We can’t keep f-ing over the studio world. They hear the record on the radio all the time! All they’ve got is that credit – that’ll get them more work on other projects. Those kids are in there working for that credit. I’m just disappointed that didn’t even give me - or the other engineers in the studio - the simple engineer credit. He didn’t do anything different, what I have on tape versus what they have on tape. That means it sounded like it did the night it left the studio. They’re like, “We had somebody else mix it” but it was already stemmed. 1 on Top R&B/Hip-Hop Albumsīehind the scenes, YG would say to people, “Quik did a great job on ‘My N-a” but that doesn’t hold the same weight as me being down as an official engineer on your song.
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Just to be giving them away for free because I’m not relevant any more or because somebody wants to be a dick and give somebody else my credit because maybe there’s a kickback involved? I don’t think that’s the way to do business. I’ve spent a lot of money and a lot of years and worked under the tutelage of a lot of great producers just to learn those chops. I took the time to give it the same treatment that we did with All Eyez On Me, the same treatment I did with Safe + Sound. I put it on tape and that’s why that record sounds different than all his other records. I put in my 67, even went in and was talking to him in the booth like “Nail this sh–” and what not. I have a Neumann 67, which is the hot sh–. So one of the engineers at the studio grabbed my microphone. But before that happened, YG said he had to do the vocals over. They didn’t like the way I blended it, which is cool, so they had somebody else blend it. I made it super easy and super loud so anybody could’ve technically mixed it.
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That’s a term that sound guys use when you have to make it easy for someone to remix. Instead of them having this whole jumbled console full of one hi-hat here, one horn sound over there, you put them in stereo stems so it all makes sense. I made it really dynamic, cleaned it, did all the little stuff that needed to be done. I pull the song up, clean it all up, put it through that SSL board - SSL is one of the best recording systems ever. I still have that session in my drive right now. That’s fair because I impart my sound to it. When I engineer, I charge ten grand to engineer and mix records. I could clean that up.” I pulled the session up and I started doing the same thing I always do. It was muddy, not mixed - a good idea - and somebody leaked it straight off of ProTools. The manager came in and played “My N-a” on YouTube. There’s some engineers there too that didn’t get their credit and they were a little disappointed.
We were all a little bashful because we didn’t understand being thrust into that light of being a celebrity. It’s just like Snoop was when he first came out. You should hook him up.” I hadn’t had a working relationship with YG before that. They called me like, “ from Compton, Quik. Read Quik’s version of events in his words below. The next day , Quik hopped on th e phone with Billboard to tell his side of the story and how he’s switching up his creative process in the studio moving forward.
Use it to sell Your new album It’s free press. You’ve f-ed up.” Later he added, “You don’t F–K with Dj Quik.” (YG and his management offered no comment.) “Y’all had me engineer and record My N-a for and did not give me credit,” he wrote. “My Lawyer has you his sights. On Monday, Quik fired off a string of since- deleted tweets (see them on HotNewHipHop here ).
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