Born & raised in Dallas, TX, Oktober1st is one of the hot up and coming producers on the Dallas scene. He has worked with heavy hitters like Jeezy and Rick Ross. Oktober1st moved to Tennessee to finish his degree at Middle Tennessee University where he became an independent producer/engineer and got his first shot working with a major with Young Buck & his Cashville Records label during his early G-Unit days.
After he got his degree in audio engineering, he moved back to Dallas & started back working with other producers & songwriters as well as artists like S. Fresh & Knscry.
In 2009 he ended up signing a production deal with Maybach Music Group with another producer named Mitrxxx & two songwriters named Suede Royale & EQ. Ross named this team The Tranzformerz because of the use of the transformers morphing sample he heard in a lot of the beats they first sent him.
Their contract was up with MMG in 2012 and ever since, Oktober1st has been building his production & mixing catalog with artists like S. Fresh, Knscry, and artist from Miami named Ghostwridah and Timbaland’s songwriter, Attitude. In September 2012 Knscry released the Righteous EP & S. Fresh released Red Cups & After Party’s. Of the indie scene he has been working in, Oktober1st had this to say,
“I’ve stuck to the indie grind because I like building with new artists. I’ll always do that no matter what major opportunities come my way.”
Where did your musical influences come from?
My influence came from when I heard One in a Million from Aaliyah, Timbaland. That was the one for me. That's what made me start dabbling in making music. Then I got to know how to get around all the studio equipment.
How do you use the studio as a musical instrument to catch a vibe?
"It's all about a vibe. It’s all about the energy."
That's the best way to put it. You know that's why you see no windows and no clocks. No recollection the time. You know, it just keeps you in the moment keeping the mood. Every time you come here it’s the same every time that’s why I come up here."
What are some of the challenges you face with tracks you receive?
Usually if it's just recorded in an open room, way before the Eyeball came out. There are still people in their home music studio who don't know about it so they still record in open rooms and they use a Reflexion filter and pop filter because they don’t have a vocal booth. You know this is just not the same. Every artist that I work with who records at home has a Kaotica Eyeball. No need for a soundproof booth, just the Eyeball and you've got yourself a mobile vocal booth. You can tell a huge difference. The Eyeball makes it sound like they're up here in a real studio.
What are some of the advantages of having the Eyeball?
"Having the Eyeball would make it sound like they recorded it here in the studio. It just gives you a professional quality. It isolates everything, keeps it clean and makes it easier for the engineer. I like the fact that I can take it with me like a portable vocal booth in my back pocket."
How important are the vocals compared to the beat?
Equally important, maybe more important because you know we can't even really shop records to people without vocals on them anymore you know unless you know the artist. So it's 50/50. It's always been that way. The vocals sell the track. The beat drives the music.
Would you say the Eyeball helps you when you’re travelling, in terms of mobile production in say, a hotel room?
Of course, you know that's the whole point. Guys record in the room instead of going into a vocal booth you know when there's a space like this. So just having the Kaotica Eyeball, it keeps everything uniform it makes everything easier for the engineer