Is this the same JR that posted here a while ago??? He says he calls the bay his home...
J.R. Rotem Interview
With two tracks on the new 50 Cent album, song deals with various major labels, and about 30 placements just in the past six months (including Snoop, Fabulous, Obie Trice, and Lil Kim), Jonathan “J.R.” Rotem is quickly earning a name for himself as the hottest new producer of 2004-2005. The DP LA Chapters own “Treason Beats” got a chance to do an interview with the rising star, and also gain some knowledge and insight into what it takes to be a successful producer and get in the “game”.
Moderated by Manoj Gopinath
Treason: How did you first get into beat making?
JR: Basically, my roots are classical and jazz piano, essentially I studied classical piano all through out high school, then went on to Berklee school of music in Boston, where I originally was going to study film composing, but gradually moved towards jazz piano. I then used these talents to branch out to hip hop. I always enjoyed hip hop, but I was more of session / live musician. I eventually decided I wanted to move into composing, and I felt that hip hop was the modern style of composing. I then moved to LA to pursue my production career, and basically started at the bottom of the industry ladder. I didn’t have any contacts at all, basically.
Treason: Would you say it hurt of helped being a classical trained musician who transitioned to making hip hop and r&b beats?
JR: My musical background definitely helps me, as my production style comes from my roots of classical and jazz piano. As far as getting my foot in the door of the industry, it didn’t help me at all. I did have the musical tools to help in making beats, but as far as grinding and networking, I started at ground zero. I didn’t really know the art of hip hop, I had to learn and perfect that, but as time passed and I started meeting more people, my style eventually evolved into what it is today.
Treason: Does your diverse background play any role in either acceptance or skepticism in the hip hop community?
JR: I was born in South Africa, and raised in Canada and the Bay Area, but I consider the Bay Area my home, so I don’t really classify my self as South African. My race hasn’t really played a role in my acceptance into the hip hop game. I didn’t really grow up listening to a lot of hip hop music, I grew up in the suburbs and I only heard the music that really crossed over into the mainstream. I didn’t really have to worry about an image, as an artist would have to. As a producer, it doesn’t really matter what your background is, or what race you are, all that artists, labels, and managers are looking for is a hot record. If there was ever any doubt or skepticism, Scott Storch is definitely someone who probably opened a lot of doors.
Treason: Some people see you as a force that blew into the industry out of nowhere, with all your placements over the last year. Is this the case or was it a long journey to the top?
JR: I’ve known that I’ve wanted to make music my career since I started taking piano lessons as a kid. I started out wanting to pursue classical music, then originally went to school for film composing and jazz piano, and eventually made the transition to hip hop and R&B. It has been crazy that I’ve got all the placements in such a short amount of time, but I have been working at my goals for so long, that it was eventually gonna happen this way. What has been happening for me is a culmination of all the musical training and experience and it played a big role in me getting so many placements. I’ll admit though, It did come quicker than some, but it definitely was a result from hard work, dedication, and a positive attitude.
Treason: Do you think that a producers grind is equally as important as his skill at beat making?
JR: Yes, but it depends on the individual. I believe different people have a different path. You might have a producer that makes 2-3 beats every now and then, but sells them all cause they’re all hot. Then you have a producer that makes 100 beats, and only sells the 2-3 hot ones. As a producer, to make it in this industry, you have to work hard, have positive energy, and always keep your faith. I will say that talent can only take you so far ..
Treason: What is your favorite studio experience with any artist or producer?
JR: One of my favorite experiences was when I was in the studio with Lil’ Kim and her team, with a beat cd, playing tracks. Everyone was going crazy and loving the music. It was an amazing feeling for me, cause it gave me the gratification I would get from performing, as I did back in my days as a live musician. As a producer, it can be a solitary thing, where you’re not really performing and feeding off energy from the crowd. The feeling of lil kim’s team digging my beats was amazing. Also, when I Heard 50 and Dre on my music for the first time, it was definitely a crazy feeling. Working with Wreckonize, and just vibing in the studio, and making good music.
Treason: Do you have any plans for your own label, or pushing your own artist?
JR: Yes, I actually started a label with Zach Katz, my manager / lawyer called Net Worth Entertainment. We have already signed Jasmine Lopes, a young singer from the Bronx. We already have her featured on Snoop’s new single “Bang out”, a Fabolous track, and a Lil’ Kim track. Right now we are shopping her demo to various labels for distribution. I am also working with a pop group Rock Candy, trying to get them a deal.
JR: What are you currently working on?
Treason: Recently I finished up work on the Dynamic Producer: Los Angeles mixtape, which is primarily a remix record. It took a lot of work, but I think this will definitely put a lot of us LA producers on the map. In other word’s its fire. Also I did a track featuring underground rapper One.Be.Lo, and am in the process of doing a mixtape track for the Diplomats. Basically my tactic is just trying to get out there on as many mixtapes and with as many artists as possible, not even talking that big money. I’m just grinding hard to get in there. I don’t sleep.
JR: What equipment do you use?
Treason: I’m mostly computer based, Reason 3.0 and various Midi controllers like the Radium 49 and the MPD 16. I have had a fair share of use with hardware. I’ve been told I should be using like MPC’s, but this is what I am good with.
Treason: What is your opinion on the belief that a producer has to incorporate an MPC into his set up to get that authentic hip hop sound?
JR: I have heard that argument. Most people tell me you get that certain sound and swing to your drums.
I don’t really believe in that, I think that it’s all on the producer. A lot of people like the feel of the pads, and don’t like the computer vibe. I myself sequence on Cubase Sonar, and only use the MPC when I’m doing a studio session with an artist. I also know a lot of producers that don’t quantize their drums, to get that live player feel to their tracks.
So you should find something that works for you and whatever makes you feel creative!!!!
Treason: Do you have any advice for up and coming producers?
JR: Remember three things: Always keep your faith, send out positive energy & help others , and don’t ever stop working hard.
As for how to get on: I hooked up with my manager, Zach Katz. He has strong connections with everyone in the industry, and his ears are really tuned to what the industry wants. He guided me through the process of making myself a better producer and gave me tips to make my tracks have that authentic hip hop vibe ( ie grittyness, not too complex). For example, he told me my drums were lacking, and gave me advice on how to make them hit harder and grimier.
Beat making is trial and error, always take everyone’s opinions into account , don’t always think you are the ish.
I am proof that if you really really want it, you can do it , you just have to work hard, I wanted it so bad that there were no other options than success.
Treason: Thanks for doing this interview, and taking the time out of your busy schedule to inspire all the up and coming DP producers across the nation:
JR: No problem, I am very lucky and blessed, I have to give back in any way I can. So it’s never any trouble for me.
JR’s Equipment :
PC Computer
Cakewalk Sonar
MPC 2000
Motif ES
Triton Xtreme
Korg MS 2000
Roland Fantom X
Proteus 2000
Mo Fatt
Xv 5080
Turntables
Juno Synths
Tons of Soft Synths & VST Instruments
Stylus
Giga Studio
NI’s Battery
J.R. Rotem Interview
With two tracks on the new 50 Cent album, song deals with various major labels, and about 30 placements just in the past six months (including Snoop, Fabulous, Obie Trice, and Lil Kim), Jonathan “J.R.” Rotem is quickly earning a name for himself as the hottest new producer of 2004-2005. The DP LA Chapters own “Treason Beats” got a chance to do an interview with the rising star, and also gain some knowledge and insight into what it takes to be a successful producer and get in the “game”.
Moderated by Manoj Gopinath
Treason: How did you first get into beat making?
JR: Basically, my roots are classical and jazz piano, essentially I studied classical piano all through out high school, then went on to Berklee school of music in Boston, where I originally was going to study film composing, but gradually moved towards jazz piano. I then used these talents to branch out to hip hop. I always enjoyed hip hop, but I was more of session / live musician. I eventually decided I wanted to move into composing, and I felt that hip hop was the modern style of composing. I then moved to LA to pursue my production career, and basically started at the bottom of the industry ladder. I didn’t have any contacts at all, basically.
Treason: Would you say it hurt of helped being a classical trained musician who transitioned to making hip hop and r&b beats?
JR: My musical background definitely helps me, as my production style comes from my roots of classical and jazz piano. As far as getting my foot in the door of the industry, it didn’t help me at all. I did have the musical tools to help in making beats, but as far as grinding and networking, I started at ground zero. I didn’t really know the art of hip hop, I had to learn and perfect that, but as time passed and I started meeting more people, my style eventually evolved into what it is today.
Treason: Does your diverse background play any role in either acceptance or skepticism in the hip hop community?
JR: I was born in South Africa, and raised in Canada and the Bay Area, but I consider the Bay Area my home, so I don’t really classify my self as South African. My race hasn’t really played a role in my acceptance into the hip hop game. I didn’t really grow up listening to a lot of hip hop music, I grew up in the suburbs and I only heard the music that really crossed over into the mainstream. I didn’t really have to worry about an image, as an artist would have to. As a producer, it doesn’t really matter what your background is, or what race you are, all that artists, labels, and managers are looking for is a hot record. If there was ever any doubt or skepticism, Scott Storch is definitely someone who probably opened a lot of doors.
Treason: Some people see you as a force that blew into the industry out of nowhere, with all your placements over the last year. Is this the case or was it a long journey to the top?
JR: I’ve known that I’ve wanted to make music my career since I started taking piano lessons as a kid. I started out wanting to pursue classical music, then originally went to school for film composing and jazz piano, and eventually made the transition to hip hop and R&B. It has been crazy that I’ve got all the placements in such a short amount of time, but I have been working at my goals for so long, that it was eventually gonna happen this way. What has been happening for me is a culmination of all the musical training and experience and it played a big role in me getting so many placements. I’ll admit though, It did come quicker than some, but it definitely was a result from hard work, dedication, and a positive attitude.
Treason: Do you think that a producers grind is equally as important as his skill at beat making?
JR: Yes, but it depends on the individual. I believe different people have a different path. You might have a producer that makes 2-3 beats every now and then, but sells them all cause they’re all hot. Then you have a producer that makes 100 beats, and only sells the 2-3 hot ones. As a producer, to make it in this industry, you have to work hard, have positive energy, and always keep your faith. I will say that talent can only take you so far ..
Treason: What is your favorite studio experience with any artist or producer?
JR: One of my favorite experiences was when I was in the studio with Lil’ Kim and her team, with a beat cd, playing tracks. Everyone was going crazy and loving the music. It was an amazing feeling for me, cause it gave me the gratification I would get from performing, as I did back in my days as a live musician. As a producer, it can be a solitary thing, where you’re not really performing and feeding off energy from the crowd. The feeling of lil kim’s team digging my beats was amazing. Also, when I Heard 50 and Dre on my music for the first time, it was definitely a crazy feeling. Working with Wreckonize, and just vibing in the studio, and making good music.
Treason: Do you have any plans for your own label, or pushing your own artist?
JR: Yes, I actually started a label with Zach Katz, my manager / lawyer called Net Worth Entertainment. We have already signed Jasmine Lopes, a young singer from the Bronx. We already have her featured on Snoop’s new single “Bang out”, a Fabolous track, and a Lil’ Kim track. Right now we are shopping her demo to various labels for distribution. I am also working with a pop group Rock Candy, trying to get them a deal.
JR: What are you currently working on?
Treason: Recently I finished up work on the Dynamic Producer: Los Angeles mixtape, which is primarily a remix record. It took a lot of work, but I think this will definitely put a lot of us LA producers on the map. In other word’s its fire. Also I did a track featuring underground rapper One.Be.Lo, and am in the process of doing a mixtape track for the Diplomats. Basically my tactic is just trying to get out there on as many mixtapes and with as many artists as possible, not even talking that big money. I’m just grinding hard to get in there. I don’t sleep.
JR: What equipment do you use?
Treason: I’m mostly computer based, Reason 3.0 and various Midi controllers like the Radium 49 and the MPD 16. I have had a fair share of use with hardware. I’ve been told I should be using like MPC’s, but this is what I am good with.
Treason: What is your opinion on the belief that a producer has to incorporate an MPC into his set up to get that authentic hip hop sound?
JR: I have heard that argument. Most people tell me you get that certain sound and swing to your drums.
I don’t really believe in that, I think that it’s all on the producer. A lot of people like the feel of the pads, and don’t like the computer vibe. I myself sequence on Cubase Sonar, and only use the MPC when I’m doing a studio session with an artist. I also know a lot of producers that don’t quantize their drums, to get that live player feel to their tracks.
So you should find something that works for you and whatever makes you feel creative!!!!
Treason: Do you have any advice for up and coming producers?
JR: Remember three things: Always keep your faith, send out positive energy & help others , and don’t ever stop working hard.
As for how to get on: I hooked up with my manager, Zach Katz. He has strong connections with everyone in the industry, and his ears are really tuned to what the industry wants. He guided me through the process of making myself a better producer and gave me tips to make my tracks have that authentic hip hop vibe ( ie grittyness, not too complex). For example, he told me my drums were lacking, and gave me advice on how to make them hit harder and grimier.
Beat making is trial and error, always take everyone’s opinions into account , don’t always think you are the ish.
I am proof that if you really really want it, you can do it , you just have to work hard, I wanted it so bad that there were no other options than success.
Treason: Thanks for doing this interview, and taking the time out of your busy schedule to inspire all the up and coming DP producers across the nation:
JR: No problem, I am very lucky and blessed, I have to give back in any way I can. So it’s never any trouble for me.
JR’s Equipment :
PC Computer
Cakewalk Sonar
MPC 2000
Motif ES
Triton Xtreme
Korg MS 2000
Roland Fantom X
Proteus 2000
Mo Fatt
Xv 5080
Turntables
Juno Synths
Tons of Soft Synths & VST Instruments
Stylus
Giga Studio
NI’s Battery
