
Yeah, so it felt like a howrecords thing, but the thing
that was really really all howrecords was I did a feature with
um, we young dirty bastard.
So that's all.
Dirty bastard son.
Okay rest in peace.
(15:04):
And yeah, that shit was alldone at the studio, recorded mix
master, all that shit.
Yeah, yeah, yeah, oh, yeah, bro, that's really, that's really.
That's really out here inConnecticut, though, definitely
seen some some nice Connecticutnames come through, like you got
fly boy.
He was always working overthere, medusa, that shit was
(15:27):
popping off back in the day,shouts and do, since he was
always what about a no?
Speaker 2 (15:31):
Did you do any work with him?
Speaker 3 (15:33):
No, I haven't done no work with a nor, though, but I
know we only chose radar forfact.
We follow each other all that,so we definitely on each other's
radar.
That's you.
That should be a dopeexperience.
Speaker 2 (15:44):
Yeah, I was just put on to him and I seen a couple of
his freestyles and that niggasnice.
No, with some other Connecticutartists that you want to work
with in the future, maybe in2024.
Speaker 3 (16:05):
Connecticut artists.
Speaker 2 (16:08):
Or artists in general .
Speaker 3 (16:11):
I'm not gonna lie out here in Connecticut.
The way I feel is, I kind ofwant, I just kind of want
everybody to Kind of cometogether and start seeing where
the strengths and the weaknessesbe at, because I know, like
Like in the circle right now,like, for example, right, you
got niggas like me, you gotniggas like Don ZOP, you got
(16:32):
niggas like Joker hoodstar, yougot niggas like dusty Dusty.
Stay true, you feel me.
I kind of just want niggas toall come together, start
figuring out what the strengthof weaknesses is, not only in
the rap, but also in, like thebusiness aspect, like what who's
better at what, who's better atwhat.
So niggas could start to form aweb Foundation and start going
(16:55):
up.
That's how I feel.
But I'm not going.
I'm a pretty secluded nigga.
I don't really feel I want towork with too many niggas.
I don't really feel I want tolet too many niggas in, like I
really, really, I really, really, really really fuck with like
those three that I said, thosefour that I said.
Yeah you know, saying thoseniggas tapped in, those real
right niggas, niggas.
All about the money, all aboutthe business, and that's that's
(17:17):
what I really fuck with.
You know, sam, oh, yeah, yeah,yeah, that's really the only
Connecticut artists.
I'm gonna lie when I come downto any other artists, bro.
That shit is just up in the air.
Man, I don't man, I don't know.
Right now I just feel like I'mso much in my own zone.
I just really want to.
I just really want to breakthrough before I start thinking
about shit like that.
(17:37):
You know, sam, bro, I reallywant to break through.
I got a hone in and just breakthrough before I start thinking
about shit like that yeah.
Speaker 2 (17:45):
So could a could a random person just hit you up
and come to your studio like,yeah, I want, I want this mixed
yeah?
Speaker 3 (17:51):
yeah, yeah, absolutely we do.
We do public sessions.
The fuck.
You could go online at howrecordsasme.
We go online and go book onthere, whatever.
Whatever you want, whether it'srecording, mixing, mastering.
Speaker 2 (18:05):
Okay, okay, yeah, so for anybody that needs a
Recording time, mixing,mastering engineer that knows
what he's doing, it definitelyhow old records.
So, aside from the, the projectyou have coming up and the
video you said you're gonna dropin January, february, what's
(18:29):
upcoming for 2024?
Speaker 3 (18:31):
So car for 2024?
I gotta get this album out, man.
I gotta get this album on, Igot.
I gotta get this marketingright, man.
This is the year to get.
This is the year to get theMarketing right, bro.
The marketing is a big aspectof everything.
I feel like the talent isalready there.
Not that, like niggas, is themost talented with.
The talent is there.
(18:51):
It's sustainable.
Like you know, it is.
There's one kind of sound thatI've built, so I just want to
market it correctly, bro.
2024.
I want to build that foundation.
I want to be able to, I want tobe able to perform and get paid
substantially so a nigga don'tgot a hustle on the side.
Speaker 2 (19:10):
Yeah.
Speaker 3 (19:11):
I feel about it.
That's how I feel about it forreal, and I want to also want to
get the studio a bit morepublic, because I know in the
community of Connecticut Niggaswant some some good recording
for cheaper than $50 an hour.
So I'm trying to get thisstudio be going up.
I, you know, start the pricesat like 35 $40 an hour so niggas
(19:33):
can still get that good qualityfor cheap.
Speaker 2 (19:36):
And what studio be studio be like.
Speaker 3 (19:39):
That's just going to be the second how our records so
we got.
So how our records will bestudio a, now where we add a new
britain, that'll be the mainspot, and then studio b will
just be Either over there or atanother location that I yet to
decide, and, um, it'll just be asmaller setup, smaller kind of
setup for niggas that don't wantto pay the full amount.
Speaker 2 (19:59):
Yeah.
Speaker 3 (20:01):
We're still getting that good engineering though and
that will also be how records.
Yes, how records for sure.
Speaker 2 (20:06):
Okay, okay, okay, copy, copy, copy.
Have you been looking atlocations?
Speaker 3 (20:13):
I have.
I had a deal that kind of wentsour.
Um, I had a deal that went sourand waterberry, but that's
neither here nor there.
I'm still looking right now.
Bro burlin is an option, youknow.
Waterberry is still an option.
New haven is becoming a bigoption Because the real estate
over there kind of cheap.
(20:34):
So you know that's justbecoming a big option.
But yeah, just that's just afew that should really open the
air right now.
Speaker 2 (20:41):
I seen on your story the other day you said uh, you
got your dream place,Congratulations.
Speaker 3 (20:46):
Yeah, I appreciate it man.
Speaker 2 (20:47):
You want to expand on that a little bit?
Speaker 3 (20:49):
Yeah, I got my.
I got my dream place.
I was able to get, you know, alittle three-story location and
shit.
I got a backyard for my um, formy kin, and I got a uh, I got a
porch and all that shit.
Like you know, feeling me justgrowing up like really growing
up, really, you know, puttingthe breath of something that the
family could see and the familycould be comfortable and all
(21:13):
that shit, like that year bro.
But I'm happy, though, that Imoved out of new Britain no
longer in fucking new Britain.
I'm never telling nobody wherethe fuck I live out here,
because these things ain'tplaying fair.
Speaker 2 (21:25):
Yeah, it's crazy.
Speaker 3 (21:26):
Yeah, for facts.
I'm happy I don't live there nomore.
I'm like a ghost.
I like being like a ninja.
Speaker 2 (21:33):
Yeah for a fact.
So With the, with the studio,are you there like hourly or
you're only there if you getbooked?
Speaker 3 (21:40):
for me.
I'm only there, really, if Iget booked, because the way that
, the way that you know I reallyhave a run, if you know when
it's running, is, um, myengineers.
They usually come through onthe weekdays and then, like, on
the weekends I'll take thesessions, unless somebody
directly Asked for me or it's aclient that I've already like
(22:02):
seen.
Yeah and I've already been, youknow, associated with I'm not
feeling really torsion off onthis somebody else.
Speaker 2 (22:09):
Okay, copy, got you, you single yeah.
Speaker 3 (22:16):
I mean that's, that's , that's neither here nor there.
Man, life, just life, just keeplife.
And bro, and great people,great people keep coming up.
That's how I feel about it.
Speaker 2 (22:33):
Like that's a that's a great answer.
Yeah, I'm sorry if I put you onthe spot, but I gotta.
I gotta do my job.
I gotta ask the questions.
You know what I'm saying.
Speaker 3 (22:42):
Go with you.
Life be life and great peoplebe coming up.
You know I'm saying you gottastart to identify these great
individuals.
Understand that.
You know I'm saying the grassis greener where you water it.
The grass is greener where youwater it for a fight.
Speaker 2 (23:03):
Oh man.
So let's say, let's say there'sa girl out there that's
watching this show and she wantsto get next to Dante tweaks.
Speaker 3 (23:11):
She gotta have a bag.
That's number one.
She gotta have a fucking bag,because I'm tired of this shit.
I'm tired.
So you don't try to be in asupportive nigga.
I'm no longer the supportivenigga.
Y'all niggas could Quote me onthat.
I'm no longer the supportivenigga.
You need to fucking bag.
I'm tired of this shit man.
Speaker 2 (23:31):
So you want a sugar, you want a sugar bomb now I want
a.
Speaker 3 (23:34):
I want a mommy.
I want a mommy that both of uscan mix our sugars up.
You feel what the fuck I'msaying?
Speaker 2 (23:40):
So you want to.
Speaker 3 (23:40):
You want kind of a 50-50 deal on a 50-50, not
saying that you gotta pay shit,but I want to.
I'm not gonna lie like I.
I want to.
I want to know that I couldreach into your purse if
necessary now physically notphysically, but I want to know
if I, you feel me, if I need alittle investment over here or
there.
You got it because I've beentaking care of xyz and you've
(24:03):
been able to stack up xyz andyou haven't been just fucking
spending this fucking shit, oryou know what I'm saying.
I just need somebody that Icould like dip into.
Speaker 2 (24:13):
Let's say let's say your shorty gets the bag.
Let's say let's say there's agirl out there that gets the bag
.
She meets all the requirementsthat you uh, you just stated,
but she gets that bag fromOnlyFans.
Could you, could you acceptthat?
Speaker 3 (24:29):
it depends on what she doing.
Like, is she doing dicks or isshe just?
Is she Like is she fucking withherself?
Because if she's doing dicks, Ican't fuck with a shorty doing
dicks publicly.
You feel me that's crazy, bro.
That's, that's some Adam 22shit.
Speaker 2 (24:45):
Let's say there was, let's say there was previous
content with uh, with dicks withdicks?
No, that's not at all.
It's over, that's over, it'sover.
Speaker 3 (24:53):
It's cut at the door.
Speaker 2 (24:54):
That's it, it's all set the door.
So what if it was all solocontent?
Speaker 3 (24:58):
If it's all solo contact, I could consider it,
because you get in the bag Likeit is what it is, like it is
what it is.
Yeah but if you're doing dicksnow bro, Okay, I'll say clipped
up.
Okay, that's it, clipped up.
Okay, that's, uh, that's areally could be out there seeing
your shorty moan.
That's crazy.
Speaker 2 (25:17):
You cool with you cool with seeing her naked
though.
Speaker 3 (25:20):
Yeah, yeah, that's valid.
It's valid, bro.
I'm gonna open mine to niggawhen it come down to that.
That shit is.
I like I'm not really the typeof nigga to stress what you
dress, or none of that.
Speaker 2 (25:29):
Yeah, me neither.
Speaker 3 (25:30):
I'm straight bro.
Speaker 2 (25:31):
Me neither.
Speaker 3 (25:32):
Yeah, I'm gonna fuck.
Speaker 2 (25:36):
Okay, okay, I'm trying to.
I'm trying to think, yeah, I'mtrying to think I don't really
got nothing right now.
But, um, kids, do you, do youwant?
Speaker 3 (25:56):
I've got.
So I said right now I just wantto stop at a girl.
Once I get my girl, niggascould Twist my tubes.
Niggas could burn my tubes andthrow those shits away.
Once I get my girl, niggascould burn my tubes and throw
those shits away.
I just need my girl.
Speaker 2 (26:15):
Yeah.
Speaker 3 (26:16):
I'm Gucci, like I'm Gucci, you know I'm saying for
real, for that's how I feelabout it.
I love.
I love them though, like youknow, like those.
Speaker 2 (26:25):
You want good terms with all your BMs.
Speaker 3 (26:31):
I guess like it's this, it's, it's, it's up in the
air, it's up in the air I.
What I will say is that theytake very good care of the kids.
Yeah, very good care of kids.
I don't have no problem withthe way niggas is taking care of
the kids If I did, then therewill be a whole other issue but
niggas do take care of the kids.
(26:52):
As far as our relationship goes, you know, hey man, it's got to
keep that shit on very, very,very, very, very cordial.
Speaker 2 (27:01):
You see all your kids .
Speaker 3 (27:04):
Yeah, yeah that's a mandatory mandatory, bro,
mandatory, it's gotta happen.
Speaker 2 (27:11):
It's a lot of niggas out there.
That's in my stories right now,that's in my views and shit.
I see these niggas postingpacks all day.
Speaker 3 (27:19):
Yeah, they fucking themselves up and these niggas.
Speaker 2 (27:22):
These niggas didn't get their kids nothing for
Christmas.
Speaker 3 (27:25):
Yeah, niggas had a big party for for deal for
Christmas.
My, he's that mom.
That's my son that just turnedfour.
Yeah we had a big party for himCuz his birthday December 23rd.
So he just mixed that party upwith the fucking Christmas.
That shit was great.
He was head over heels.
Now you gotta do, bro, even ifyou don't got the bread.
You gotta do, cuz they not evenreally looking at the bread,
(27:47):
they just looking at yo.
Was he there?
Was he not there?
Like that's really it, bro, ishe fun?
Speaker 2 (27:53):
Yeah, it was.
Was he a figure in your life atall?
Speaker 3 (27:57):
and that one that I could say 100% Like I'm, I'm
100% there.
Like niggas, act like me.
Speaker 2 (28:03):
You know what?
Speaker 3 (28:03):
I mean, yeah, niggas, demeanor, they got that shit
for me for a fact.
Speaker 2 (28:07):
So yeah, you gotta take care of your kids, man.
Speaker 3 (28:12):
I don't really fuck with deadbeat niggas.
Maybe fucked up in other waysto those be slimy niggas.
Yeah, that's all the real rightniggas that I know all the
niggas that's getting money.
They all taking care of theirkids bro.
Speaker 2 (28:28):
You have to straight through to the end.
Speaker 3 (28:29):
nigga, no niggas latched on to the end, bro, for
five you have to.
Speaker 2 (28:38):
All right, we wrapping up here.
Live from the gutter man.
Speaker 3 (28:41):
Yeah man, shit was real.
Speaker 2 (28:43):
I appreciate you for stepping out, for showing us how
to operate this studio one andSetting these microphones and
stuff up.
We got a lot more work to do.
Speaker 3 (28:52):
Amen, that's what I'm here for, bro.
I'm here all around CT, bro,like whatever, whatever gotta be
a man.
We the, we, the, we, theengineering.
Be the engineering guys overhere, man for a fact.
So yeah, bro, it's been apleasure.
Bro, I do appreciate you havingme on this.
John Word, bro, niggas do gotto get to work, for fact.
Speaker 2 (29:14):
Yeah, absolutely, absolutely yeah sir my bro live
from the gutter definitelyappreciates you.
And this a rap.
Episode 19 episode 19 Dantetweaks.
I, I Need.
Speaker 2 (01:44):
Reporting live from the motherfucking gutters your
boy Elliot Carter, here withDante tweaks.
That was a.
Why can I fall in love by Dantetweaks from the Bronx?
Speaker 3 (01:57):
Yes.
Speaker 2 (02:01):
Talk to me what you got coming up for 2024 2024.
Speaker 3 (02:06):
right now.
I got up, I got this record.
I'm working with my man'sHollywood Jake, it's called Back
on my feet.
I'm about to probably drop thevideo for that, probably in
February or March.
Okay, full fat, are you signed?
Yeah, it's something like that.
It's a little distributionthrough through Empire records
(02:30):
that they got with how records.
So, yeah, something like thatit's.
It's more of an independentventure, if anything for real
and how records is your studio?
Yeah, it's my studio, but it'salso my record label too.
Speaker 2 (02:42):
Oh, okay, so it's two and one for fact.
Speaker 3 (02:44):
Okay, I'll fuck for a fact.
Speaker 2 (02:46):
Okay, and you're the CEO.
Founder and that's him newBritain for fact I'm downtown.
Speaker 3 (02:53):
You bring, we had hard for square.
That's the main headquartersright now.
Speaker 2 (02:57):
Okay, yeah, I've been there.
It's a beautiful studio.
So how'd you get your startinto music and engineering?
Speaker 3 (03:07):
so, I'm not gonna lie , started out in the Bronx some.
So I started out really on aghost writing team.
That I can't really saypublicly.
But Start out on ghost writingteam.
I was on a ghost writing team.
I kind of picked up theengineering thing a little bit.
Then I started Fucking withtweak tune.
Tweak tune.
Really, I'm not gonna lie, I'mmissing my cousin out.
(03:29):
Come on, cousin really startedme up with the music thing I was
rapping in Denzel Porter studiofrom team backpack.
Matter of fact Shout out ConnieConnie diamond, cuz she just
should.
He just got signed to Def Jam.
She was in she's killing, shewas in the studio when I was,
when I, when I was 16, like shewas back there just starting it
you know I'm saying yeah, so wewas all in the same studio is
(03:51):
called wreck house.
Okay, I don't know if you fuckwith wreck house anymore, connie
or whatever, but you feel meshout out to the old days for a
fact, I'm not fucking.
But yeah, that's really why Istarted on with wreck house.
I was rapping.
Then, after that love, love forquarter, that wreck house
started fucking with this niggaFor the ghost writing team for
(04:12):
that large New York artist.
The artist popped off.
Then I started fucking with anigga named tweak tune and he's
on.
That's a sat fir producer.
So I started fucking with thatteam real quick.
That shit ain't really turnedout well for me.
Shit Kind of went sour.
So I came up to to Connecticutand started the studio.
Then, after I started thestudio for real that's really
(04:34):
when I really really, reallyreally got my head down into
this engineering shit Startedtaking mad clients and just
really really finessing the arm,the mixing and mastering Studio
for a fact, yeah.
And then we just we just builtover time, bro, like notable
clients, like you know, we gotsome French Montana of French
Montana record under the belt.
(04:55):
We got a arm.
Wu-tang clan Um, grab, shoutout, graph, that's my bro.
Speaker 2 (05:02):
Okay.
Speaker 3 (05:02):
Yeah, bro, so we do got some records under the ball.
Well, yeah, I'm fucking builtthat shit from scratch bro.
Speaker 2 (05:09):
And how was?
Studios is what you started assoon as you came to Connecticut.
That's the first one.
Speaker 3 (05:13):
I came to Connecticut .
I was, I was going to college.
Speaker 2 (05:16):
Okay.
Speaker 3 (05:16):
I was going to college and then I was gonna you
hurt.
I'm on a business scholarship.
Then after I got out of, Idropped out of you.
I dropped out of you hurt.
After like the first semester Idon't think I spent more than
two months in that motherfucker.
And then when I dropped out, Iwas I live.
I was back in the Bronx for alittle bit Okay.
I came back up here Then I waslike, yeah, I see a gap in the
(05:39):
market because I was trying tobook studio time I was trying to
book mad studio time and niggaswas not like, niggas was not
Mixing the records correctly atall, like this is absolutely
horrible.
So then I seen a gap in themarket.
I'm like, damn, if I could mix,I know niggas will definitely
definitely so then I startedjust you know, saying, makes in
(06:03):
the shit for real like.
And then they started fuckingwith it, especially after we
have, um, shout out, kid fresh.
We had to add with kid fresh.
After that nigga really didthat add.
We just started really crankingit over there the studio.
Niggas are taking us realserious.
Speaker 2 (06:17):
Yeah, yeah.
So how long have you been onthe engineering side of music?
Speaker 3 (06:23):
now you could call it five, six years, six years now
and do you feel like you'vegrown each year?
Yeah, now you grow every daywith that shit because, like
everybody, vocals be different.
Yeah, so a niggas be coming in.
You never know what's gonnacome out of a nigga.
So it's always a learningexperience, because I don't know
(06:43):
bro I don't know bro from ahole in the world if he booked,
so I gotta learn his vocals thatday, and then you know.
So you might start adding somesauce that you never added
before, or you might got to takeaway some sauce that you always
do, because that nigga vocalsis just different.
So that shit is always alearning experience, bro.
I don't think I'm gonna ever bedone learning.
Yeah shit for real.
Yeah for fact and um.
Speaker 2 (07:07):
Do you use other programs or are you just locked
in on studio one?
Speaker 3 (07:12):
So studio one, studio one, really the program that I
like to use.
The fucking studio one get alot of hate out there.
Well, that's really the programthat niggas like to use.
But I do got, I got.
I do got pro tools running inthe studio too, cuz I got five
engineers that work in there.
So, my fucking, we got, we gotpro tools, we got studio one.
But me personally, I'm a studioone head.
(07:33):
That's where I started.
That's what my first singlesstarted.
Yeah, I'm locked into for afact.
Speaker 2 (07:38):
That's what you know how to operate best with right
right right.
Do you have Any radioexperience on the about?
Speaker 3 (07:45):
Radio.
I'm not gonna lie, I gotta saynow, but I was hosting a little
radio show in fucking on inManhattan 2017, but that shit
wasn't really nothing.
Crazy, bro, like yeah you know,I'm saying I was just getting
my feet.
Well, I think I was, I was 19,I was getting my feet wet bro.
(08:07):
Okay it might have been earlierthan that to.
It might have been 2016 forreal, cuz I really think I was
18 when I did that radio show.
Yeah, I was 18 for fact.
So it was 2016.
Yeah, I was just getting myfeet wet.
That shit was that.
Shit wasn't nothing.
That shit wasn't about nothing,cuz I really had no topics to
talk about.
Bro, I was excited that I wasin a big building as an engineer
?
Speaker 2 (08:26):
Have you Dibbled and dabbled in podcasting at all, or
is like this your first?
You know I'm saying you'relearning with this, yeah.
Speaker 3 (08:34):
I'm Really, I'm really getting into it from this
.
You know experience in terms ofthe tech, the technical side.
Yeah like deal of it, like likedealing with other podcast
Ventures.
I, you know, I got, I got a lotof niggas that really you know
lock in on the podcast ventureand do the thing.
(08:56):
But I've never been on thetechnical side, I've always been
on the just watch.
Speaker 2 (09:00):
Yeah.
Speaker 3 (09:02):
But I'm like man, this shit kind of the same shit,
bro, the wiring is definitelythe same.
Speaker 2 (09:07):
Yeah.
Speaker 3 (09:08):
Me and the microphones is the same shit.
Yeah, I just know on the backI'm gonna come down to the mix
and it shit like that.
Niggas don't gotta do heavymixing for this type of shit.
Speaker 2 (09:17):
No, no, I don't think so.
It should just regular for surebut I mean even just I learning
how to operate the program with, with, with studio one and
podcast, and like learningcoming coming from someone that
doesn't know how to operate atall.
It could be a quite complicated.
Speaker 3 (09:37):
I mean it could be, bro, like the thing, is it just
be about the routing for real,like and everything.
Always be about the routingwhen they come down to these
damn microphones, because a lotof the times Different
microphones got differentchannels, different programs
ain't picking shit up, and thenyou got to download different
drivers for different bolsters.
That's a bunch of bullshit.
If you don't know where to look, you just gonna your head is
(09:59):
gonna spin for yeah, so how didyou learn all that?
Speaker 2 (10:03):
you went to school for that.
Speaker 3 (10:04):
No.
So I learned all of it, cuzniggas threw me in the fucking
gutter.
Speaker 2 (10:08):
Niggas threw me in the jungle and you was just able
to pick it up watching.
Speaker 3 (10:12):
Yeah, but not even watching.
I had to do it myself becausewhat it was was.
I started the studio withsomebody that was knowledgeable.
Yeah, in order this shit Okayand then, after the first week,
ain't no, ain't no hate on thatside, all love on that side, cuz
the nigga know you feel me, soit's still loves in this day.
But when a nigga, the nigga,the nigga was there for the
(10:33):
first week and we only got oneclient, the nigga like yo, bro,
where's my pay, where's my pay?
I'm like nigga, I can't fuckingpay you.
I just put out X amount ofdollars for the studio.
X amount of dollars for theequipment, x amount of dollars
for this, and that I still gotto Pay rent over there, rent at
my crib, all this bullshit.
So I'm like man, I Can't payyou, bro.
(10:53):
Like you, take the commissionnigga.
Yeah the niggas like oh no, Iwant to be hourly.
Nigga was young, so he 18, andso I'm telling nigga.
And so he like oh bro, you knowthat fucked my week up cuz, um,
I had prom.
But he said that to the wrongnigga, cuz I never went to my
prom, I never went to mygraduation.
Cuz I was really.
I was really locked in, bro,I'm not gonna lie that point.
(11:14):
I really was recording musicand I never went to my prom on
my graduation Cuz I just wasn'tfucking with it.
Speaker 2 (11:19):
I ain't go to my prom , neither.
Speaker 3 (11:20):
Yeah, I was a fuck on my high school.
I was a fucking with niggas atall, bro.
So when he said that to me I'mlike fuck that problem.
Yeah, I'm like fuck about thatproblem.
So niggas felt a type of wayabout that and then it was that
whole relationship went left.
Speaker 2 (11:38):
So that was sour from there.
Speaker 3 (11:43):
They didn't know that prom shit gang.
So so yeah, I'm like now, bro,I can't pay you hourly, so the
nigga like I quit or whatever.
I'm like whatever.
Like damn, has somebody quit onme already, so I'm like fuck it
.
Speaker 2 (11:53):
So now you have to learn his job.
Speaker 3 (11:55):
I had to learn his job.
Buckle down, get with the shit.
Well, I just I learned overtime that I'm a buy air nigga
like yeah, if.
I hear something I know I wantto replicate that thing and then
eventually what I learned isI'll just be putting all like
the pieces to the puzzle.
Like, let's say, for example, Ihear a nigga mix, I'm like yo
vocals is fire, like those shitis you know pumping in the in
(12:19):
the same right in the mix.
I might go look up, like I whatcompressor this nigga use?
Or even before that, likewhat's the term?
Like what's that term?
Like you can't just be like yobro, the vocals sound higher.
It's like what's the technicalterm for that?
Like that's compression.
You might look like okay, what'sthe best compressor to use for
hip-hop vocals.
(12:39):
Then you started learning thatcompressor because you already
know that what you looking for?
Volume, type shit like that.
That's how I learned witheverything, bro.
It was like I, what am Ilooking for?
Now I'm looking for volume.
I, what's that?
What's that called compression?
I'm not looking for clarity,what's that called equalization?
And just learning them.
And eventually I mean like whenI first started two hours and
(13:02):
waxing niggas to come to thestudio, I was charging niggas
$25 an hour because I know whatthe fuck I was doing.
So I'm like for nigga, forniggas spent $50 in the track,
fucked up.
I mean Built it from therethough, bro, now we have $50 and
$75 an hour.
(13:23):
We always give back perfection.
Speaker 2 (13:26):
Yeah, so that's what you mean when you say you have
more to learn and you learnevery day right, right, right,
right, right, cuz this shitnever stop.
Speaker 3 (13:37):
And then the program is always progressing.
There's always gonna be a newprogram.
There's always gonna be a newplug-in to fuck with.
Speaker 2 (13:44):
But you're at the point now where you could
troubleshoot or identifyanything.
Speaker 3 (13:48):
That's why I feel most things.
I feel like I couldtroubleshoot or identify
technically or with the vocals,like what's sounding wrong, like
what sounds yeah, like evenjust now, identifying with the
dynamic and the condensers, likeyeah.
Speaker 2 (14:02):
It's impressive watching you work.
Speaker 3 (14:04):
No much love my bro.
Yeah, not for fat Bro.
Yeah, that'd be me, man, thefucking, the technicalities for
the shit, so that I could putnames to shit, cuz if I can't
put a name to the shit, I feellike I'm all over the place for
fat.
Speaker 2 (14:15):
Okay, what are some some of the big names you
recorded with in your studiohere at how?
Speaker 3 (14:22):
I only mixed French Montana record he ain't come
over there.
Record.
Okay, so he sent it to you, hesent it over and then I Did at
the studio.
Though I did um, you couldreally say I did the the record
with conscience and graph.
Okay because conscience had torecord a lot, of, a lot of his
stuff at the studio.
(14:43):
Okay so you could kind of say Idid the record with him and
graph Graphing recorded thestudio.
But also his shit wasn't mixedwhen he sent it in, so that was
like I had to do that work.
Yeah, so it felt like a howrecords thing, but the thing
that was really really all howrecords was I did a feature with
um, we young dirty bastard.
So that's all.
Dirty bastard son.
Okay rest in peace.
(15:04):
And yeah, that shit was alldone at the studio, recorded mix
master, all that shit.
Yeah, yeah, yeah, oh, yeah, bro, that's really, that's really.
That's really out here inConnecticut, though, definitely
seen some some nice Connecticutnames come through, like you got
fly boy.
He was always working overthere, medusa, that shit was
(15:27):
popping off back in the day,shouts and do, since he was
always what about a no?
Speaker 2 (15:31):
Did you do any work with him?
Speaker 3 (15:33):
No, I haven't done no work with a nor, though, but I
know we only chose radar forfact.
We follow each other all that,so we definitely on each other's
radar.
That's you.
That should be a dopeexperience.
Speaker 2 (15:44):
Yeah, I was just put on to him and I seen a couple of
his freestyles and that niggasnice.
No, with some other Connecticutartists that you want to work
with in the future, maybe in2024.
Speaker 3 (16:05):
Connecticut artists.
Speaker 2 (16:08):
Or artists in general .
Speaker 3 (16:11):
I'm not gonna lie out here in Connecticut.
The way I feel is, I kind ofwant, I just kind of want
everybody to Kind of cometogether and start seeing where
the strengths and the weaknessesbe at, because I know, like
Like in the circle right now,like, for example, right, you
got niggas like me, you gotniggas like Don ZOP, you got
(16:32):
niggas like Joker hoodstar, yougot niggas like dusty Dusty.
Stay true, you feel me.
I kind of just want niggas toall come together, start
figuring out what the strengthof weaknesses is, not only in
the rap, but also in, like thebusiness aspect, like what who's
better at what, who's better atwhat.
So niggas could start to form aweb Foundation and start going
(16:55):
up.
That's how I feel.
But I'm not going.
I'm a pretty secluded nigga.
I don't really feel I want towork with too many niggas.
I don't really feel I want tolet too many niggas in, like I
really, really, I really, really, really really fuck with like
those three that I said, thosefour that I said.
Yeah you know, saying thoseniggas tapped in, those real
right niggas, niggas.
All about the money, all aboutthe business, and that's that's
(17:17):
what I really fuck with.
You know, sam, oh, yeah, yeah,yeah, that's really the only
Connecticut artists.
I'm gonna lie when I come downto any other artists, bro.
That shit is just up in the air.
Man, I don't man, I don't know.
Right now I just feel like I'mso much in my own zone.
I just really want to.
I just really want to breakthrough before I start thinking
about shit like that.
(17:37):
You know, sam, bro, I reallywant to break through.
I got a hone in and just breakthrough before I start thinking
about shit like that yeah.
Speaker 2 (17:45):
So could a could a random person just hit you up
and come to your studio like,yeah, I want, I want this mixed
yeah?
Speaker 3 (17:51):
yeah, yeah, absolutely we do.
We do public sessions.
The fuck.
You could go online at howrecordsasme.
We go online and go book onthere, whatever.
Whatever you want, whether it'srecording, mixing, mastering.
Speaker 2 (18:05):
Okay, okay, yeah, so for anybody that needs a
Recording time, mixing,mastering engineer that knows
what he's doing, it definitelyhow old records.
So, aside from the, the projectyou have coming up and the
video you said you're gonna dropin January, february, what's
(18:29):
upcoming for 2024?
Speaker 3 (18:31):
So car for 2024?
I gotta get this album out, man.
I gotta get this album on, Igot.
I gotta get this marketingright, man.
This is the year to get.
This is the year to get theMarketing right, bro.
The marketing is a big aspectof everything.
I feel like the talent isalready there.
Not that, like niggas, is themost talented with.
The talent is there.
(18:51):
It's sustainable.
Like you know, it is.
There's one kind of sound thatI've built, so I just want to
market it correctly, bro.
2024.
I want to build that foundation.
I want to be able to, I want tobe able to perform and get paid
substantially so a nigga don'tgot a hustle on the side.
Speaker 2 (19:10):
Yeah.
Speaker 3 (19:11):
I feel about it.
That's how I feel about it forreal, and I want to also want to
get the studio a bit morepublic, because I know in the
community of Connecticut Niggaswant some some good recording
for cheaper than $50 an hour.
So I'm trying to get thisstudio be going up.
I, you know, start the pricesat like 35 $40 an hour so niggas
(19:33):
can still get that good qualityfor cheap.
Speaker 2 (19:36):
And what studio be studio be like.
Speaker 3 (19:39):
That's just going to be the second how our records so
we got.
So how our records will bestudio a, now where we add a new
britain, that'll be the mainspot, and then studio b will
just be Either over there or atanother location that I yet to
decide, and, um, it'll just be asmaller setup, smaller kind of
setup for niggas that don't wantto pay the full amount.
Speaker 2 (19:59):
Yeah.
Speaker 3 (20:01):
We're still getting that good engineering though and
that will also be how records.
Yes, how records for sure.
Speaker 2 (20:06):
Okay, okay, okay, copy, copy, copy.
Have you been looking atlocations?
Speaker 3 (20:13):
I have.
I had a deal that kind of wentsour.
Um, I had a deal that went sourand waterberry, but that's
neither here nor there.
I'm still looking right now.
Bro burlin is an option, youknow.
Waterberry is still an option.
New haven is becoming a bigoption Because the real estate
over there kind of cheap.
(20:34):
So you know that's justbecoming a big option.
But yeah, just that's just afew that should really open the
air right now.
Speaker 2 (20:41):
I seen on your story the other day you said uh, you
got your dream place,Congratulations.
Speaker 3 (20:46):
Yeah, I appreciate it man.
Speaker 2 (20:47):
You want to expand on that a little bit?
Speaker 3 (20:49):
Yeah, I got my.
I got my dream place.
I was able to get, you know, alittle three-story location and
shit.
I got a backyard for my um, formy kin, and I got a uh, I got a
porch and all that shit.
Like you know, feeling me justgrowing up like really growing
up, really, you know, puttingthe breath of something that the
family could see and the familycould be comfortable and all
(21:13):
that shit, like that year bro.
But I'm happy, though, that Imoved out of new Britain no
longer in fucking new Britain.
I'm never telling nobody wherethe fuck I live out here,
because these things ain'tplaying fair.
Speaker 2 (21:25):
Yeah, it's crazy.
Speaker 3 (21:26):
Yeah, for facts.
I'm happy I don't live there nomore.
I'm like a ghost.
I like being like a ninja.
Speaker 2 (21:33):
Yeah for a fact.
So With the, with the studio,are you there like hourly or
you're only there if you getbooked?
Speaker 3 (21:40):
for me.
I'm only there, really, if Iget booked, because the way that
, the way that you know I reallyhave a run, if you know when
it's running, is, um, myengineers.
They usually come through onthe weekdays and then, like, on
the weekends I'll take thesessions, unless somebody
directly Asked for me or it's aclient that I've already like
(22:02):
seen.
Yeah and I've already been, youknow, associated with I'm not
feeling really torsion off onthis somebody else.
Speaker 2 (22:09):
Okay, copy, got you, you single yeah.
Speaker 3 (22:16):
I mean that's, that's , that's neither here nor there.
Man, life, just life, just keeplife.
And bro, and great people,great people keep coming up.
That's how I feel about it.
Speaker 2 (22:33):
Like that's a that's a great answer.
Yeah, I'm sorry if I put you onthe spot, but I gotta.
I gotta do my job.
I gotta ask the questions.
You know what I'm saying.
Speaker 3 (22:42):
Go with you.
Life be life and great peoplebe coming up.
You know I'm saying you gottastart to identify these great
individuals.
Understand that.
You know I'm saying the grassis greener where you water it.
The grass is greener where youwater it for a fight.
Speaker 2 (23:03):
Oh man.
So let's say, let's say there'sa girl out there that's
watching this show and she wantsto get next to Dante tweaks.
Speaker 3 (23:11):
She gotta have a bag.
That's number one.
She gotta have a fucking bag,because I'm tired of this shit.
I'm tired.
So you don't try to be in asupportive nigga.
I'm no longer the supportivenigga.
Y'all niggas could Quote me onthat.
I'm no longer the supportivenigga.
You need to fucking bag.
I'm tired of this shit man.
Speaker 2 (23:31):
So you want a sugar, you want a sugar bomb now I want
a.
Speaker 3 (23:34):
I want a mommy.
I want a mommy that both of uscan mix our sugars up.
You feel what the fuck I'msaying?
Speaker 2 (23:40):
So you want to.
Speaker 3 (23:40):
You want kind of a 50-50 deal on a 50-50, not
saying that you gotta pay shit,but I want to.
I'm not gonna lie like I.
I want to.
I want to know that I couldreach into your purse if
necessary now physically notphysically, but I want to know
if I, you feel me, if I need alittle investment over here or
there.
You got it because I've beentaking care of xyz and you've
(24:03):
been able to stack up xyz andyou haven't been just fucking
spending this fucking shit, oryou know what I'm saying.
I just need somebody that Icould like dip into.
Speaker 2 (24:13):
Let's say let's say your shorty gets the bag.
Let's say let's say there's agirl out there that gets the bag
.
She meets all the requirementsthat you uh, you just stated,
but she gets that bag fromOnlyFans.
Could you, could you acceptthat?
Speaker 3 (24:29):
it depends on what she doing.
Like, is she doing dicks or isshe just?
Is she Like is she fucking withherself?
Because if she's doing dicks, Ican't fuck with a shorty doing
dicks publicly.
You feel me that's crazy, bro.
That's, that's some Adam 22shit.
Speaker 2 (24:45):
Let's say there was, let's say there was previous
content with uh, with dicks withdicks?
No, that's not at all.
It's over, that's over, it'sover.
Speaker 3 (24:53):
It's cut at the door.
Speaker 2 (24:54):
That's it, it's all set the door.
So what if it was all solocontent?
Speaker 3 (24:58):
If it's all solo contact, I could consider it,
because you get in the bag Likeit is what it is, like it is
what it is.
Yeah but if you're doing dicksnow bro, Okay, I'll say clipped
up.
Okay, that's it, clipped up.
Okay, that's, uh, that's areally could be out there seeing
your shorty moan.
That's crazy.
Speaker 2 (25:17):
You cool with you cool with seeing her naked
though.
Speaker 3 (25:20):
Yeah, yeah, that's valid.
It's valid, bro.
I'm gonna open mine to niggawhen it come down to that.
That shit is.
I like I'm not really the typeof nigga to stress what you
dress, or none of that.
Speaker 2 (25:29):
Yeah, me neither.
Speaker 3 (25:30):
I'm straight bro.
Speaker 2 (25:31):
Me neither.
Speaker 3 (25:32):
Yeah, I'm gonna fuck.
Speaker 2 (25:36):
Okay, okay, I'm trying to.
I'm trying to think, yeah, I'mtrying to think I don't really
got nothing right now.
But, um, kids, do you, do youwant?
Speaker 3 (25:56):
I've got.
So I said right now I just wantto stop at a girl.
Once I get my girl, niggascould Twist my tubes.
Niggas could burn my tubes andthrow those shits away.
Once I get my girl, niggascould burn my tubes and throw
those shits away.
I just need my girl.
Speaker 2 (26:15):
Yeah.
Speaker 3 (26:16):
I'm Gucci, like I'm Gucci, you know I'm saying for
real, for that's how I feelabout it.
I love.
I love them though, like youknow, like those.
Speaker 2 (26:25):
You want good terms with all your BMs.
Speaker 3 (26:31):
I guess like it's this, it's, it's, it's up in the
air, it's up in the air I.
What I will say is that theytake very good care of the kids.
Yeah, very good care of kids.
I don't have no problem withthe way niggas is taking care of
the kids If I did, then therewill be a whole other issue but
niggas do take care of the kids.
(26:52):
As far as our relationship goes, you know, hey man, it's got to
keep that shit on very, very,very, very, very cordial.
Speaker 2 (27:01):
You see all your kids .
Speaker 3 (27:04):
Yeah, yeah that's a mandatory mandatory, bro,
mandatory, it's gotta happen.
Speaker 2 (27:11):
It's a lot of niggas out there.
That's in my stories right now,that's in my views and shit.
I see these niggas postingpacks all day.
Speaker 3 (27:19):
Yeah, they fucking themselves up and these niggas.
Speaker 2 (27:22):
These niggas didn't get their kids nothing for
Christmas.
Speaker 3 (27:25):
Yeah, niggas had a big party for for deal for
Christmas.
My, he's that mom.
That's my son that just turnedfour.
Yeah we had a big party for himCuz his birthday December 23rd.
So he just mixed that party upwith the fucking Christmas.
That shit was great.
He was head over heels.
Now you gotta do, bro, even ifyou don't got the bread.
You gotta do, cuz they not evenreally looking at the bread,
(27:47):
they just looking at yo.
Was he there?
Was he not there?
Like that's really it, bro, ishe fun?
Speaker 2 (27:53):
Yeah, it was.
Was he a figure in your life atall?
Speaker 3 (27:57):
and that one that I could say 100% Like I'm, I'm
100% there.
Like niggas, act like me.
Speaker 2 (28:03):
You know what?
Speaker 3 (28:03):
I mean, yeah, niggas, demeanor, they got that shit
for me for a fact.
Speaker 2 (28:07):
So yeah, you gotta take care of your kids, man.
Speaker 3 (28:12):
I don't really fuck with deadbeat niggas.
Maybe fucked up in other waysto those be slimy niggas.
Yeah, that's all the real rightniggas that I know all the
niggas that's getting money.
They all taking care of theirkids bro.
Speaker 2 (28:28):
You have to straight through to the end.
Speaker 3 (28:29):
nigga, no niggas latched on to the end, bro, for
five you have to.
Speaker 2 (28:38):
All right, we wrapping up here.
Live from the gutter man.
Speaker 3 (28:41):
Yeah man, shit was real.
Speaker 2 (28:43):
I appreciate you for stepping out, for showing us how
to operate this studio one andSetting these microphones and
stuff up.
We got a lot more work to do.
Speaker 3 (28:52):
Amen, that's what I'm here for, bro.
I'm here all around CT, bro,like whatever, whatever gotta be
a man.
We the, we, the, we, theengineering.
Be the engineering guys overhere, man for a fact.
So yeah, bro, it's been apleasure.
Bro, I do appreciate you havingme on this.
John Word, bro, niggas do gotto get to work, for fact.
Speaker 2 (29:14):
Yeah, absolutely, absolutely yeah sir my bro live
from the gutter definitelyappreciates you.
And this a rap.
Episode 19 episode 19 Dantetweaks.
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