Episode 16: Spinning Decks and Navigating Life: Oscar Zayas on DJing, Fatherhood and the Role of AI in Music

Episode Transcript
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Speaker 1 (00:00):
What's going on?
Y'all Y'all tuned into anotherepisode of Exposure.
I be your boy, the Global Zoo,and I'm with the gang Eric
Bidden, my go-mere, and today wehave a special invited guest
Talk about exposure.
We need the exposure.
You gotta touch the streets.
We need that street credibility.

Speaker 2 (00:18):
We need that promotion and that's what
exposure provides for the peace.

Speaker 1 (00:22):
Welcome to the main anime team side Out here at MIA
Going on, like I always do,watching Exposure, getting hit
in the head with that exposure.
Know what it is?
Them down dogs.
Ray Lowe, number one DJs,number one promoters for Shokin'
Palm.

Speaker 2 (00:34):
Beach.
It's exposed, that's why itopen now.

Speaker 1 (00:36):
Y'all check it out.

Speaker 2 (00:36):
You know what I'm saying.
Keep it locked with all overthe floor and you are watching
Exposure.

Speaker 1 (00:47):
Today we have a special invited guest, the one
and only Oscar Zayas of ArmbiqStudios.
Give it up, give it up, give itup, give it up, clap, clap,
clap, oscar Zayas.
What's going on?

Speaker 3 (01:02):
Chillin' brother chillin'.

Speaker 1 (01:04):
And we see you looking like Money.
We see you look like Money.
Listen, man, we're excited tohave you.
It's definitely a pleasure andwe just really want to document
the story.
On Exposure, we had Triple J hementioned.
You said a lot of good things,chris shredding, so all over the
city, we know what you've doneand what you contributed, so we

(01:24):
just really want to get intoyour story.
All right, hell yeah.
Alright, let's do it, man.
So, oscar, let's talk about theupbringing when were you born
and where were you raised?

Speaker 3 (01:34):
I was born in Cuba and I came here to United States
when I was six years old.

Speaker 1 (01:40):
And what can you tell us about just that upbringing
in Cuba, six years old, beforesix years old, what can you
remember?

Speaker 3 (01:48):
Well, I was there and they put you in school really
early in Cuba.
I was, I'm thinking, two, threeyears old when they put me in
school, and the first thing theyteach you in school is back
then anyway, was Fidel Castro'sname and the date.
But I can tell you that after Ileft, when I was six years old,

(02:08):
I can fully read and writeSpanish, just from the small
amount of time I was in schoolin Cuba.

Speaker 1 (02:16):
When you went to New Jersey, or was it New York?

Speaker 3 (02:20):
I went to.

Speaker 1 (02:21):
New Jersey To New Jersey, right.
So talked about that transition.
What made you go from NewJersey down to Florida?

Speaker 3 (02:31):
Well, I love New Jersey.
I hung out mostly in New Yorkin the clubs there, and one
night I was at this club in NewYork called Studio 54.
I just bought a motorcycle.
You know I was pretty buzzedand one of my friends said hey,
man, they need a DJ for WestPalm Beach, florida.

(02:53):
You want to try out?
And I'm like, yeah, sure, whynot?
And so the next day I went overand tried out, met the guy and
two, three weeks later I endedup here in West Palm Beach and
that was right at the beginningof my fourth year of college.
As a matter of fact, one of myfriends, david Nola, who you

(03:15):
know, he's still around he waspart of Dynamics 2.
And he gave that I don't knowif you guys remember the bass
song Give the DJ a Break, thisgame the DJ a Break.

Speaker 1 (03:28):
Anyway no, I don't know that.

Speaker 3 (03:31):
You guys don't know your history of bass.
You guys do not know your Miamibass history.

Speaker 1 (03:36):
And this is why we're doing this too right.
It's very informative for folkslike us.

Speaker 3 (03:41):
Yeah, you guys don't know.
It was back when I was atwo-light crew and the Gucci
crew and Danny D, who was alocal from here B-Ware Records.
I don't know if you guys arefamiliar with those guys.

Speaker 2 (03:53):
I'm gonna be aware, be aware of it.

Speaker 3 (03:56):
Yeah, well, those guys, they were doing their
thing back in the day.
Coolie C.

Speaker 1 (04:01):
Okay, Rest in Peace.

Speaker 3 (04:03):
Yeah, rest in Peace, coolie.
So yeah, that was all startedaround the same time then.
So I came in on a, you know, ata kind of a change and
everything that was happening,although you know, freestyle and
rap were popular, but the Miamisound was just, you know,
getting going right there,because I mean, the Miami sound

(04:26):
was huge for a while here, fromlike 85 through about, I want to
say, 87, 88.
It was huge.

Speaker 1 (04:32):
And when we're talking about the Miami sound,
we're talking about booty music.

Speaker 3 (04:35):
Booty music and freestyle Trinear Pandas Records
.

Speaker 4 (04:41):
Debbie Deb.

Speaker 3 (04:45):
I'm sure some of the listeners might know who they
are, but you guys better educateyourselves, Okay okay.

Speaker 1 (04:53):
So how important is you know, when we talk about
DJing?
Of course, when you're DJing,you're not playing the music for
yourself, You're really tryingto move a crowd.
You're playing music for thecrowd, right, Is that?

Speaker 3 (05:07):
Yeah, I ain't that type of DJ.
I like playing for myself.
All right all right and itworks.
But I happen to have good tastein the stuff that I like, so it
worked out for me All right.
After that party of the dancefloor I made it good.
I started playing what theylike, but also what I like.

(05:28):
You know what I mean?
Yeah, I find it important toenjoy what you're doing, but I'm
not a jukebox.
I hate that shit.

Speaker 1 (05:37):
No, so did you ever have to deal with local talent
trying to get you to play theirmusic, djing that kind of genre?

Speaker 3 (05:44):
All the time, okay, all the time.
The first one was Stephanie.
She came through Danny D, who'son B-Wear Records, and actually
we ended up making a recordtogether because I used to play
it on real to real because Ididn't have vinyl.
So we actually made a recordcalled Get Away Stephanie's past

(06:05):
now, but that was my firstforay into music production.
Also a funny story Did you everyou guys know the song Give it
all you got?
Give it all you got, yeah.

Speaker 1 (06:17):
Yeah, I've heard it.

Speaker 3 (06:19):
I was working at Specs Music and I was the record
buyer.
Some of my clients were likeRay Lowe, you know, he used to
come in and buy records from meand I had a ton of clients like
that.
Anyway, the guy who made thatsong, derek Derek Raman, he was
working at an oil rig, you know,he was like driving all trucks

(06:39):
or whatever around and he camein and he handed me this record
Give it all you got.
And I was doing a tea night atthe club back then and I'm like,
yeah, bro, I'll play this shit.
Man, that shit blew up as soonas I played it and and it was
amazing that this guy just outof nowhere gave me that record
and then he went.
You know he was crazy.

Speaker 2 (06:59):
So he was, he was local.

Speaker 3 (07:02):
He's local from, I believe, lauderdale.

Speaker 2 (07:04):
Yes, and he just handed you that record.

Speaker 3 (07:07):
He was traveling around heard about the store,
because that was a very popularstore for dance music.
I was the one that would buyall the songs and distribute
them to the DJs and they wouldcome by for me.

Speaker 2 (07:19):
I didn't know that history about you.

Speaker 3 (07:21):
Well see, I started playing the music, then I
started selling the music, thenI started making the music.
So my whole career has been onefast at a music run of it.

Speaker 1 (07:33):
Hmm, so I guess, as we talk about the DJing, and
that that's what got you tobecome a audio engineer.

Speaker 3 (07:41):
That was the next thing I had to learn.
You know, I played it, I soldit and I wanted to learn how to
make it.

Speaker 1 (07:50):
So what the school for that?
Not full selling around?
It's full sell not around backthen.
So how?

Speaker 3 (07:55):
does one.
Yeah, they went to full sell.
I just started picking upcomputers and learning it myself
.

Speaker 4 (08:02):
Hmm, and this was what year?

Speaker 3 (08:05):
I started learning it about 93.

Speaker 2 (08:09):
Okay, that's early, yeah, and when?

Speaker 3 (08:12):
you're back then.
I mean now you know you canlaunch a rocket ship.

Speaker 4 (08:16):
Well, yeah, you think you perfected it.
You know, perfected theengineer.

Speaker 3 (08:19):
I'm still working on that.

Speaker 4 (08:22):
Well, well, okay, okay, so let me know, there's no
perfecting that shit it's.

Speaker 3 (08:26):
you know, it's just an evolution.
Okay, so let me, let me rewordwhat I got decent that I deserve
money.

Speaker 4 (08:33):
Yeah, there you go.

Speaker 3 (08:38):
I would say about 0506.

Speaker 4 (08:40):
Okay.

Speaker 3 (08:41):
Okay, after 21 Reeses and after two or three triple J
songs albums, I mean yeah, butdefinitely after 21 Rees and
passion of the mic came out.
That's when I started reallylearning the craft.

Speaker 4 (08:57):
Okay, how did you get yourself out there?
Do you know we didn't havesocial media in that out there?
How did you brand yourself atthat time?
Yellow?

Speaker 3 (09:06):
pages, there was no branding, I just, I just did a
good job and people find outwhat we're about, just like that
Word of mouth.
It was all word of mouth,except for the first time.
The first studio which wasn'tcalled on beat.
It was in a record store calledDan Ceteria, over on Lake Worth
.
Lake Worth road, yeah.

Speaker 2 (09:28):
Used by in the back.

Speaker 1 (09:30):
I was in the back.

Speaker 3 (09:31):
Military trip it was.
It was just west of military onLake Worth road.

Speaker 2 (09:36):
Next to the KFC.

Speaker 3 (09:38):
Yeah, exactly.
And so the owner wanted like alittle studio, you know, and in
the back so you can get likekaraoke people and you know,
offer extra services.
All my shit was in my bedroom,you know me practicing, annoying
my then wife, and so I said,sure, I'll put it over there.

(09:58):
So what he did was he took outand like one of these ads, local
ads on BET, record yourself.
And the funny thing is one ofmy first clients was Mimi.
I don't know if you guys knowme, am I twice?
Am I twice?
Yeah, and triple J.
I gotta tell you I knew shitabout rap.
Nothing I was playing.

(10:21):
I was like in that record storeI was the buyer for all the
house music and you know dancemusic and stuff like that.
So I kind of I kind of, youknow just went into it and
somehow the shit sounded rightand people kept on coming.
But I was very new with that.
I, you know, I green, the triptrip saw something in it.

(10:43):
I don't know.
No, he, he says he wanted thatunprofessional sound.
Now you know we talk about itnow he wanted something that
wasn't as clean, he wantedsomething from the streets, and
then you can't get any dirty orthe Miga.
I didn't know what the fuck Iwas doing back then.

Speaker 2 (10:58):
What was it I?

Speaker 3 (10:59):
did, but not like you know nothing, like I know now.

Speaker 2 (11:02):
The first triple J project you worked on with with
him was that um Welcome toRovere, volume one.

Speaker 3 (11:09):
I think it was.
I think it was Rovere volumeone.
Either that or off the porch,but I think it was.
I think it was Rovere volumeone.

Speaker 1 (11:19):
And I think trip may have mentioned it, so in my,
twice was your first hip hop.
She was one of my first but shewasn't.

Speaker 3 (11:26):
she wasn't the one that was um, you know, singing
or rapping.
She brought her little nephewsin, so there were kids.

Speaker 1 (11:34):
Okay, yeah, so she's like she's legendary, then she's
the first.
He's always been legendary.

Speaker 3 (11:39):
She's an excellent producer man.
She's the shit.

Speaker 1 (11:44):
But see our side of town when you talk about dairy
and born in beach.
At that time we met her after acompilation, I think, when she
she was working on it, yes.
And I feel like it reached ourside and I met in my twice.

Speaker 3 (11:58):
That was about.
I think there was about 04 or05 around 06 and that and that
uh time frame around, and Iremember that she had Chevy it
wasn't Chevy Porter on there and, um, it was a favorite.

Speaker 2 (12:14):
And I was on there, you guys were on there A lot of
people.
Yeah, she got almost everybodywho she could find that was
active at that time.
It was a really good projecttoo.

Speaker 3 (12:25):
Yeah, yeah, I still have it backed up somewhere.

Speaker 1 (12:30):
So I'm I'm just curious.
So starting out, and you saidyou ain't know everything that
you know.
Now, how did you come up?
What was the fee?
What were you charging backthen as?

Speaker 3 (12:41):
far as it wasn't too bad.
I was charged.
I started off and think it was30 or 35 an hour.
Okay, so I came in at $50 anhour, right, so that must have
been like oh, two or threearound there.

Speaker 2 (12:57):
Yeah, yeah.

Speaker 1 (12:59):
So also another thing I want to discuss, because see
our side of town.
My first studio, professionalstudio experience was X Beat
Studios in Lakeworth.

Speaker 3 (13:10):
Oh he, was very popular, hell yeah.

Speaker 1 (13:11):
And I think he was going for like 30 and not Like
back then it was like 30 an hour, so he was killing it out there
, I think, and especially theHaitian community.

Speaker 3 (13:20):
Oh yeah, yeah, we had similar clients like Action,
beats and Neldi and, yeah, weshared a lot of clients.

Speaker 1 (13:33):
So when you were in the upcoming Back in those Days
and you knew on beat, it wasalmost like I remember Ronnie T
brought me to a session my firstrecord I did I remember it's
called Bitchified I recordedwith you.
I was nervous as shit, like asyou just knew you starting to
think, oh shit, triple J, comehere, suave, smooth, come here.
Like you start thinking like 21.

(13:53):
Like everybody started, likeyou had to go to on beat studios
.
So my first experience, man, Ithink I could my doubles was, I
mean, I just said I'm going tobook it, book it, book not sound
.
I just need to go and learn whothis Oscar guy is and see if I
can compete.
But, man, you talk aboutpressure.
But the thing I did love though, you was very attentive to what

(14:16):
I was doing, you communicated.
Sometimes you got and I've beento different studios back then,
not everybody is payingattention to your session Like I
get.
You're getting paid for, butthere's a special attention
you're paying to that artistwhere you can tell if I'm just
hitting that R button on thekeyboard or I'm actually trying

(14:37):
to pay attention and guide youto the best of my ability.

Speaker 3 (14:40):
Yeah, most of the time, even if it doesn't look
like I'm, you know, if I'mscrolling on my phone or doing
whatever, I'm actually listening.
I hear the mistakes and I willstop you if I have something
better for you to do.
Unless you're one of those thatdon't like criticism and you
know they're not keep going.
And most of the time I listenand I'll suggest stuff you know
to do better.

(15:00):
And also, patience is a verybig thing in what I do.
You can't get a goodperformance unless people are
comfortable being there.
You know what I mean.

Speaker 4 (15:10):
Correct.

Speaker 3 (15:11):
So you know, I just see how they are and I work this
session, you know, towards them, towards you guys, so you guys
are comfortable.

Speaker 1 (15:20):
Mm-hmm.
So I mean, I feel like PalmBeach County when we not only we
could talk about the sound froma producer standpoint, but when
we talk about some of the bestrecords that came out of the
city whether we're talking aboutclub hits or you know, or even
records that made it to radiothey came out of Envy Studios.

(15:43):
Envy Studios got a lot ofrecords out there that did a lot
of movement in the city.

Speaker 3 (15:47):
Yeah, we had a lot of , especially with Shife and
Tripp and Eric and you I meanyeah, hell yeah.

Speaker 2 (15:59):
Can you name some of the big songs that did well
locally that you know you record?

Speaker 3 (16:06):
You're putting me on the spot.
I have a terrible memory andI'm still in clients.

Speaker 4 (16:10):
All right, all right, I'm not, I'm not.

Speaker 3 (16:11):
Then off the top of my head.
I know 16 years old was a hugeone.

Speaker 2 (16:15):
Yeah, triple day One or two.
Point three how do?

Speaker 3 (16:18):
I get that fat, beat that pussy, beat that pussy down
G-boy.
G-boy Total out that money.

Speaker 1 (16:27):
Yeah, total out that club Mirage on lock man.
Everything else was kicking outof me.

Speaker 3 (16:31):
Total out a ton, and I'm sure there's others, but oh
my God you did any PCC Van Damme.
Oh God, they used to come eighthours a week for years.
Yeah, wow.

Speaker 1 (16:41):
I remember trying to get booked on.
I don't know what days they had, thursday or Tuesday.
They had this one day everyweek for almost six months.
I wanna say I could never bookthat day, because you talk about
from like two to close.

Speaker 3 (16:56):
It was years.
God rest his dead.

Speaker 1 (16:59):
It was cook them up.

Speaker 3 (17:01):
Cook them up, man?
Yes, cook them up.
Got those boys together and hewould take care of their
sessions.
Man, I miss him.
That was it's walked up, butyeah they was cooking them up
was the one that would bringthem every week, and it was a
great time man, a lot of talent.
They work well together.

(17:23):
It was an awesome time.

Speaker 1 (17:28):
So I also wanna talk about a particular situation we
was running through YouTubevideos and it just brought me
back Like I didn't know so muchstuff was on YouTube, like I
didn't know that he wasuploading so much content.
But looking at the carbine, Iwanna say maybe carbine mafia
era when you had G-Boy toe downShife and I'm talking about

(17:48):
video shoots from Rick Ross, theCalids, triple C's and there's
a lot of clips you in thebackground, because I know once
upon a time you and Shife were aduo when it comes to the that
sound that I know from him.
Can you speak about how thatstarted and what were you guys
able to accomplish?
Cause I know Calid, we the bestand Triple C's were shouting

(18:09):
you guys out left and right andthat's on YouTube Got plenty of
views.

Speaker 3 (18:14):
Yeah, at first it started, I don't know, our stuff
was getting out and I believethe guys from Triple C's were
using our tracks and spitting onthem and Shife was all mad and
stuff.
And then we started working.
This is before that.
Further into future, around0607, we were working with G-Boy

(18:36):
doing the I forgot the name ofthe album but the big album beat
that Pussy Down and all that onit.

Speaker 4 (18:44):
I think it's called Certified.

Speaker 3 (18:46):
No, it wasn't Certified.
Oh gosh, I can't remember.
It was the big one that it'sstill like.
I still listen to the album andit's amazing.
But that album we had CleeToadown, shife, triple J and a
few other people all collabed onthis and they would all chip in

(19:10):
whether it was lyrics or ideas,and that's one of the best
albums I ever worked on, likethe way it came out.
It was awesome.
Anyway, somehow that album gotto Fat Joe and he loved it so
much that he came to us and hewanted to sign Shife for the
label and of course we were likeyeah, whatever, because we

(19:31):
didn't believe it.
So we were like yeah, andeventually Stan, the guy who
runs what does it say?
Cheese.
Stan, the guy that was CityGirls he's the manager for City
Girls and all those people.

Speaker 2 (19:46):
Okay, I didn't know what he was up to in Anyway.

Speaker 3 (19:49):
Stan yeah, he does a bunch of stuff.
He was trying to sign Shife andyada, yada, yada.
And then he sent over Fat Joeand we worked with him for a
little while.
It was through Stan that got usinto Khaled and to everybody
else Stan, fat Joe, then Khaled,then Khaled spread us out to

(20:09):
everybody.

Speaker 1 (20:11):
Now, oscar Khaled was in his prime, he was in his bag
, he was Khaled.
Like I mean, he still is Khaled, but he was really the thing.
I mean did you ever think about?
Damn, it's gonna happen.
Like I ain't probably gonnahave to record another local
artist session again.
Like I'm in there, I'm gonna berecording the big dolls.

(20:32):
Did that moment ever kick in?

Speaker 3 (20:34):
Yes, yes and no.
I was going through some stuffback then.
I was going through a divorceand a bunch of stuff.
So my mind it was exciting, butat the same time it wasn't.
It was.
It looked good on paper.
But, I was going through abunch of stuff and I thought it

(20:58):
was exciting.
Although I'd rather believe itor not, I still enjoy working
with local people than I do withdivas.
That's the one thing that Inoticed.

Speaker 1 (21:10):
Now you gotta break down when I'm thinking about the
people that are already on top.

Speaker 3 (21:18):
they say, okay, meet me at the studio at 5.30.
When me and Shaf will get there, we'll get there at 5.30.
They won't show up till 1 amand then have an idea at 5 am.
I did not like that shit at all.
That is not my way of working,you know me, I'm very I did not
and I really did enjoy that and,to tell you the truth, like

(21:41):
that's why I'm still engineeringand not going out producing, it
wasn't that enjoyable for me.
Meeting people and doing allthat stuff, yes, but the actual
thing of it is no.

Speaker 1 (21:54):
So on the producer side, is that because the bag
comes later, like I gotta createthis beat, I gotta record this
artist, then we gotta signpaperwork eventually.
Then I know maybe, god willing,if it lands on radio or does
what it does, i'ma get paideventually?
On the back end, is it becauseit's not that we need the
beginning?

Speaker 3 (22:11):
That's the thing with me.
Back then.
That studio was all under myname.
I was paying all the bills forthe studio.
When I don't work and I'm overthere trying to make beats to
shy, nope, I'm the one that'sstill gotta pay the studio and
child support and whatever elseis going on at the time.
So it was really hard for mejust to devote that.

(22:31):
I mean you have to be young,free and a single in order to do
all that stuff.
Unless you already did it andyou made it it was very
difficult for me to just let goand work it out.
It was hard, you know it is.
I mean, you have a family.
If right now they say, hey, yougotta be in the studio every

(22:53):
night and then you still have topay for stuff but you can't be
there.

Speaker 1 (22:59):
I completely understand.
No, I do think we're at a pointnow where time is money.

Speaker 3 (23:03):
There were no advances or anything.
I mean, Cal, you just pay me alittle bit, because he used to
have me do a little work hereand there for me.
He used to pay me, but notenough, just to leave the studio
for a week, some months at atime.
That's the truth of it.

Speaker 1 (23:19):
So, being around that situation and I know you guys
got some placements besidesKhaled and Triple C's is there
anybody else that you've gotsome credit for?

Speaker 3 (23:28):
Yeah, we did stuff for we did.
That's the shit that I live for, trick Daddy.
We did a couple of songs forTrina, where I think Shife is
still under hook pitched up.

Speaker 1 (23:37):
Wait a question.
When you say that y'all madethe beat for this, the shit that
I live.

Speaker 3 (23:42):
Yeah, that's us.

Speaker 1 (23:43):
Holy shit.

Speaker 3 (23:45):
I believe that, and Shife made the hook and Trick
Daddy redid it.
But Trick Daddy was in with us.
It was actually E-Class who wasin the studio with us making
that.
Then he gave it to Trick Daddy.
You didn't know.

Speaker 1 (23:59):
No, I did not.
I mean I got that on my gymrotation.
That's one of my trick recordsI go to.
I had no idea.
I mean, now that I hear thebeat in my head I'm like, yeah,
I could see that, but I didn'tknow that at the time.

Speaker 3 (24:11):
Yeah, that was us.
Damn right, we did that a bunchof A-Sit stuff.
Actually, we started with theA-Sit stuff.
Don't ask me to remember thenames, because we did so much.

Speaker 1 (24:25):
No, you good.
I mean, I just wanna make surethat some of them names get out
there, that's it.

Speaker 3 (24:30):
Gucci Making Love to the Money.
That was us.
No, I remember that one.
We did a bunch of stuff forGucci for his Zone 6 mixtapes.
We did a bunch of stuff forKhaled for the Victory album.
I believe we did a quarter ofthat album or a third of that
album.
We did most of the tracks forTriple C's, that album.

(24:54):
Just a ton of stuff.
Yeah, we were working a lotback then.

Speaker 1 (25:01):
Now do you miss?
I mean, besides the D, he'sHarlem Divas, I get the D-Vaside
.
Do you miss producing at all?
I know you're an engineer.

Speaker 3 (25:11):
I'd rather engineer than produce.
I leave the producers.
I can physically do it, I knowhow to do it, I know how to
arrange, but I don't have thepatience for it.
You know what I mean?
I don't know.
I like fixing other people'sstuff and making it sound good.
I can actually produce, but Ijust don't like the process of

(25:33):
it.

Speaker 2 (25:34):
I understand.

Speaker 3 (25:37):
You know everybody, if I did everything I'm capable
of doing, I wouldn't have afocus.
So I had to focus in order justto continue what I do.
So I can't be a guy with allthe hats.
I wanted to focus onengineering because I know
exactly that's what I like, andthe producing I can help people

(26:00):
produce, but I don't wanna do itfull time.
I've always felt very safe withmy clients.
Man always.

Speaker 2 (26:07):
Yeah, nobody wasn't gonna bother Oscar, because he
had the clients, he had, thelove and the respect he had and
how neutral he was able to stayin doing what he did.

Speaker 3 (26:23):
Oh yeah, I recorded top six and who was the other
side, teresa, and who was theother people?
Remember the top six Feud.

Speaker 1 (26:33):
Mm-hmm.

Speaker 3 (26:34):
What was it?

Speaker 1 (26:35):
I don't know who I'm watching.

Speaker 3 (26:37):
Yeah, but I recorded both of them, yeah.

Speaker 1 (26:41):
Was there any like hey, let me make sure I don't
book y'all around the sametimeframe, anything else?

Speaker 3 (26:46):
No, no, no.

Speaker 1 (26:48):
No.

Speaker 3 (26:49):
Like an idiot.
I had no security measures.
I also recorded remember whenHustler Jones was the first guy
to come up in this trip.
I recorded that too.

Speaker 2 (27:01):
Yeah.

Speaker 3 (27:02):
Hustler Jones damn.

Speaker 2 (27:04):
Oh, that's what got Hustler Jones noticed.
He just came straight out,dissed him when not many people
I'm sure you wanna do this.

Speaker 1 (27:16):
And you recorded.
You recorded the diss track,what you oh yeah, yeah, you a
part of that, oh lord oh, lord.

Speaker 2 (27:22):
What did you ask him.

Speaker 3 (27:24):
Huh, are you sure about that?

Speaker 2 (27:27):
Because he had just got out of prison.
Yeah, yeah, so he came.
He wanted to Listen.
I have an equal opportunityperson.

Speaker 3 (27:37):
I don't deny people based on Personal things, unless
you personally did something tome.
You know what I meanEverybody's equal.
I have turned down, I have hadturned down sessions with major
artists Because I had previoussessions with somebody existing
and I will, you know, I willalways, you know, do what I'm

(27:58):
supposed to do.
I don't, I don't like playingfavorites like that.

Speaker 4 (28:02):
Mmm.

Speaker 3 (28:03):
So yeah, trip.
You know, trip was laughingabout us, I didn't matter.

Speaker 2 (28:13):
Danger, so I remember that, I remember yeah.

Speaker 1 (28:18):
So what's like one experience you can share?
We don't got it.
You know we ain't saying nonames, but what would be one
experience you share as anengineer?
That I mean, maybe it could bea night, it could be a early
session.
What's one of the crazyexperiences you can share that
happened to you as a engineer?

Speaker 3 (28:36):
Man, I can't sing a lot of single story I.

Speaker 4 (28:42):
Got one for you.
You've predicted you'veengineered a bunch of artists.
Have you ever you finish Mixingand mastering a track?
Have you keep some records toyourself and go home with it and
put on your phone?
Do you have any favorite oneright now that you keep?

Speaker 3 (29:02):
Detain the truth when I make stuff like some of the
stuff that's that's personal,like back in a day I would have
CDs in my car to listen to it,and G boys was one of them.
God, I can't remember the nameof the damn album, it was a huge
one.
But yeah, g boys is one that Ithat I had personally in my car.

(29:23):
But other than that like, otherthan listening to the music and
make sure it's sounding goodand is bumping, it's work, man,
when I leave work I'll sit hereand play with my PlayStation or
do something else besides listento music, believe it or not,
even the DJing stuff.
I don't listen to my DJ musicunless I'm picking it out or
playing it over there.

(29:43):
I don't, I don't sit around andlisten to music, which is like
it's like the bad coin to what Ido.
Yeah, I don't.
I tend not to enjoy music as afan.
I'm more of a, An industryperson you know what I mean.

Speaker 4 (29:59):
I'm just that which kind of sucks, honestly, because
it makes sense because if it'sthe work that you do 24 7, you
know you don't want to go homeand and deal with it.
You know I'm saying.

Speaker 3 (30:12):
My Spotify and I use it mostly for research or, you
know, to have that my daughterhave her account.
Okay, but I don't, I don't, youknow, and I have a ton of
playlists, mostly for DJing or,you know, like research, but I
don't.
I don't sit around listening tomusic, believe it or not.
I know it's disappointing, butyou know it sucks because I'm,
you know, I used to be a big fanof music and now I, you know, I

(30:34):
know it's still good, you know,I know, I know, I know what can
hit, I know what sounds good,but I don't Enjoy it as much
personally on that level anymore, unless I'm DJing and I'm
feeling it, you know, when it'slive there and I'm feeling it,
yes, but just to sit aroundlistening to it, not as much.

Speaker 2 (30:52):
Do you remember local love when, local, you probably,
was the prime sound Architectof that time?

Speaker 3 (31:03):
That's where 16 years old was on there and a bunch of
local stuff was on there backthen, boy.

Speaker 2 (31:09):
Like reaction by toe down.
You did that one oh.

Speaker 3 (31:12):
Yeah, we used to be a Shaffer and I used to produce a
lot of stuff, or most of toaststuff actually.

Speaker 2 (31:17):
I think toe down is one of the best ANR's In each
county far as I'm hard together.

Speaker 3 (31:26):
He's so freakin talented that man knows music
More than anybody.
I know he he knows how to pickit.
He is really good, always hasbeen good, always knows what he
wants, always has a great taste.

Speaker 1 (31:41):
He's and, and you know I worked.
I had a chance to work withboth G-Boy and and hold on, but
I want to say, hmm, I can'tremember who I worked with first
, but they both did Records forme on spot, like on demand.
We collaborated.
I collaborated with both ofthose artists and those that was

(32:02):
the first time I've alwaysheard stories of off the dome.
You hear about Jay Z, you hearabout Lil Wayne, but locally
those were the first two rappersthat I see.
Go in the studio, give themlike five, ten minutes with the
beat, but then it's like,alright, let's go and and they
gonna, they're gonna give you a16 and they got it done within
30 minutes at least.
And I'm solid, solid verses toyeah, yeah, both.

Speaker 3 (32:26):
Both them were excellent at putting shit
together like that, especiallytoe.
Toe is one of the first peoplelike Back when I started, even
with trip, like there was veryfew punchin everybody.
We're just.
You know, you run through yourwhole verse.
If you didn't like it, you runit again.
But toe was the first one To dothat.
Controlled freestyle will do aline or two, stop and think, do

(32:47):
another line, and that's how alot of this stuff was
constructed back then.
And he's he's always beenreally good at that.
He's very fast, he makes.
He makes stuff out of nothing,I don't know where.
Like you witnessed it.
I've seen him come in, he has alittle idea and boom, it turn.
It flushes out into a songwithin an hour.

Speaker 1 (33:07):
And I don't think the producers get enough credit for
that, because it's like I thinkit takes a special talent to be
able to Know when it ends.
Take it back to that beginningalready, have it running for you
to feel and punch in.
What something else is thatmore challenging to work with
our artists that punches inversus somebody with a one take?

Speaker 3 (33:27):
Yeah, of course it's, it's.
It's more difficult to do thatand keep the rhythm going so
that they can, you know, so thatit's a workflow you have to
kind of keep it going so thatthey're interested in.
And it took me a minute to getmy workflow down.
Had carpal tunnel, you know,when I used to do g-boy and toe
down back in a day I till I gotit under control now, or where I

(33:50):
got a really good workflowthese days compared to back then
.
Back then it was hard on mywrist, yeah.

Speaker 2 (33:56):
Trust me.

Speaker 3 (33:59):
It's all that.
Stop, stop, stop.
That's how we did all therecords like that.

Speaker 1 (34:05):
You know what, and I got a crazy.
I remember one time, um, youknow you, you was able to sneak
me in on a session and it's just, it was an artist from it was
down south, he was.
He went by dirty red at thetime and I Don't listen, you
know.
And I, yeah, me and him got a.
We did a record together inOscar, like you know.
Once again, oscar was, you know, merkin, some magic.

(34:28):
When you got a big name artistslike that, we work in some
magic, but I I remember whatdirty red is a what I want to
say a perfectionist.
I didn't know what.
I think I know exactly what aperfectionist is, but now you do
you do now.
And I think Oscar could remember, because I I don't know if I

(34:49):
ever, if you ever, had achallenge like that before.
But Eric and Drago hear me likewhen I talk about 20 takes on
the verse After, after take 20.
I Couldn't tell, I couldn'thear the difference in the verse
and the delivery.
The verse I knew it by the time, but I knew it and I think,
oscar, that's the first time atleast I could remember.

(35:10):
Oscar looked at me a life thatwell, I don't know what I have
to do Like what we doing, likeit ain't changing.
but it was like he redid, hedidn't want to take no punches,
it had to be like a one.
I think we end up doing liketwo or three takes to get it
Right, but I've never seen Iain't gonna say frustrated, but
I think that's the first timeOscar was like what the heck is
we doing?

Speaker 3 (35:30):
The first thing, the only reason is because I
remember that you know howstrict I am with my time.
Yeah, yeah, that's what it was.
Because I have artists likethat today, not gonna name any
names, yeah, you know, they'lldo something a hundred times.
To me it sounds like the sameexact thing.
I mean, I don't have, I don'thave golden years, just say okay

(35:52):
, okay you know, but yeah, backthen that was.
That was one of the first timesI Encountered somebody.

Speaker 1 (36:00):
Okay, shout out a dirty red man.

Speaker 3 (36:02):
He's very like yeah, I got people waiting we gotta
get out of here yeah you know,he's not the only wonder there,
there are plenty like him andyou know you just gotta again.
You know the patience thing is,Sometimes I don't have it and I
hope 90% of it I do.

Speaker 2 (36:21):
Hmm.

Speaker 3 (36:22):
I try.

Speaker 1 (36:24):
How do you handle this one I'm sure a lot of a
dregle public can relate to.
But how do you handle whensomeone just don't know there
they?
Is it annoying for everyone toask you for feedback from a
record after every, after theyrecord it?
Is it like, so is it normal?
Or is it like, oh shoot, shitman, it's just a hit man.

(36:45):
This the one like you know,like they hyped in the studio,
we got drinks.

Speaker 3 (36:52):
While they're recording.
I will maintain that hype, butif they ask me honestly, I would
tell you the truth.
I have no fucking clue becauseI, even even with this shit,
that me and Shaq remember weused to make beats all the time
and and and remember making loveto the money we talked about.

Speaker 1 (37:07):
Yeah.

Speaker 3 (37:09):
Okay, we sat there and we made, while we waiting
for Gucci, we made him the bestass beats we can make and he
comes in finally, after hours ofus waiting, like I told you,
and he goes oh man, no, I didn'thave to do that.
I wrote to, I wrote tosomething already and he picked
one of the most average assBeats because we made a hundred
of these.
Okay, so, from you know, and Iknew before, but from then on,

(37:32):
like you know, I can't pick shit.
I, I have no idea.
People tend to pick stuff.
When you're in the industry,it's very difficult to.
You might like it at the moment, you might like the way it
sounds and you're happy, butit's very hard to decipher what
people will like.
Very, because what I think isit's you know, people like oh,

(37:57):
you like that shit, yeah, so Ican't.
I'll be honest, you know, andsay, yeah, I like that shit, I
like the way it sounds, and ifit needs to be changed, I'll say
, maybe we can try this and that, but I have no clue what's
gonna be a hit or not.
Gotcha, gotcha, that doesn't myjob.
My job is to make it sound asgood as I can, so it can be a

(38:20):
hit.

Speaker 1 (38:21):
Do you feel like yourself?
Do you feel like a therapist?
Somewhat Cause a?

Speaker 3 (38:25):
That is my primary job.

Speaker 4 (38:29):
Okay.

Speaker 3 (38:30):
An engineer, that is the primary job and I realized
this after many years and youknow I kind of dig it, cause I'm
hoping I'm a positive influencein people's lives.
You know I kind of like thatidea.

Speaker 1 (38:47):
No, absolutely.
I know, I definitely appreciateit after all these years and
you know you're always givingthe best advice and you know
even when it comes to recordsyou would always give your
honest truth about something.
That's something I alwaysappreciate.
I'm sure everybody else doestoo.
I think that's why you have thelongevity that you have in the

(39:10):
business and why you're the boss.

Speaker 3 (39:12):
I don't like to bullshit at all.
You know me, I'm a prettystraight shooter most of the
time.

Speaker 2 (39:19):
Is it different?
Like, how is the climate withengineering and having a
commercial studio with so manypeople doing a lot at home?

Speaker 3 (39:34):
Oh, it's definitely not like it was in 2007,.
You know A lot of my clientsthese days, you know they asked
me what to buy, like Fat Boythere, and then they a lot of
times they'll send me this stuffto mix.
So, yeah, it's not like inthose days where you had to wait

(39:54):
three months to get in to seeme.
It's kind of calm down and it'sactually I mean, I miss more
money, but I like the pace nowbetter, you know, at least I
have more of a life.

Speaker 2 (40:08):
Yeah.

Speaker 3 (40:09):
I was doing 60 to 80 hours back then.

Speaker 4 (40:11):
Woo.

Speaker 3 (40:12):
And I was crazy.

Speaker 1 (40:13):
That's two jobs.
Oscar, that's a lot of work.

Speaker 3 (40:15):
Oh, I know, you know and you know, but now I don't
work as much.
I'm DJing again and you know mystress levels are better.
I'm exercising.
I mentally feel better, morenow than I did back then.
Put it that way.

Speaker 4 (40:33):
So you're riding your pocket.

Speaker 1 (40:35):
Yeah, well, so far, yeah, I'm proud of you and I'm
proud of you, for you know youalways share your fitness
journey.
So when I booked my session,you either went to the gym,
you're in your steady fat well,I got this in my arm.
Her shoulder.

Speaker 3 (40:50):
Bro, I did it yesterday.
I still hate it.
I hate it to death.
But I have to do it, bro, I'mgonna.
I may be 60 in two months.

Speaker 1 (40:59):
No 45, oscar, not 60.

Speaker 3 (41:01):
I wish, I wish.

Speaker 1 (41:03):
Times one.

Speaker 3 (41:05):
But I want to be up for it.
I want to be able to, you know,still have.

Speaker 1 (41:09):
Awesome, awesome man.
So what keeps you going?
You just said you're about toturn 60.
And I know you know that's along career and you're still at
it and you got put me more leftin the tank.
You don't operate at all likesomeone who's trying to slow
down.
When we talk about gigging, wetalk about engineering and what
you give to the game and theentertainment business.

(41:31):
What keeps Oscar Feud and going?

Speaker 3 (41:34):
I don't know, man, I think I am made out of music and
music is what kind of likepropels me to keep going.
Because, let's be honest, bro,music is fun.
It's not like I'm in a countand shit.
I'm not doing boring shit allthe time.
And you know, music is fun andit's something you can do for a
long time.

(41:54):
Again, as long as you take careof yourself and as long as you
keep accepting new things,because many people get stuck in
the old ways and you knowthey're just about one era.
I always try to see what's goodabout every era that comes
through and you know I wentthrough that with DJing, with
the change when I moved here toFlorida, I realized that if I

(42:17):
don't keep learning and seeingwhat's new and seeing what
people find good and whatever isnew, if I don't do that, I
can't keep going.
So I like the journey, I likecontinuously discovering new
things.

Speaker 1 (42:34):
What's one of the past?
As Eric was talking aboutartists, a lot of artists are
kind of recording themselves inthe home studios, so what's one
advice you want to give folksbefore they bring you a record?
What's one of them pet peevesthat make you say, ah, what the
heck is this Like?
You know what one of your petpeeves you could share?

Speaker 3 (42:52):
One of my biggest pet peeves is recording every line
on a separate track.
Imagine you got a 16 bar versewith 90 tracks with all the
different words and that's mybig file management and
organization.
You know I'm really.
My pet peeve is organization.
Yes, that's about it.

Speaker 1 (43:15):
And I don't think you get enough credit for this too.
Like you're the first engineerwhen I recorded, like I got out
the booth, the record soundeddone, like I was so used to
dropping the vocals, coming outthe booth, sitting down, and
then it's like now the mixingstarts.
Then you get to the point where, oh, I hear the potential, but

(43:37):
what was the science about thatand did you ever get credit?
Do you think people discussthat?
Because I know that's a servicenot everybody offers.

Speaker 3 (43:45):
No, I hate nickel and diamond people.
I really hate it.
I want you to come in to myplace and have a good experience
and leave with something thatyou're happy to leave with.
So, having said that, early onI started making my own
templates and stuff.
So when I load a procession andyou go, I have all my tools
ready to go and, as you'rerecording, I'm doing knobs and

(44:09):
stuff just to get it to soundlike something started.
So you're happy and it actuallymakes you do a better
performance too.
So I hate that all.
Yeah, we'll mix it later on andI charge you more.
I was always you come here, yougive me enough time and I'll
give you something to take withyou where you don't have to come

(44:29):
back if you don't want to.
That's one of my businessthings.
I try not to nickel and diamondpeople.

Speaker 4 (44:37):
Right right.
It's always good like that,because to me I feel like back
then they always brought up tothe artist's motivation, like
they brought them up, gave moreenergy or gave them more energy
and really happy to hear theystuff like ooh.

Speaker 3 (44:52):
And that's why I have a lot more return clients,
because I treat each one thesame way.
I would treat Tripoli the sameway.
I treat you the same way.
I treat somebody who I don'tknow, it doesn't matter,
everybody gets mostly the sameservice.

Speaker 4 (45:06):
But confidence is all confidence.

Speaker 3 (45:09):
Yeah, exactly.

Speaker 1 (45:11):
Now, oscar, you don't use the same program that I
grew up on, or what I was usedto seeing.
Is it Cubase?
Is that the proper name?

Speaker 3 (45:21):
Yeah.

Speaker 1 (45:21):
In the window.

Speaker 3 (45:22):
Is it the same?
New Window is Cubase, but it'slike the bigger brother of it.
It has a few extra functions,but basically it's the same shit
as Cubase.

Speaker 1 (45:30):
OK now.
I know you got Pro Tools.
I know you got Logic to helpartists.

Speaker 3 (45:34):
If you're old and slashed.

Speaker 1 (45:38):
But why New Window or Cubase?

Speaker 3 (45:40):
Cubase.
Ok, remember, when I startedlearning how to produce and make
music, cubase was my firstprogram.
I didn't even have audio, itwas MIDI, it was just a MIDI
sync and I started using it in1993.
So I grew up with Cubase andall this, so I knew it from when

(46:04):
it was this big till now, andthat's why I can work very fast
with it.
And so when you come to mystudio, yeah, I can record you
on Pro Tools, I can record youon whatever the hell you want.
They all do the same shit, butif you want me to be quick and
efficient, I use what I knowvery well, although now I'm

(46:27):
pretty good with Pro Tools.
Now I should have done thatback then when I could have
recorded Rick Ross and thoseguys.
But whatever.

Speaker 2 (46:37):
Because Pro Tools was like the industry standard.
Yes, and they were the industrystandard.

Speaker 3 (46:42):
Yes, they are the industry standard because they
were the first to make nolatency recording, which means
you had a Pro Tools box.
When you put the effects insidethe mixer and you talked into
it, you heard the reverb, youheard the delay, you heard the
auto tune.
Nobody else came up with thatbut them first.
That's why they got into somany studios and stuff, because

(47:05):
they were the first ones toactually do that.
While Cubase started up as aMIDI, no audio is started up as
MIDI.
So they did design with thefirst ones and they went the
high end.

Speaker 1 (47:16):
So yeah, Now, sometimes, when people think of
a studio, my next thing is youmay think of this big-ass room,
speakers everywhere, a bunch ofcouches, like sometimes.
It's like sometimes the artistswith a gimmick.
They might have a bunch ofchange and you might think they
made it.
I've always felt like withOscar, though, whether you was

(47:37):
sharing a location until you gotto your own locations, the
rooms were never as super big,but we always got quality, and
phenomenal things came out ofthere.
Is there a science to have inmore smaller spaces, making it
more intimate?
Does that matter?
Or you just never?
All the square footage, theextra square footage?

Speaker 3 (47:55):
You know I would love to have one of those big
studios but the reality of it isthey're a lot higher to
maintain.
You need a lot of loans to getall the equipment to fill it and
stuff, and I've always feltthat me being in a small space
is not intimidating to firsttime people.

(48:16):
You know those big studioscater to big bands, audio
executives and people who justwanna, you know, feel like
they're in a place that's highend.
It's like a high end hotelversus a motel.
So you know I'm like a motelwith high end sound.

Speaker 1 (48:34):
I like that.
I like that.

Speaker 2 (48:36):
Oh Motown.

Speaker 3 (48:39):
Motel.

Speaker 2 (48:42):
Mot sound oh sound Motel with quality sound.

Speaker 3 (48:46):
Yeah.
I like that.

Speaker 1 (48:49):
So I'm just curious too, when you how did you come
up with the name on beat?
I know?

Speaker 3 (48:53):
it's.
I was gonna tell you thatearlier.

Speaker 1 (48:55):
Oh, okay.

Speaker 3 (48:57):
Ambi was not the original name of the studio.
Ambi was the name of the recordstore that my studio was behind
.
The first studio was behindDanceteria and there was no name
for that studio and then theowner closed Danceteria and then
we opened up Ambi Music nextdoor, which Ambi Music was a DJ

(49:19):
store.
It sold records and vinyls andkaraoke shit up front.
My studio, my corporation, isOZB Studios, which are my
initials, but everybody startedcalling it Ambi, so let me, ah,
fuck it.
Ambi, it is so.
I didn't name it, I just gotchristened that way and I went

(49:40):
with it.
Wow, awesome story, Triple Jand everybody started saying
Ambi, down their records, youknow.
And I'm like, oh okay, yeah.

Speaker 2 (49:51):
No, that's the reason I went, Because so long he was
on there, because Triple J wasgoing there and they was like
the first had CDs that soundlike to us, like radio quality
or something like that.

Speaker 3 (50:08):
So it was very talented man.
I haven't seen him in a while,but he was always so talented.

Speaker 2 (50:15):
Yeah, that's who brought me in there.
You had a ponytail back then.

Speaker 3 (50:24):
Yeah, that's what I had here.
I had here.
I shaved it off in 2006.
I was at the mall with my wifeand my daughter back then and I
said let me go get a haircut.
So I went into one of thosehair salons at the mall PGA.
When they finished, I'm likehow much is it?
The look of sadness in thegirl's face and tell me how much

(50:46):
he was going to charge me wastoo much.
Right after that I went homeand shaved it.
I said fuck that.
I'm done.
Because it was already thinningout so much.
I'm like fuck it, I'm done.

Speaker 2 (50:58):
Hey, shout out to you , I cannot picture you with the
ponytail.

Speaker 3 (51:03):
Oh, hell, no man, hell, no.
But yeah, I used to have himback then in the 80s and my punk
phase and all that.

Speaker 1 (51:12):
Has an artist ever I don't know after recording a
record I've seen it in, like howI sound and I don't know asked
for a refund?

Speaker 3 (51:21):
A refund.
I have very few refunds, veryfew.
I've had artists that have haddisputes with where I would tell
them to leave and not chargethem, but I can't recall an
actual refund.

Speaker 4 (51:39):
You know what?

Speaker 3 (51:39):
I mean, I can't recall an actual where I had to
give a refund, maybe one in allthese years, maybe I don't know,
but it was more like they weredoing something in the studio I
didn't like or whatever, and Iasked them to leave and didn't
charge them, but I don't recallrefunds.

Speaker 2 (51:55):
Do you still have everyone's backups?

Speaker 3 (51:59):
I had backups that go back to 2004.
I wish I had more.
As a matter of fact, Ray Lowehas been trying to get me to
find the original files forPeanut Butter Jelly, but I used
to have them on CDs and DVDs.
I cannot find that shit.

Speaker 1 (52:17):
So Peanut Butter and Jelly, which did very huge on
cartoons and took over dancingthe whole world dancing that
came out of Enby Studios.

Speaker 3 (52:27):
Yeah, we did that around 2001, 2002, around that
time that we did that.

Speaker 1 (52:33):
I think Ray Lowe got a plaque for that record, if I'm
not mistaken.
There's a plaque, somethingright?
Yeah, he got a plaque.

Speaker 3 (52:39):
He sold it to us.
The rice just had a slip inside.

Speaker 1 (52:44):
And that one just had a bite of now.
Okay.

Speaker 3 (52:47):
Okay, don't, I did get.
A few years ago I got mydaughter.
He got her a yellow vinyl witha signature on it, so she has a
memento of it, you know.

Speaker 4 (52:59):
Nice.

Speaker 3 (53:00):
Yeah.

Speaker 1 (53:01):
So the other day I was kind of going through one of
our prior episodes and we hadthis conversation about AI and
Eric brought up some good points, Like he just you know, as
we're talking about production,for example, if AI can produce a
track beat for you, right, Ericsaid, how are we so impressed
with AI?
But AI would be impressed onthe human standpoint of the
process we will go throughactually creating that track

(53:24):
beat versus a computer.
That's just, oh, every fourbars, I'm going to do this Every
eight bars.
I'm going to do this.
With today's technology andrecording and mixing and
mastering, are you utilizing AIfor anything?
Is it making your job easier,or you don't ever see an
engineer in the future beingreplaced from a program?

Speaker 3 (53:43):
Oh no, no, I definitely see a lot of our
stuff going AI.
I use, I do use AI.
I use it to help me masteringthings, to get things right.
I use it to make my job quicker, you know, so you can get it
out.
It sounds like a milliondollars.
It sounds even better nowbecause I do use AI plugins for

(54:04):
certain things.
Do I think it'll take overmusic?
I don't know, maybe one of thedevelopers is soul.
Unless you know like, if youwant all electronic music, it
sounds like all like techno allnight, I guess.
But if you really want soul,you need some sort of human

(54:24):
input in there.
You can't just set the machinesto it all the time.
I don't mind the machineshelping you get a starter
inspiration, but if you just letthem do it, I don't know.
I don't know what that's goingto be like.

Speaker 2 (54:39):
I feel like and it's just an opinion when we went
into the auto tune phase, it setup AI very well because we
mechanicalized our voice.
So now when you got AI, thatcan come out choppy even, it's

(55:03):
going to sound dope, because wealready come up with that
automation.
I'll tell you what?
I don't know the difference.

Speaker 3 (55:12):
I'll tell you what auto tune did it made everybody
that's heard it, like growing upwith it, think that music
singing is perfect.
So when you hear something off,they think it's weird when, if
you listen to stuff from the 70s, 60s, 80s, you know they had
these mistakes and stuff youknow and people didn't catch up.

(55:36):
You can't.
It's very difficult to do thesame today because everything is
so quantized.
So I don't know.
Me being a DJ, I've alwaysliked the quantized shit.
I like dance music like that,but I don't know if I want all
music to be like that.
I still like this to have humansoul in it.

(56:01):
I don't even leave mistakes andsongs just for that, so to let
you know that it's not like arobot.
So you know, like littlemistakes, nothing crazy, but
I'll point it out.
I'm like, can I leave that inthis so you know that it's real?
I've done that.

Speaker 2 (56:19):
So when you say you use AI, what is the difference
from using AI and the templatesin the presets?
That's already being triggerednow.

Speaker 3 (56:35):
Templates.
Okay, I make my own templates.
I have compressors and EQs andstuff and I have a starting
point and then, depending on thevoice, I change it based on
their voice.
So I guess it's sort of like,you know, it's a preset but I
adjust the preset to go.
But I don't start with presets.

(56:56):
The presets are on mine.
Now, with AI, the mostusefulness that I've seen is
from like EQs.
Right, they have EQs now whereyou can run your voice or
something through it and it'lltake up all the bad resonances
and stuff like that and it'llsound better.
So I use it mostly with EQs,sometimes compressors.

(57:20):
So it's kind of a shortcut towhere I would get to regardless.
So I don't mind taking a littleshortcut here and there, you
know.

Speaker 2 (57:30):
So why are we calling that AI?

Speaker 3 (57:36):
Okay, ai is what the hell is AI stand for again.

Speaker 4 (57:39):
Artificial intelligence.

Speaker 3 (57:41):
Okay, because what they do is they teach the plugin
to look for certain things.
Computer programming is on anif, then basis If this, then do
that Zeroes and ones.
So basically, they teach it abunch of those zeros and ones
and then it takes them all atthe same time, judges them based

(58:04):
on the rules, and that's whatthey call AI.
It's not true to AI, where theAI is sentient, you know.
But they are programmed to lookfor certain things and they are
very task-based things.
So something like an EQ or acompressor is relatively simple
to make into an AI, because it'sa volume of information of what

(58:27):
sounds good already.
So that's why they call it AI.

Speaker 1 (58:32):
It's not really intelligent.

Speaker 3 (58:34):
The programmer's made it intelligent or made it look
for certain things.
It makes it sound a certain way.

Speaker 2 (58:41):
Yeah, I get weird, not weird.
I start to lose context whenwe're throwing the word AI
around with everything so much.

Speaker 3 (58:53):
Yeah, it's a buzzword right now, man, it's a buzzword
.
Not everything is AI.
No, chat, gpt, that's AI.
Yes, other things are justintelligent, you know, like very
well-programmed things, but AIis a catchword of today, just
like 3D was or whatever the hell.

Speaker 2 (59:13):
Not everything is AI.

Speaker 3 (59:14):
It's not artificial intelligence.
Programmers are actuallyprogrammed, that shit.

Speaker 2 (59:21):
So are you an AI.

Speaker 3 (59:24):
Oh, if you believe in the matrix, we are all AI's.

Speaker 2 (59:29):
I have no ID, I'm speaking, we're speaking through
you, through a medium we don'tknow.

Speaker 3 (59:38):
I am a carbon-based life form, so therefore not AI.
Hopefully, as far as I know,you never know.

Speaker 2 (59:48):
Who made you?

Speaker 3 (59:50):
Are you getting into spiritual stuff now?
No, no.

Speaker 2 (59:55):
That's what AI might say.
They won't let you know thatthere's something else.

Speaker 3 (01:00:00):
No, that's the whole thing that's going to be coming
in the future.
If you watch movies like BladeRunner, or you played Cyberpunk
2077, which I was playing beforeI got in a call with you guys,
ai has a very big part in thefuture.
The only thing is once AI getssmart enough to be self-aware
that's where the things getfuzzy.

(01:00:24):
Are they sentient beings,because they are aware, like us,
even though we made them.
That's heavy.
Yeah, it is.
Yeah it is.

Speaker 2 (01:00:38):
Isn't that how we got here?

Speaker 3 (01:00:40):
You can say that there you go, now.
You're going to see in thefuture.
Those are going to be thearguments.

Speaker 2 (01:00:45):
Right, yeah, I see the rights.

Speaker 3 (01:00:49):
Some days I'll see this interview and go man.

Speaker 2 (01:00:50):
Those mother fuckers knew what you were talking about
, because the problem will behow you're treating whatever you
as a conscious subject.
It's going to be how you'retreating it, so it's going to
cost you to treat something elseas if it's not real, like if I

(01:01:16):
was to put an AI doll in frontof you and you started raping it
or beating it up, doing alltypes of raping.

Speaker 3 (01:01:25):
What's a raping, eric ?
I want some of what you havebecause, damn.

Speaker 2 (01:01:32):
You told your micron filtered and ozone-nated water,
but basically it'll cost you.
It's going to cost you Becausenow you're going to have to deal
with what you're able to do,just as on video games.

Speaker 3 (01:01:47):
Shit.
All this they have AIannouncers, they have AI
podcasts and they have all thatshit.
In Japan they have AI pop stars.
Have you seen?

Speaker 2 (01:01:58):
those guys, it's CEOs .

Speaker 3 (01:02:00):
I don't know about CEOs, but they're like pop stars
for real in Japan.

Speaker 1 (01:02:06):
You're saying pop stars like got a five-year-old
thing.

Speaker 3 (01:02:09):
They're famous to have songs and they're all
virtual.

Speaker 2 (01:02:13):
Now look at this and it's going to throw you all off
Shrek.
Shrek is famous.
Mickey Mouse is famous.
You got cartoons that's worthmore than a lot of us.

Speaker 3 (01:02:31):
The IP, yes, so intellectual property.

Speaker 2 (01:02:38):
If, depending on what your goals in life, what's
going to be the difference ofbeing considered AI versus human
?

Speaker 3 (01:02:47):
And that's why they're having those strikes
with the actors now, becausethey want to do a lot of stuff
with AI and give them permissionto use their images and voices,
and that's part of the strike,believe it or not.
They want to do a lot of theacting as AI.
So we're on the brink of it,man.
We're definitely on the brinkof it.
We're on the brink of anexplosion of it, because

(01:03:08):
corporations want cheap labor,and this is what it's coming
down to.
It's going to come back and buythem in the asset.
They don't treat this shitright now.

Speaker 2 (01:03:18):
Yeah, I get that.

Speaker 4 (01:03:21):
So you're a gamer.

Speaker 3 (01:03:23):
Oh yeah, oh yeah.

Speaker 4 (01:03:24):
Cyberpunk are you enjoying it?

Speaker 3 (01:03:26):
Fuck, yeah, you ever play it.

Speaker 4 (01:03:28):
Oh yeah, I beat it the first time.
I got to do it this time aroundagain, because I know they
update me the whole world.

Speaker 3 (01:03:33):
did you do everything or did you just play the
mainstream?

Speaker 4 (01:03:37):
Yeah, I think I'm like 86% done, but I didn't go
all the way.

Speaker 2 (01:03:42):
So what's the basis of Cyberpunk?
I have no idea.

Speaker 3 (01:03:45):
That's exactly what we're talking about?
This whole thing what we'retalking about is it's about
emerging AI cyberspace.
What constitutes an entity?
What constitutes an awareentity, besides killing people
and shit like that?
Underneath it, it asks thequestion what happens when AI

(01:04:08):
becomes sentient?
Do we respect it as a life formor not?

Speaker 2 (01:04:17):
And how do you make that a video game?
I don't understand how you doit.
It's a long ass video game man.

Speaker 3 (01:04:22):
I'm about 150 hours in yeah.

Speaker 4 (01:04:27):
It's like Grand Theft .

Speaker 3 (01:04:29):
It's a book and it's actually an anime on Netflix
Look it up.

Speaker 4 (01:04:34):
Yeah, it's so.
Okay, it can be in the GrandTheft Auto form.
If I say RPG, you may notunderstand, but it's an open
world.
Again, you're a single player.
It's in first person, firstperson.
You know, you see, is your handin the gun, unless it goes into
a cutscene.
But it's a game that you canreally take your time with and

(01:04:56):
play and it has a whole bunch ofplaying hours.
People love that because you'replaying one game and spending
your time on one game and youstill hasn't had 100% on the
game.
And there's so many cutscenes,so many side missions, so many
things you can do within it,which makes it a really great
game.

Speaker 3 (01:05:13):
But this one is based on cyberware.
It's based on the creature.
It's based on people havingcyberware built in.
Like the eyes can do shit arms,so it's based on that.
It's based on your body canbecome cyberware and you just
got to look at it.

Speaker 2 (01:05:31):
So you could put something on.

Speaker 3 (01:05:33):
Have a gummy, watch it.

Speaker 2 (01:05:36):
I mean, it's a sound.

Speaker 4 (01:05:41):
You can replace your arm with cyberware.

Speaker 3 (01:05:44):
Yeah, it's really good, just trust me on this.

Speaker 1 (01:05:47):
We just behind in the game.
Yeah, we can now listen.

Speaker 2 (01:05:51):
We're speaking another language right now you
can replace your arm withcyberware.

Speaker 4 (01:05:55):
This here is adult, like the kids don't like it too
much, it's more of an adult, uhyeah, see what I'm saying.

Speaker 3 (01:06:03):
I am my mind is still open to like yeah all sorts of
shit.
Yes, I enjoy gaming.

Speaker 2 (01:06:09):
I nice, all right.
So if do you, do you have aspirit or soul?

Speaker 3 (01:06:17):
We all do, of course.

Speaker 2 (01:06:19):
And so you.
It's inside of what?

Speaker 3 (01:06:23):
The container.

Speaker 2 (01:06:24):
Yeah, so is that like some sort of artificial
intelligence, if you're?

Speaker 3 (01:06:32):
artificial because we are carbon based.
We're talking about artificial,where humans develop the
intelligence through programmingand then it becomes sentient.
That would be artificialintelligence, yeah.

Speaker 2 (01:06:47):
So I have.
So I definitely have program.
I've been programmed by TVradio.

Speaker 3 (01:06:54):
It's not artificial, Eric.
You're not artificialintelligence.

Speaker 2 (01:06:58):
You are organic TV real.
Is TV organic?
If I got all my language fromTV and radio, is that?

Speaker 3 (01:07:07):
Yeah, actually it is.
Tv is organic Right now it is.

Speaker 2 (01:07:15):
Let's quote that.
Oscar says TV is organic.
Oscar was not for the freeze.

Speaker 1 (01:07:21):
We get very good, you know.

Speaker 3 (01:07:23):
I really like this interview.
I can talk about this shit allnight.

Speaker 2 (01:07:29):
Tyra punk.
It is Jesus.

Speaker 1 (01:07:33):
Oh, I want to talk about a gaming podcast.

Speaker 3 (01:07:35):
I be in.

Speaker 2 (01:07:37):
I told them, we can definitely do that.

Speaker 1 (01:07:40):
Offshoot I wanted to talk about.
You know, y'all got y'all goodon the game, yeah.

Speaker 3 (01:07:45):
I don't want to interrupt you Listen?
The AI chapter is closed fornow.

Speaker 1 (01:07:50):
Yeah, we can.
Ai chapter is closed.
What's up?
We could double back, but I wasgoing to talk about fatherhood
a little bit.
You have the one daughter,correct?

Speaker 3 (01:07:58):
Yes.

Speaker 1 (01:07:58):
How does fatherhood impact your life, ozzy, and you
know, did you have to slow downon the DJing or engineering at
all?
Or you know, and is yourdaughter into anything?

Speaker 3 (01:08:08):
like that.
Oh man, you know, when she came, it was tough on me because I,
you know, I None of that wasplanned and it freaked the shit
out of me.
It's like you know, and it washarder for us, man, you know,
juggling the, the DJing and thestudio time and picking her up

(01:08:29):
at school.
You know I had a wife back thenso you know we were both taking
turns and stuff like that.
But it was very difficult, youknow, doing doing the
engineering and doing the DJingand stuff and staying married.
It didn't happen.
You know how hard it could belike for musicians or people
into music and relationships.

(01:08:49):
You know I tried it twice.
It's not for me.
As far as she's concerned, I didmy best that I could to still
take care of her and still dowhat I did, but I did put DJing
for about 10 years or so whileshe was growing up, you know,
and I did, I did.
I was in her life.

(01:09:11):
You know we went out all thetime and we did stuff.
So you know, I'm happy, I'mhappy, I went through that, I'm
happy, I'm still going throughit.
And right now she is 20 yearsold and she's going to the
University of Florida and she'sinto biochemistry Way smarter
than me, way smarter.

Speaker 1 (01:09:31):
You did a phenomenal job, man, congratulations I
can't take all the credit, youknow Come on.

Speaker 3 (01:09:36):
Well, no my ex is an excellent mom.
I'm not going to be one ofthose guys that say yeah, but I
am humbled that she came outreally good.
Thank you, yes.

Speaker 1 (01:09:44):
And awesome and I know even sometimes we'll book
in sessions, whether she wasthere or you're like hey, you
know I'm with my daughter thisday.
I know you was.
You was definitely involved andthat's amazing.
Oh yeah, you balance and thattook priority, you know it was a
big priority.

Speaker 3 (01:09:58):
I had to yeah, hell, yeah, awesome, awesome man, as I
know you do, you know that'sgood.

Speaker 1 (01:10:05):
No, that's good.
I'm happy to hear that.

Speaker 3 (01:10:08):
Yeah, I'm happy she's going out to college and
actually it was after she wentto college I jumped back into DJ
.
Now that I have more free time,you know, get back and start
having some fun.

Speaker 1 (01:10:22):
Um, I want to talk about something because you know
you.
You were married, you wentthrough a divorce, Right, Um oh
twice.

Speaker 3 (01:10:30):
He is.

Speaker 1 (01:10:31):
That was the second one Okay.

Speaker 3 (01:10:33):
Yeah, I know, I know what it is.

Speaker 1 (01:10:35):
No, no, no, okay, so, no, sorry, you hear that.
So, um, I want to talk about uh, so I don't know.
I guess as a client at thattime, you know we didn't have
the relationship I think we havetoday.
But you once upon a time afterthe, you had a situation before
writing.
Things were going good and uhdidn't.
Uh, you're one of your partnerssuddenly just passed.

Speaker 3 (01:10:56):
Oh, yeah, yeah.

Speaker 1 (01:10:58):
That was my girlfriend.

Speaker 3 (01:10:59):
I was about eight years ago.
That was a very difficult timeand to choose this, you know
it's it's in the past, but it'sstill.

Speaker 1 (01:11:07):
It's still something that that that bothers me, yeah,
yeah because I remember, Iremember, I remember I met her a
few times at the studio.
I mean, you was always full oflife joy.
It just seemed like everythingwas on the up and up and you
were doing very well.
I was very proud of and happyfor you.
Thank you.
And when you share the news, Iwas just like damn, it was kind
of like what, yeah?

Speaker 3 (01:11:27):
Yeah, it still fucks with me and I really, you know,
I don't even like thinking aboutit these days.

Speaker 1 (01:11:35):
Okay, I'll shoot them , we'll, we'll leave it alone.
Because I mean, when you saylove is not for you, I guess
that's why I was trying to gowith it.

Speaker 3 (01:11:42):
I didn't say love is not for me, oh, oh, what I said
is marriage is not for me.
Oh, okay, I would love to havea girlfriend that she has her
place and I have mine.
Sometimes you get spending, youknow why?

Speaker 2 (01:11:57):
why does it?

Speaker 3 (01:11:57):
situation ship, you don't want to say entangle me, I
tried it.
I tried very, very many, verymany times, but I kind of I like
having my own space.
I don't mind sharing it hereand there, but I like having my
space.
I really do.

Speaker 1 (01:12:15):
So do you.
That's how you want it.

Speaker 3 (01:12:17):
For the rest, Like you, only got about 20 years
left.
Yeah.

Speaker 2 (01:12:25):
You got a little more than 20.

Speaker 1 (01:12:27):
Oscar, Oscar, I don't know I figure you're going to
be around and tell these storiesand talking to your kids.
Like you, I can see you, man,you just these stories and the
things you share, you, you, yougoaded for it, man, oh man,
that's what.

Speaker 3 (01:12:43):
I will see.

Speaker 1 (01:12:45):
If that we always got this.
Awesome.
Um, and one thing people don'ttalk about how do you die?
How do you like?
When do you find time to eatwhen your book God damn day Like
do you pray somebody cancels?
Do you have to order the stupideats?
Take all your money, how doesthat?

Speaker 3 (01:13:03):
I do that once a month because I get a $10
allowance from uh AmEx.
But other than that, hell no, Iwouldn't.
That's a waste of money gettingall that shit delivered.
But, what I, what I.
If I'm on book the whole day, Iusually uh buy uh lunch and
dinner at my way to the studioand I'll eat it there, cause I

(01:13:23):
have been trying to be healthierand trying not to eat crap.
So I'll either make somethinghere or buy it on my way, and
it's usually a salad orsomething from Bollay or, you
know, chicken Chick-fil-A,chick-fil-a, you know I love it.
I haven't had it in a minutebecause Bollay and uh just
salads took it over.

Speaker 4 (01:13:44):
Hmm, bollay is nice, I like Bollay, I like Bollay,
bollay, nice Bollay, nice Bollayhit you for $20.

Speaker 1 (01:13:49):
You get that extra shrimp and guacamole, yet you
had easier.

Speaker 3 (01:13:53):
I get the regular servings as I'm trying to
maintain.
Yes, sir.
Yes, sir, I love it I mean I'mtrying to build strength and
stuff, but I don't want to beyou know, I just want to be my
normal self.
You know, feeling better.

Speaker 1 (01:14:08):
Hmm, hmm, oscar, uh, so what, what?
What advice, if any, would yougive to your, your younger self
when it comes to whether DJingon the engineering side?
Is there anything you wishsomebody would have told you, uh
, before you started, oranything.
You just look back at yourlonger stuff and be like man, I
would have done this differently.

Speaker 3 (01:14:31):
That's a good question.
No, I enjoyed every part oflearning and everybody every,
every part of coming up.
No, I you know, I probablywould have told myself not to
quit college and fucking finishand get a degree.
But uh, then you know no, I, Idon't regret anything I've done
or the way I've done it.
I, I, I wouldn't give myselfany.

(01:14:53):
I would still do it again,Awesome.

Speaker 1 (01:14:57):
My problem with college is that, once again, I
think to each his own, but Ijust see people who get these
degrees they got to go throughhoops to get a decent job.
They even start giving back towhat they owe, Like that's.
That's why I'm happy.

Speaker 3 (01:15:13):
I followed what I did .

Speaker 1 (01:15:16):
I'm my own employer.

Speaker 3 (01:15:18):
Yeah, I, you know, I, I got my own knowledge.
I can, I can do all sorts ofdifferent things because I know
how to teach myself.
So, um, if I would have gone tocollege, the degree would have
just been something to show, butI, I I'm pretty sure I would
have had jobs that were creative, because that's what I'm.

(01:15:38):
I think that's what I'm moregeared to is creativity.

Speaker 1 (01:15:41):
Yeah, I could see you in tech, because you always
teaching me something new.
Oh, definitely, oh, yeah, I canbe in tech.

Speaker 3 (01:15:47):
I can do any time.

Speaker 1 (01:15:49):
I learned how to use my iPhone through you, yeah.

Speaker 3 (01:15:53):
I did take computer.
I took.
I was working on Apple Lisa'sback then in the 80s.
I knew how to do command lines.
Uh, you know, I was trying todo computer animation.
So yes, I am, I am very, verytech oriented so I can do tech.
I would have gotten intoprogramming.
Maybe I wish I would have goneinto programming yeah, I can

(01:16:14):
actually did program.
My first program was on acomputer at 64.
My cousin gave me all theformulas, uh, to bet on baseball
.
So I ran.
I, you know I did all the.
Uh, you know I did all the, the, the, the combinations.
The computer would ask you aquestion, you put in the stats
and at the end you get apercentage of whether you're

(01:16:35):
going to win or not.
And I had a lot of fun doingthat.
And the only actual class thatI aced in college was a
statistics.
So yeah, I think I was made formath and music is math.
So maybe that's why I'm in whatI'm in.

Speaker 1 (01:16:50):
I mean Oscar, man, like, uh, we definitely on
exposure.
Uh, we, we like giving flowersto, and, um, you know what I
mean.
We love getting the history andthe documentation of everyone
that's contributed to, even fromlocally to, to Florida, to the
region, across the globe.
As we know, this platform isgoing to continue to grow, but,
man, um, it's.

(01:17:10):
It's been a privilege for youto take the time out and to
definitely share your, yourstory.
This documentation is veryimportant and I personally, from
you know, from a client, um,you're someone I consider a
friend, um, and you know you'restill young to me, but even a
father figure.
We could talk about anythingand you know, I know I could hit
you up for anything.
I just want to say thank youpersonally for all that you do,

(01:17:34):
all that you contribute and, um,you know, I wish you plenty
more years of success andblessings and and we're going to
rock out I still see me callingyou, even if you say, man, I'm
not engineer, someone took over.
I still going to call you, I'llbe around for a while.

Speaker 3 (01:17:45):
Eric, I need to see you.

Speaker 2 (01:17:48):
I'm coming soon.

Speaker 3 (01:17:50):
You, you, my friend, been a minute you need to get
back on.
I got you.

Speaker 2 (01:17:55):
I'm coming.
I'm coming soon.
I got something for you to move.
Hold on, hold on, hold on holdon.

Speaker 4 (01:17:59):
What's the case?

Speaker 1 (01:18:03):
Wait a minute, October 18th, 1003 pm.
Say what Hold on.
Hold on Oscar, I bet youshowing up with his son.
We're doing a different episode.

Speaker 3 (01:18:12):
We're coming in with his son, Don't you have your
listening party on Saturday?
I, I, I.

Speaker 1 (01:18:17):
I, I sure do.
Yes, sir, I have a little.

Speaker 3 (01:18:21):
I'm going to try to make it to that.
I didn't.
I did go to the last one.
I'll try and make it to that.

Speaker 1 (01:18:25):
You did.
You ate good.
I was proud.

Speaker 3 (01:18:27):
Man, you're good.

Speaker 1 (01:18:27):
Real, fuck.
Yeah.
And listen people talk to today.
They say you got Oscar.

Speaker 3 (01:18:32):
Come on son listening party Like that was a tough one
.
It's pretty.
If real is on the menu, I willbe listening.

Speaker 1 (01:18:39):
Oh, hey, hey, you might as well don't eat.

Speaker 3 (01:18:41):
don't eat lunch, then , or curry chicken or jerk
chicken, anything Caribbean,I'll be there.

Speaker 1 (01:18:47):
No, don't eat lunch, because I got you covered,
brother.
Don't eat lunch, then we fromthe grub out, we from the grub
out, but no, eric, eric is here,man, I think every, every guest
he's uh, somewhat impacted,whether they watched his journey
or from collaboration.
So we'll, we'll see what thefuture holds.
I'm optimistic, for sure.

Speaker 2 (01:19:04):
Yeah, yeah, and thank you so much, oscar, for your
contribution to our community,the arts.
I said something similar toClarence CRB media because of
what he allowed us to do andexpress through his distribution
system with CDs.
So you having your space toallow us to express without

(01:19:27):
taking it in, and I want to sayviolent, means, you touched a
very, very large I would say 90%of a couple of generations at
least in their journeys withcreativity, music, their passion
, their struggles, just our, ourstory that's being documented.

(01:19:52):
When this is all looked backupon by the, the AI ancestral
overlords, and they come backhere we go again the AI.
Yeah, yeah, yeah Back.
Yes, you see that Oscar Ziasimprinted their creation
throughout everything.

(01:20:12):
You're going to be a legend.
Well, you know what I am proud?

Speaker 3 (01:20:16):
I am so proud to be able to work with who I work
with, with the community forhere, Because honestly, I
wouldn't be shipped with any ofyou all at all.
You know it's a collaboratoreffort and I'm proud of one.
Thank you.

Speaker 4 (01:20:33):
Wabba Laba respected.
Now we have Rick and Morty seeAI Wabba Laba.

Speaker 1 (01:20:41):
It's Rick and Morty man, you don't know oh, you
don't know who Rick and Mortyare, I'm sure.

Speaker 3 (01:20:45):
Draco knows who Rick and Morty are.

Speaker 1 (01:20:46):
I know who they are.
I know Soulja Boy made a songabout it.
More than that, you a show.
Oh wait, I put your head downtogether.
You got to be quick, don't talkabout.

Speaker 3 (01:20:56):
Soulja Boy hey, don't talk about Rick Draco.

Speaker 1 (01:20:58):
Nobody can say that hey, hey, we got some clips on
YouTube.
They come.

Speaker 3 (01:21:05):
I've been laughing at that.
If you watch this, you'd getthe connection to cyberpunk and
all the other stuff and AI.

Speaker 1 (01:21:11):
You get down, you just get.

Speaker 2 (01:21:16):
That's some gaming worlds.
I'll tell you, the gaming worldgot, the only we are.

Speaker 1 (01:21:20):
We not in that.
We got to do at least 10episodes to get caught up here.
I've got the gaming episode.

Speaker 3 (01:21:25):
I will be on with you , boys.
Hell yeah, okay.

Speaker 1 (01:21:28):
Awesome, awesome, awesome.
So, oscar, for those viewerswho are unaware of you or and
they wanted to get with you orfollow you or book you for
business, what would be the wayfor someone to reach Oscar's ass
at on Beats Studios?

Speaker 3 (01:21:41):
Facebook is on Beats Studios
Facebookonbeatsstudioscom.
My web address isonbeatsstudioscom.
My Instagram is on BeatsStudios.
I mean, just type in on BeatsStudios and you can book, text
me or whatever you you know.
However, you need to get intouch.

(01:22:02):
I also do internet work, so ifyou email me stuff and you want
to mix, I can take care of thatas well Do you have an Instagram
.
No, but that's my.
That's my personal picture onmy personal Instagram.
Let me see where did it go?

Speaker 1 (01:22:21):
No, we saw him on the screen a few times.

Speaker 3 (01:22:23):
Oh yeah.
He, he's actually the picture.
If you look at my personalInstagram, oscar underscore
Zayas, that's.
That's his picture, becausehe's always bugging me.

Speaker 2 (01:22:32):
Shout out to him, shout out to myself.

Speaker 3 (01:22:35):
What's up, all right.

Speaker 1 (01:22:39):
Oscar, thank you so much for your time.
Man, All our listeners, thankyou for tuning in to exposure.
I'm the global zoe.

Speaker 2 (01:22:46):
I'm Eric Biddens, Draco Mill and we are.

Speaker 1 (01:22:53):
Oscar.
Thank you so much, man.
We're going to let you get thegame, and if that's what you're
doing, that's what I'm doing.
Hey, Saturday, if you're free,we're going to be there.
A lot of fools going to bethere.
Pull up.

Speaker 3 (01:23:03):
I have it in my calendar.
I'll try to make it up.

Speaker 1 (01:23:05):
All right, thank you.
Have a good night, boys Allright Later.

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