When Nas had problems with Jay-Z in 2001, the world wondered how he would respond. "Ether," the classic cut where Nas lashed back at Jay with a deadly, career threatening stab, will long live as one of the most classic dis records of all time. The producer behind that sick beat, was none other than Ron Browz.
Browz has been steady on the grind for almost a decade. The Harlem native has put in work with artists such as Ludacris, Lil' Kim, Lloyd Banks, 50 Cent, Snoop Dogg, and a long list of others.
His track record could have you on a trip across the country Amtrak style. Ron took time out with BeatDynasty.com to discuss everything from why he's deciding to enter the rap arena, to what the keys to success are in the business of music production.
BeatDynasty.com: What's up Ron? What are you working on now
Ron Browz: I got two joints on the TOS album with G-Unit. I got a joint on there called "Money Makes the World Go 'Round" and "Straight Outta Southside." I got Jim Jones new single called "Good Stuff," and two other tracks on his album. I currently got my own record out right now that's doing very well independent as far as radio spins and clubs.
BeatDynasty.com: I know you started out as a rapper, but what made you want to return to it?
Ron Browz: I never left the passion. Even though I'm doing production, I still have the passion to be an artist. Even when I'm making tracks, I'm always rapping in my head.
BeatDynasty.com: Hip-Hop in particular tends to try to box people in to one thing. Do you think it's going to be difficult getting serious looks as a rapper?
Ron Browz: I'm going through that now. People are going, "Oh he's rapping, stick to producing." But if you look at from back in the day, I grew up on producers that were rapping. Pete Rock was rapping, Dr. Dre, Havoc from Mobb Deep, Diamond D., Show Biz was rapping. All these guys were producers and artists. People don't really know their history about producers who rapped. I know it's a fight, but if you have talent, it's going to speak for itself.
BeatDynasty.com: You do a lot of work with G-Unit in particular. How important are those type relationships to keeping you working?
Ron Browz: Relationships are the most important thing. That's like the key thing in this game. The relationships allow them to look for you and reach out to you when they're doing projects. If your relationship is sour, or you don't have one, sometimes you're not going to know when they're working on projects. Having relationships lets me know that they are working on this or that, when other guys won't know.
BeatDynasty.com: So they just put in the call to you when they need something?
Ron Browz: It's like they just put in a call or I do my homework. If I hear [somebody's working] in the streets, I'm in the lab working on joints that possibly could fit that artist. This is like a 24 hour job.
BeatDynasty.com: I read somewhere that you taught yourself how to produce. What was that process like?
Ron Browz: Wow! I just turned the machine on and started pressing buttons and read the book a little bit. Basically just messing around with the buttons and seeing what does what. I was always into sounds. When I was younger I went to PAL and I was in Drum line and I did steel band. So I was familiar with sounds, but I just needed [equipment] to start making music.
BeatDynasty.com: How's it going with your imprint label Money Ave.
Ron Browz: Actually it's no more Money Ave. I had about four artists, and me and the artists didn't see eye to eye on a lot of things. So, I started another label called "Ether Boy Records" and I'm the first artist off of that.
BeatDynasty.com: What experiences did you have with artists where you would not see eye to eye on a project?
Ron Browz: A lot of artists feel like they don't have to listen to the producer. As a producer, you're the one that has the vision for the track, and know what you want to hear. Sometimes you can bump heads on ideas on which way you want a record to go. That can sometimes mess the relationship up.
BeatDynasty.com: Hip-Hop production has turned into submitting tracks and then artists going and doing what they want do to. Do you think that contributes to those type of problems?
Ron Browz: Yeah, back in the day and sometimes now, the A & Rs get the beat and tell the artist what to do on the track. Sometimes artists might have a different vision for it, whereas somebody else has an overall worldwide vision for it. A lot of things now is just give me the beat and I'll do this on it. But as a producer you're thinking, "If he would have done this or that, it would have been crazy."
BeatDynasty.com: Is it frustrating if you don't get to go into the studio, or do you just take it for what it is?
Ron Browz: Sometimes, but my part is mixing because you don't get to mix your records. They might have a sound low that you wanted higher if you were in the studio with them. Also certain things [that you feel would make the record hot].
BeatDynasty.com: In terms of longevity, you've been around a long time. What are some of your keys to keeping a career?
Ron Browz: I approach every day like I didn't sell a beat yet. My attitude is still like , I didn't make "Ether," I didn't make "Whip Ya Head Boy," I didn't work with Ludacris. That's how I still approach it when I'm in the lab creating. It's like I never put out a record before. I'm like a hungry producer. It keeps me humble and it keeps me looking for that next record and keep going for years and being creative.
BeatDynasty.com: The market is crazy with production. What advice would you give?
Ron Browz: It's definitely not something that happens overnight. There are some very key things. Networking is very important. Relationships are very important. But most of all being creative and not scared to do different things musically. Know the business. A lot of people don't know the business.
BeatDynasty.com: In terms of the business aspect, where do you weigh in on giving beats away? Is that bad business?
Ron Browz: No, because you never know what could come from a situation. I could give an artist on the come up a free beat, and he could get a deal, and it become worth something. Especially on the come up, you're going to have to give up some free beats. Also [you can] leak stuff to mixtapes to get a buzz. Still now, to this day, I have to do little strategic things to keep my name out there. Some artists will say " Can I use this for a mixtape ? I don't have a budget right now, but if it gets a buzz we can do what it does." Sometimes you just have to be strategic and smart in what you're doing. If it's an artist that promotes themselves and gets busy, you're not really taking a loss. Especially if you're a work horse, one beat, shouldn't cramp your style?
BeatDynasty.com: You have a wide range of music and have been around for a while. Does it get to you that you still need to generate a buzz with little things?
Ron Browz: Nah man, I really love this game. I got a passion for it. The important people recognize me. The important people say this guy goes hard. People that don't really know might not know about me. But if you do your homework, and you know about me, you'll be like "This guy is consistent." I think it's like that because my sound switches up so much, you don't know where it's coming from. I'm not bitter about it, I just keep working and it's going to pay off.
BeatDynasty.com: One more question. How do you feel about the software vs. hardware debate?
Ron Browz: I think as a producer, what's hot is hot, no matter what you made it on. You got to know how to do everything. You have to know how to use the computer stuff or if you want to use the hardware. I'm a fan of the outboard gear, but I dabble in [the software] to learn it. You shouldn't limit yourself. But, what ever is hot then it's hot. If you make it beating on a can outside, then it's hot.
BeatDynasty.com: Any last words for us?
Ron Browz: Just look out for my album, and me being a artist. Maybe everybody will see what I'm going to bring to the table musically. I'm just grinding like a regular artist. The single is called "Pop Champagne." The thing behind that is to live everyday like it's your last.
