David Kim Instagram/yungin__k

“Shoutout to the Engineer,” are the words Dom Kennedy exclaims in the last few moments of his new album with Hit-Boy. Top to bottom, it’s a clean cohesive listen and a cap to a year for him and Hit-Boy who dropped 3 EP’s leading up to the release of their album Courtesy of Half-a-Mil. While Hit and Dom are on the forefront of the music, they had an another key member that they couldn’t have done this without: their engineer David Kim.

David has been the engineer on all of the EP’s and their latest album. He’s been engineering for 9+ years for the likes of Travis Scott, Mary J. Blige, Future and even Kendrick Lamar whom he got a Grammy with for his work on To Pimp a Butterfly. The engineer is an often forgot about key component of the recording process, that needs more attention. Without a engineer the music can come out uncohesive, sounding out of wack, and throw off something that could possibly be a great project. RESPECT sat down with Kim to talk about how important the engineer is, Half-a-Mil, winning a Grammy, and how far he’s come as an engineer.

RESPECT.: So, what does an engineer do?

David Kim: As far as the engineer goes we’re responsible for being in the vibe and capturing the vibe. Whatever the artist wants to get across you gotta translate it to what they want in their head. So, Dom records his verse, then hit records his verse and they bring me in to clean it up, and then go in and mix all the instruments, and all the vocals and add all the stacks. Then have it come out sounding good. Hit is a producer so he got specifics. You gotta accommodate all those requests and try to make it work. As an engineer, you only have a certain amount of space, it’s called headroom, volume wise. In that space, you gotta maximize as much as you can, you gotta have vocals cutting, and a low end cutting while the instruments are creating a vibe and I’ve worked with a lot of artists and most of them all have a particular sound they’re looking for.

RESPECT.: So how long have you been engineering music?

David Kim: I’m going on like 9 years. I started at Chalice Recording studios in LA. It’s one of the top recording studios in LA actually. I started as an intern, made it to a runner, then assistant engineer, and then made it to head engineer.

RESPECT.: Break down the process of what you did until you became the head engineer.

David Kim: When I started as an intern, it was no pay, cleaning the studios, getting peoples food orders. Cleaning toilets, making sure snacks were fixed in a right way, really miniscule stuff, before they even let you in the studio. As a runner, you’re a paid intern. Minimum wage. You’re still on food runs, you’re like the studio b***h (laughs). It’s all necessary. I understood that though and figured like if I’m the best intern, if I’m the best runner they gon see it. They gon want to give me a promotion, they gon want to put me in the studio. Through that, any chance I got, I got in the studio, and I learned from all the engineers, producers and artists that came through. Then eventually I made it to assistant engineer where I’m actually in the room. Then I got to observe and ask questions and stay late when the artists leave and the engineers stay. I learned from that, then it was practice. I would go home or to a library, and practice my a** off.

Then eventually I got my break. I can’t remember what session it was but an engineer was sick. They put me in there, and then the client requested me again. Then eventually people just started requesting me. Then that’s how I got popping at the studio.

RESPECT.: You don’t remember who the artist was?

David Kim: It might have been Jamie Foxx. It’s hard to remember those little things. The type of person I am I don’t really dwell on accomplishments. I look forward. I work with somebody great, then it’s on to the next. I’ve worked with Kendrick on To Pimp a Butterfly, I got a Grammy for that. I’ve worked with Travis Scott, Thugga, Future, Ariana Grande, Demi Lovato, Mary J. Blige, the list goes on.

With Hit, I was always a fan of his music. I’m born in the same year, we’re the same age. So, he was at Chalice one day, and I told him one day I’m a work with him. That was when I was a runner, and he was like that’s what’s up. Then a few years later I got a call to do one of his sessions. Then I did a good job, and we started to do 1 or 2 days a week. Then he sat me down like I need you full time. Are you ready to be challenged? I took the shift, and now I’m rocking with Hit-Boy.

RESPECT.: So, what made you get into engineering?

David Kim: I’m a very technical person. I like to know how things work. When I was in high school I started recording the homies. They would be like hurry up let’s release this, let’s get it out. I was like na na we got to get this perfect. I would spend hours and hours doing it and they were just like why don’t you engineer? Then I started looking into it, I started looking at the school options and then I went school in Hollywood, and that’s where I learned I really like it. I learned I’m the type to sit there for hours and stare at a computer screen and get the sound right and get it to where it should be. That’s where I learned that I want to be an engineer above anything else.

RESPECT.: How did Dom and Hit link up?

David Kim: Hit’s produced a few tracks for Dom in the past, so they have a working relationship. I think like they were in the studio and Hit understood that Dom could take his rapping to the next level, cause Dom’s a veteran.  Dom understood that Hit could bring something to the table, musicality, push his boundaries on things he wasn’t doing. They just had a really good understanding and they get along well as people. That’s where it really starts off. That’s how I saw it coming together, I don’t know if that’s the real story, but from an engineer standpoint that’s how I saw It come together.

Actually. I remember. Hit had a beat. Dom spit on it. He asked him like why don’t you do the hook? Hit did the hook. The song was Leparc Suites. It’s on Courtesy of Half-a-mil. That’s when it kind of started like whoa, we might have something here.

RESPECT.: What was it like working with Kendrick on To Pimp A Butterfly, and what was it like getting a Grammy?

David Kim: It really convinced me that I was doing the right thing. That I was in the right field. I been in the game for a pretty long time, and we don’t get a lot of validation. When I first got that nom’ (nomination) I was like wow. When I actually got in that session it was like wow, just being here being around my favorite rapper and that professionality they bring and then the musicality of that album it was just crazy. At the time, nobody was doing live music in rap. Maybe Cole, but when we got nominated I was like whoa. I could really have a Grammy. Then when it happened, it was like lets piggy back on this to keep getting more. That was the validation, that was god telling me like you’re on the right path keep it going. It was more of a checkpoint for me than an accomplishment or goal. I feel like I ‘ma get more Grammys. You work hard at something, you succeed.

RESPECT.: Was it hard engineering the live music from To Pimp a Butterfly?

David Kim: It was different, but I was ready for it. I went to school and I had done tracks with live instrumentation, and I studied and it wasn’t my first time recording live stuff. So, it was natural for me. Also, the musicians were super talented, and it’s like if you don’t have to do much, then it makes the process way smoother and easier.

RESPECT.: What’s Dom and Hit’s recording process like?

David Kim: Hit starts writing on a verse, records it, then will say “yo check this out (to Dom) and then Dom will say “okay” and usually start writing to it. It happens very organically, there’s no gimmicks. It’s like “Hit I wrote to this beat, what you think?” “Oh, I like it I’m gon write to it, oh let’s do a hook or get somebody to do the hook.” Boom there’s a song. The first couple of months they were doing a song a day so we have a deep catalog. Some of the songs made the EP’s and the album, but we still got s**t in the bank.

RESPECT.: Are there any challenges engineering Half a Mil?

David Kim: Hit being a producer there are things that conflict with my mentality as an engineer, or it’s he’ll want certain things higher but we always meet at a middle ground. The greatest thing about Dom and Hit they’re willing to learn and willing to teach, and they’re patient. It’s very rare that we disagree on something, and when we do it’s always somebody that will just bite the bullet. We know that music means more than anything else.

RESPECT.: What’s one of the biggest challenges you’ve had engineering somebody?

David Kim: I don’t want to talk names, but certain artists are from different backgrounds or environments so the way they treat people is a little different. I wouldn’t say it’s right or wrong, but sometimes the way it comes off is rude or disrespectful. Engineers are gaining respect as people are becoming more knowledgeable about the recording process. Some artists don’t respect the engineer as much as others. When they’re recording they’ll kind of like taunt you in a disrespectful manner. Like “yo hurry the f**k up” like just cussing at you and things like that, not being considerate of what you’re doing for them.

RESPECT.: What’s one of the benefits of being a full-time engineer for Dom and Hit?

David Kim: Every day I get to come work with the same people. Every day we get to grow, and pick up where we left off. Whereas, when you’re working for new artists it’s a clean slate and can be unknown. As an engineer, after every mix I have something I wish I could have done better. Working with the same people that will let me implement that on the next mix or the next tape. If you listen to the EP and tape, progressively the bounce got better. That’s because we learned from each project and each song. That’s because 3 people are collectively pushing the boundaries.

RESPECT.: If there is one project that you worked on that you’re super proud of amongst all the rest what project would that be and why?

David Kim: I would have to say this Courtesy of Half-A-Mil project, because that’s the most control I’ve ever had as an engineer. I was the only engineer to touch the project. From the recording to the mixing to going to the mastering studio and sitting with the mastering engineer and going through every song and telling him what we need and that’s so much time and energy in something, so this the one I’m most proud of.

David Kim Instagram/Yungin__k

You can follow David on Instagram and Twitter, and listen to the Half-a-Mil EP’s here.

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The post Money On The Board: An Interview With Half-a-Mil Engineer David Kim appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

You can check out all of the Half-A-Mil tunes here.

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Well, well, well… After pleading my case to Drake for him to release his highly anticipated “playlist” More Life, The Boy finally delivered. As odd as it may sound, More Life sounds just like it was advertised to be, a playlist. In a weird way, all 22 tracks sound like Drake is the featured artist and not the other way around. At times, it really does feel like he compiled 22 like-minded tracks and made a playlist to jug too. On top of that, Drizzy really hit the nail on the head in terms of how his lyrical content sums up the post 1995 generation, especially when it comes to relationships. If you can’t relate to lyrics like, “I wanna know why we can’t slash and stay friends,” or “My side girl got a 5s with the screen cracked/ still hit me back right away,” then you my good friend, need to experience more life…. No pun intended. But seriously, this might be Drake’s best album and it doesn’t really feel like it’s his album, and the irony in that is magnificent, almost as magnificent as Quavo crooning, “Never let a ni**a ride your wave” on a song with Travis Scott & Drake, the two artists sitting shotgun on the Quavo Lennon wave ride. With all of that happening, as well as SXSW going on – did you guys hear Lil’ Yachty is the Soundcloud Suge Knight – it’s understandable how you might’ve slept on these five tracks that are heating up the internet. Hell, with More Life dominating my speakers since Saturday, the sheer fact that I’m able to keep these songs in my rotation should speak volumes… Either about the music or about me. Check out these five songs that are sure to be invading your headphones soon, featuring Half-A-Mil, 24Hrs, JSMN and more. & Oh yeah, wish me an early Happy Birthday, I turn 22 tomorrow. *Taylor Swift voice*

JSMN – “Coogi Sweater”

Checking in first on the list is St. Louis femcee JSMN and her infectious track, “Coogie Sweater”. What starts off a bit slow as JSMN builds up anticipation with monotone bars, quickly transitions into a smooth, two-minute journey into the mind of JSMN once the chorus drops. Produced by Namesake, the track comes off her recently released EP, A Very Sad Happy Birthday, an ode to trying to kick depression on your special day, something I’ll be doing tomorrow. But “Coogi Sweater” stands out as the happy song off of the project. Banging this song out makes miss the days of “bubble gum in my popsicles” coming from the ice cream man. Check out the track below and be sure to keep an ear on JSMN, who’s project has been tearing up the web.

https://soundcloud.com/jsmn/coogi-sweater-prod-namesake

24Hrs – “VSVSVS (Remix) Feat. Rick Ross”

Look, I’m going to be honest. Before this track, I had no idea what the hell VS diamonds were, and I still really don’t. As a soon to be 22-year-old, who talks about music for a living, I don’t really think that’s my lane…. is what a buzz-kill would say. I on the other hand, am not that and despite my ignorance to the game Ben Baller calls home, this song goes f**king stupid. Atlanta native 24Hrs, formerly known as Royce Rizzy – I know it tripped me out when I found out as well — delivers one of my favorite tracks of 2017 so far in, “VSVSVS”. Meshing tropical, island production vibes with relatable librettos such as, “I pop molly and party, I duck off with my shawty/ if I don’t call you don’t call me, that’s how it supposed to be,” 24 complete switches up from the trap brand that Rizzy had built. Though I was a fan of his music under the Rizzy moniker, 24Hrs is the long lost auto-tuned son of T-Pain that we’ve all been wishing for, and I am all the way here for it. After gaining steam as a solo song, 24 decided to add Miami bossman Rick Ross to the track and added a whole new element. Though his flow is a bit lazy, he makes up for it with mafioso gems like, “I don’t gossip, I’m a boss/ I don’t care about your friends.” Check out the track below, which is off of 24’s recently released Not Open Late, and be sure to hop on the 24Hr bandwagon before it’s too late. Also, read our recently released interview with 24, here.

CJay – “Jazzy”

Look, I’ve said it before, and I’ll say it again: South Florida runs the underground at the moment. After producing polarizing figures such as XXXTENTACION and Kodak Black – as well as underground icons like Pouya, Fat Nick & Denzel Curry – South Florida has been on an unprecedented run of producing dope artists. It’s not just that though, they all have their own style. X is known for his trappy shout raps — *cough cough* Drake – while Kodak is known for his more pain driven tales of prospering enough to escape poverty. One thing they haven’t had, at least nationally, is a pure spitter. Somebody who could get busy in any lyrical arena around the country. Well the wait is over, enter in Broward County native CJay and his phonically dense track, “Jazzy”. Rhyming over 90s era sounding production, CJay makes his case as a force to be reckoned with, unleashing fierce bars like, “I’m Hip-Hop’s foster father, putting rappers in time-out,” and “You’ve never heard a rapper this honest before, honorable, honor the code, rappers getting outta control.” Sheeeeeesh! Say that back to yourself out a few times, then holla back at me. Peep, “Jazzy” below and be sure to keep the Florida native on your radar.

https://soundcloud.com/hescjay/real-prophecy-jazzy

SAINt JHN – “3 Below”

Coming in next on the list is Brooklyn boy SAINt JHN. After amassing a fan base and gaining notoriety due to his singles like, “Reflex” and “1999”; JHN returns with “3 Below”. Produced by f a l l e n, “3 Below” sounds like the perfect record to spin at 1 AM in the club before last call. I can already see myself belching out, “I ain’t tryna be nobody’s hero ya know?/ My heart is 3 below zero” to the top of my lungs with a Henny and Coke in my hand. JHN utilizes his unorthodox vocal range to capture notes and sounds like reverb junkies could only dream of. The NYC native has picked up quite a buzz as well, commanding coverage from publications like Pigeons & Planes, XXL and of course yours truly. In a way, JHN seems to be in the same position that 6LACK and Khalid were in this time last year, which in hindsight seems like a huge blessing. Check out, “3 Below” after the jump and be sure to keep an eye out for SAINt JHN’s debut, Collection 1, slated to be released soon.

https://soundcloud.com/saintjhn/3-below

Half-A-Mil – “Tupac” 

Let me take you back to 2011 for a second. Barack Obama was president, LeBron James was on the Heat, and life was just more simple then. This was also around the same time that California natives Dom Kennedy and Hit-Boy were separately leaving their marks on the game. Hit-Boy was coming off of celebrating the biggest hit in his career with The Throne’s, “Ni**as in Paris”, while Dom was being labeled as Cali’s savior off the strength of his previous projects, The Original Dom Kennedy and From The West Side With Love, both CERTIFIED classics. Now let’s fast forward to 2017, and things are a bit different. While Hit-Boy and Dom are nowhere near irrelevant, both have received their fair share of criticism and isolation throughout the past couple of years. That’s why when I heard the two would be teaming up to form the duo Half-A-Mil, complete with a two-part project, I was elated to say the least. Sure, this would’ve been 1000000x more exciting in 2011 but better late than never, and on top of that, it’s the most comfortable I’ve heard BOTH of them sound in years. One example of that is the track, “Tupac” off of their recently released Half-A-Mil 2. While Hit-Boy uses the time to address some issues – “Internet ni**as like where he been?” & “Managing myself for the last three years”—Dom utilizes the sunny sounding Hit-Boy production to provide sporadic jewels that only Dom could pull off like, “Ima do it like O-Dog and keep busting, I gotta go home and see my son, no question” & “Told her come throw that sh*t in my direction, fresh orange juice & veggie omelet for breakfast.” Dom rhyming “direction” with “breakfast” – and sounding smooth while doing it – makes me yearn for the Yellow Album days. I’ve always hated the “old Kanye” type criticism that evolving artists have unfortunately been victims of, but I can’t help it. No matter how fire this track is – and it’s fuego – I just can’t help it. I miss the old Dom K, straight from Leimert, Dom K. Check out the track below.

There you have it! Let us know how we did, did we get it right? Are we still sleeping on your favorite local artist? Let us know in the comment section below!

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The post With All Due RESPECT.: 5 Songs You’re Sleeping On (3/22) appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.