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I think both of those labels were able to be so strong and have the success they had was because they took that same hustle and applied it to the music game. Being from Louisiana you have to have hustle to even survive. Like I might use the bass from the ASR.īeing that you've worked with No Limit and Cash Money, how do you compare and contrast the two? It's pretty much the same thing.
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I use Logic too, but if I do use Logic most of the time I end up going back to the ASR because it gives it a warmer sound. I had a Roland W-30 before that and a few sound modules I would use here and there. I didn't even have a drum machine, it was just all ASR-10.
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I made all my beats on an Ensoniq ASR-10. What kind of gear were you working with in those days? The same gear I use today, basically. Guys like KLC and Craig B and Mo B Dick took me under their wing, they kinda big brothered me at that time and sit in and learn. Most of those albums would be done by the older guys. I had to hang around all the time because they wasn't looking for me. Beats By The Pound was pumping out three albums a month. When I came there I just was this little kid with beats, a young cat hanging around the studio. What was the process like with No Limit?. Me building up a resume by working with a hot camp, I was able to get into a few doors and play beats for other artists. Finally one day I just gave my beats to C-Murder and he was like, "I'mma put you on." He started networking me with the artists within the No Limit camp and from there it just expanded. Master P and C-Murder and them used to come in there and play basketball all the time. How did you get down with No Limit back in the days? When No Limit was hot I used to shoot basketball in the rec center at LSU. For the latest installment we talk to New Orleans beatsmith Kenoe who cut his teeth running with the No Limit camp at the height of their reign and has since laced the likes of Jay-Z, Lil Wayne and, most recently, Nicki Minaj, with the street hit " Beez In The Trap." Every other week, with Beat Construction, an extension of our column in the magazine, we aim to illuminate the role producers are playing in creating some of our favorite music. In some songs, the producer is both the band leader and the band, yet his or her name is often unknown. The producer is one of the most crucial yet anonymous figures in all of music.