Mixing Mastery and Fatherhood in the Indie Music Trenches with Dante Tweaks

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.

Transcript

Speaker 1: 0:04

I, I Need.

Speaker 2: 1:44

Reporting live from the motherfucking gutters your boy Elliot Carter, here with Dante tweaks. That was a. Why can I fall in love by Dante tweaks from the Bronx?

Speaker 3: 1:57

Yes.

Speaker 2: 2:01

Talk to me what you got coming up for 2024 2024.

Speaker 3: 2:06

right now. I got up, I got this record. I'm working with my man's Hollywood Jake, it's called Back on my feet. I'm about to probably drop the video for that, probably in February or March. Okay, full fat, are you signed? Yeah, it's something like that. It's a little distribution through through Empire records that they got with how records. So, yeah, something like that it's. It's more of an independent venture, if anything for real and how records is your studio? Yeah, it's my studio, but it's also my record label too.

Speaker 2: 2:42

Oh, okay, so it's two and one for fact.

Speaker 3: 2:44

Okay, I'll fuck for a fact.

Speaker 2: 2:46

Okay, and you're the CEO. Founder and that's him new Britain for fact I'm downtown.

Speaker 3: 2:53

You bring, we had hard for square. That's the main headquarters right now.

Speaker 2: 2:57

Okay, yeah, I've been there. It's a beautiful studio. So how'd you get your start into music and engineering?

Speaker 3: 3:07

so, I'm not gonna lie, started out in the Bronx some. So I started out really on a ghost writing team. That I can't really say publicly. But Start out on ghost writing team. I was on a ghost writing team. I kind of picked up the engineering thing a little bit. Then I started Fucking with tweak tune. Tweak tune. Really, I'm not gonna lie, I'm missing my cousin out. Come on, cousin really started me up with the music thing I was rapping in Denzel Porter studio from team backpack. Matter of fact Shout out Connie Connie diamond, cuz she just should. He just got signed to Def Jam.

Speaker 3: 3:41

She was in she's killing, she was in the studio when I was, when I, when I was 16, like she was back there just starting it you know I'm saying yeah, so we was all in the same studio is called wreck house.

Speaker 3: 3:52

Okay, I don't know if you fuck with wreck house anymore, connie or whatever, but you feel me shout out to the old days for a fact, I'm not fucking. But yeah, that's really why I started on with wreck house. I was rapping. Then, after that love, love for quarter, that wreck house started fucking with this nigga For the ghost writing team for that large New York artist. The artist popped off. Then I started fucking with a nigga named tweak tune and he's on. That's a sat fir producer. So I started fucking with that team real quick.

Speaker 3: 4:24

That shit ain't really turned out well for me. Shit Kind of went sour. So I came up to to Connecticut and started the studio. Then, after I started the studio for real that's really when I really really, really really got my head down into this engineering shit Started taking mad clients and just really really finessing the arm, the mixing and mastering Studio for a fact, yeah. And then we just we just built over time, bro, like notable clients, like you know, we got some French Montana of French Montana record under the belt. We got a arm. Wu-tang clan Um, grab, shout out, graph, that's my bro.

Speaker 2: 5:02

Okay.

Speaker 3: 5:02

Yeah, bro, so we do got some records under the ball. Well, yeah, I'm fucking built that shit from scratch bro.

Speaker 2: 5:09

And how was? Studios is what you started as soon as you came to Connecticut. That's the first one.

Speaker 3: 5:13

I came to Connecticut. I was, I was going to college.

Speaker 2: 5:16

Okay.

Speaker 3: 5:16

I was going to college and then I was gonna you hurt. I'm on a business scholarship. Then after I got out of, I dropped out of you. I dropped out of you hurt. After like the first semester I don't think I spent more than two months in that motherfucker. And then when I dropped out, I was I live. I was back in the Bronx for a little bit Okay.

Speaker 3: 5:35

I came back up here Then I was like, yeah, I see a gap in the market because I was trying to book studio time I was trying to book mad studio time and niggas was not like, niggas was not Mixing the records correctly at all, like this is absolutely horrible.

Speaker 3: 5:51

So then I seen a gap in the market. I'm like, damn, if I could mix, I know niggas will definitely definitely so then I started just you know, saying, makes in the shit for real like. And then they started fucking with it, especially after we have, um, shout out, kid fresh. We had to add with kid fresh. After that nigga really did that add. We just started really cranking it over there the studio. Niggas are taking us real serious.

Speaker 2: 6:17

Yeah, yeah. So how long have you been on the engineering side of music?

Speaker 3: 6:23

now you could call it five, six years, six years now and do you feel like you've grown each year? Yeah, now you grow every day with that shit because, like everybody, vocals be different.

Speaker 3: 6:36

Yeah, so a niggas be coming in. You never know what's gonna come out of a nigga. So it's always a learning experience, because I don't know bro I don't know bro from a hole in the world if he booked, so I gotta learn his vocals that day, and then you know. So you might start adding some sauce that you never added before, or you might got to take away some sauce that you always do, because that nigga vocals is just different. So that shit is always a learning experience, bro. I don't think I'm gonna ever be done learning.

Speaker 3: 7:02

Yeah shit for real. Yeah for fact and um.

Speaker 2: 7:07

Do you use other programs or are you just locked in on studio one?

Speaker 3: 7:12

So studio one, studio one, really the program that I like to use. The fucking studio one get a lot of hate out there. Well, that's really the program that niggas like to use. But I do got, I got. I do got pro tools running in the studio too, cuz I got five engineers that work in there. So, my fucking, we got, we got pro tools, we got studio one. But me personally, I'm a studio one head. That's where I started. That's what my first singles started. Yeah, I'm locked into for a fact.

Speaker 2: 7:38

That's what you know how to operate best with right right right. Do you have Any radio experience on the about?

Speaker 3: 7:45

Radio. I'm not gonna lie, I gotta say now, but I was hosting a little radio show in fucking on in Manhattan 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.

Speaker 3: 8:07

Okay it might have been earlier than that to. It might have been 2016 for real, 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 my feet 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 was in a big building as an engineer?

Speaker 2: 8:26

Have you Dibbled and dabbled in podcasting at all, or is like this your first? You know I'm saying you're learning with this, yeah.

Speaker 3: 8:34

I'm Really, I'm really getting into it from this. You know experience in terms of the tech, the technical side. Yeah like deal of it, like like dealing with other podcast Ventures. I, you know, I got, I got a lot of niggas that really you know lock in on the podcast venture and do the thing. But I've never been on the technical side, I've always been on the just watch.

Speaker 2: 9:00

Yeah.

Speaker 3: 9:02

But I'm like man, this shit kind of the same shit, bro, the wiring is definitely the same.

Speaker 2: 9:07

Yeah.

Speaker 3: 9:08

Me and the microphones is the same shit. Yeah, I just know on the back I'm gonna come down to the mix and it shit like that. Niggas don't gotta do heavy mixing for this type of shit.

Speaker 2: 9:17

No, no, I don't think so. It should just regular for sure but I mean even just I learning how to operate the program with, with, with studio one and podcast, and like learning coming coming from someone that doesn't know how to operate at all. It could be a quite complicated.

Speaker 3: 9:37

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 routing when they come down to these damn microphones, because a lot of the times Different microphones got different channels, different programs ain't picking shit up, and then you 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 gonna spin for yeah, so how did you learn all that?

Speaker 2: 10:03

you went to school for that.

Speaker 3: 10:04

No. So I learned all of it, cuz niggas 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 because what it was was. I started the studio with somebody that was knowledgeable.

Speaker 3: 10:19

Yeah, in order this shit Okay and then, after the first week, ain't no, ain't no hate on that side, all love on that side, cuz the nigga know you feel me, so it's still loves in this day. But when a nigga, the nigga, the nigga was there for the first week and we only got one client, the nigga like yo, bro, where's my pay, where's my pay? I'm like nigga, I can't fucking pay you. I just put out X amount of dollars for the studio.

Speaker 3: 10:42

X amount of dollars for the equipment, x amount of dollars for this, and that I still got to Pay rent over there, rent at my crib, all this bullshit. So I'm like man, I Can't pay you, bro. Like you, take the commission nigga.

Speaker 3: 10:55

Yeah the niggas like oh no, I want to be hourly. Nigga was young, so he 18, and so I'm telling nigga. And so he like oh bro, you know that fucked my week up cuz, um, I had prom. But he said that to the wrong nigga, cuz I never went to my prom, I never went to my graduation. Cuz I was really. I was really locked in, bro, I'm not gonna lie that point. I really was recording music and I never went to my prom on my graduation Cuz I just wasn't fucking 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 at all, bro. So when he said that to me I'm like fuck that problem. Yeah, I'm like fuck about that problem. So niggas felt a type of way about 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 on me 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 over time that I'm a buy air nigga like yeah, if.

Speaker 3: 12:02

I hear something I know I want to replicate that thing and then eventually what I learned is I'll just be putting all like the pieces to the puzzle. Like, let's say, for example, I hear a nigga mix, I'm like yo vocals is fire, like those shit is you know pumping in the in the same right in the mix. I might go look up, like I what compressor this nigga use? Or even before that, like what's the term? Like what's that term? Like you can't just be like yo bro, the vocals sound higher. It's like what's the technical term for that? Like that's compression.

Speaker 3: 12:35

You might look like okay, what's the best compressor to use for hip-hop vocals. Then you started learning that compressor because you already know that what you looking for? Volume, type shit like that. That's how I learned with everything, bro. It was like I, what am I looking 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 when I first started two hours and waxing niggas to come to the studio, I was charging niggas $25 an hour because I know what the fuck I was doing. So I'm like for nigga, for niggas spent $50 in the track, fucked up. I mean Built it from there though, bro, now we have $50 and $75 an hour. 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 learn every day right, right, right, right, right, cuz this shit never stop.

Speaker 3: 13:37

And then the program is always progressing. There's always gonna be a new program. There's always gonna be a new plug-in to fuck with.

Speaker 2: 13:44

But you're at the point now where you could troubleshoot or identify anything.

Speaker 3: 13:48

That's why I feel most things. I feel like I could troubleshoot or identify technically or with the vocals, like what's sounding wrong, like what sounds yeah, like even just now, identifying with the dynamic and the condensers, like yeah.

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, the fucking, the technicalities for the shit, so that I could put names to shit, cuz if I can't put a name to the shit, I feel like 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 studio here 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, he sent it over and then I Did at the studio. Though I did um, you could really say I did the the record with conscience and graph. Okay because conscience had to record a lot, of, a lot of his stuff at the studio.

Speaker 3: 14:43

Okay so you could kind of say I did the record with him and graph Graphing recorded the studio. But also his shit wasn't mixed when he sent it in, so that was like I had to do that work. Yeah, so it felt like a how records thing, but the thing that was really really all how records was I did a feature with um, we young dirty bastard. So that's all. Dirty bastard son.

Speaker 3: 15:03

Okay rest in peace. And yeah, that shit was all done 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 in Connecticut, though, definitely seen some some nice Connecticut names come through, like you got fly boy. He was always working over there, medusa, that shit was 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 for fact. We follow each other all that, so we definitely on each other's radar. That's you. That should be a dope experience.

Speaker 2: 15:44

Yeah, I was just put on to him and I seen a couple of his freestyles and that niggas nice. No, with some other Connecticut artists that you want to work with in the future, maybe in 2024.

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 of want, I just kind of want everybody to Kind of come together and start seeing where the strengths and the weaknesses be at, because I know, like Like in the circle right now, like, for example, right, you got niggas like me, you got niggas like Don ZOP, you got niggas like Joker hoodstar, you got niggas like dusty Dusty. Stay true, you feel me. I kind of just want niggas to all come together, start figuring out what the strength of weaknesses is, not only in the rap, but also in, like the business aspect, like what who's better at what, who's better at what. So niggas could start to form a web Foundation and start going up. That's how I feel. But I'm not going. I'm a pretty secluded nigga. I don't really feel I want to work with too many niggas. I don't really feel I want to let too many niggas in, like I really, really, I really, really, really really fuck with like those three that I said, those four that I said.

Speaker 3: 17:10

Yeah you know, saying those niggas tapped in, those real right niggas, niggas. All about the money, all about the business, and that's that's 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 down to 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'm so much in my own zone. I just really want to. I just really want to break through before I start thinking about shit like that. You know, sam, bro, I really want to break through. I got a hone in and just break through 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 how recordsasme. We go online and go book on there, whatever. Whatever you want, whether it's recording, 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 definitely how old records. So, aside from the, the project you have coming up and the video you said you're gonna drop in January, february, what's upcoming for 2024?

Speaker 3: 18:31

So car for 2024? I gotta get this album out, man. I gotta get this album on, I got. I gotta get this marketing right, man. This is the year to get. This is the year to get the Marketing right, bro. The marketing is a big aspect of everything. I feel like the talent is already there. Not that, like niggas, is the most talented with. The talent is there. It's sustainable. Like you know, it is. There's one kind of sound that I'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 to be able to perform and get paid substantially so a nigga don't got 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 for real, and I want to also want to get the studio a bit more public, because I know in the community of Connecticut Niggas want some some good recording for cheaper than $50 an hour. So I'm trying to get this studio be going up. I, you know, start the prices at like 35 $40 an hour so niggas can still get that good quality for 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 be studio a, now where we add a new britain, that'll be the main spot, and then studio b will just be Either over there or at another location that I yet to decide, and, um, it'll just be a smaller setup, smaller kind of setup for niggas that don't want to 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 at locations?

Speaker 3: 20:13

I have. I had a deal that kind of went sour. Um, I had a deal that went sour and waterberry, but that's neither here nor there. I'm still looking right now. Bro burlin is an option, you know. Waterberry is still an option. New haven is becoming a big option Because the real estate over there kind of cheap. So you know that's just becoming a big option. But yeah, just that's just a few 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, a little three-story location and shit. I got a backyard for my um, for my kin, and I got a uh, I got a porch and all that shit.

Speaker 3: 21:03

Like you know, feeling me just growing up like really growing up, really, you know, putting the breath of something that the family could see and the family could be comfortable and all that shit, like that year bro. But I'm happy, though, that I moved out of new Britain no longer in fucking new Britain. I'm never telling nobody where the fuck I live out here, because these things ain't playing fair.

Speaker 2: 21:25

Yeah, it's crazy.

Speaker 3: 21:26

Yeah, for facts. I'm happy I don't live there no more. 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 get booked?

Speaker 3: 21:40

for me. I'm only there, really, if I get booked, because the way that, the way that you know I really have a run, if you know when it's running, is, um, my engineers. They usually come through on the weekdays and then, like, on the weekends I'll take the sessions, unless somebody directly Asked for me or it's a client that I've already like seen. Yeah and I've already been, you know, associated with I'm not feeling really torsion off on this 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 keep life. 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 on the 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 people be coming up. You know I'm saying you gotta start to identify these great individuals. Understand that. You know I'm saying the grass is greener where you water it. The grass is greener where you water it for a fight.

Speaker 2: 23:03

Oh man. So let's say, let's say there's a girl out there that's watching this show and she wants to 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 a supportive nigga. I'm no longer the supportive nigga. Y'all niggas could Quote me on that. I'm no longer the supportive nigga. 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 us can mix our sugars up. You feel what the fuck I'm saying?

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 could reach into your purse if necessary now physically not physically, but I want to know if I, you feel me, if I need a little investment over here or there. You got it because I've been taking care of xyz and you've been able to stack up xyz and you haven't been just fucking spending this fucking shit, or you know what I'm saying. I just need somebody that I could 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 a girl out there that gets the bag. She meets all the requirements that you uh, you just stated, but she gets that bag from OnlyFans. Could you, could you accept that?

Speaker 3: 24:29

it depends on what she doing. Like, is she doing dicks or is she just? Is she Like is she fucking with herself? Because if she's doing dicks, I can't fuck with a shorty doing dicks publicly. You feel me that's crazy, bro. That's, that's some Adam 22 shit.

Speaker 2: 24:45

Let's say there was, let's say there was previous content with uh, with dicks with dicks? No, that's not at all. It's over, that's over, it's over.

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 solo content?

Speaker 3: 24:58

If it's all solo contact, I could consider it, because you get in the bag Like it is what it is, like it is what it is. Yeah but if you're doing dicks now bro, Okay, I'll say clipped up. Okay, that's it, clipped up. Okay, that's, uh, that's a really 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 nigga when it come down to that. That shit is. I like I'm not really the type of 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'm trying to think I don't really got nothing right now. But, um, kids, do you, do you want?

Speaker 3: 25:56

I've got. So I said right now I just want to stop at a girl. Once I get my girl, niggas could Twist my tubes. Niggas could burn my tubes and throw those shits away. Once I get my girl, niggas could 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 feel about it. I love. I love them though, like you know, 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 they take very good care of the kids. Yeah, very good care of kids. I don't have no problem with the way niggas is taking care of the kids If I did, then there will be a whole other issue but niggas do take care of the kids. 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 posting packs 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 turned four. Yeah we had a big party for him Cuz his birthday December 23rd. So he just mixed that party up with the fucking Christmas. That shit was great. He was head over heels. Now you gotta do, bro, even if you don't got the bread. You gotta do, cuz they not even really looking at the bread, they just looking at yo. Was he there? Was he not there? Like that's really it, bro, is he fun?

Speaker 2: 27:53

Yeah, it was. Was he a figure in your life at all?

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 ways to those be slimy niggas. Yeah, that's all the real right niggas that I know all the niggas that's getting money. They all taking care of their kids 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 and Setting 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, the engineering. Be the engineering guys over here, man for a fact. So yeah, bro, it's been a pleasure. Bro, I do appreciate you having me on this. John Word, bro, niggas do got to get to work, for fact.

Speaker 2: 29:14

Yeah, absolutely, absolutely yeah sir my bro live from the gutter definitely appreciates you. And this a rap. Episode 19 episode 19 Dante tweaks.