305DJ’s: What made you choose producers over artists to manage?

Spliff: I think artists are a lot more emotional and I really don’t want to be dealing with someone else’s problems all day long. And with producers, we let the music speak for itself, it’s not like I have to
bring a whole image to the table and try to sell it like what is done with artists.

305DJ’s: How did you get your first start at Diplomat Records?

Spliff: Basically over a period of time, I developed a strong relationship with Duke da God (Head of A&R at Diplomat Records) and I was still in school at the time, attending the University of Central Florida in Orlando. I used to always be back and forth to New York. I had interned at a couple of record companies and when the Diplomats had their deal with Roc-A-Fella, they had offices in the same building and I used to go there a lot. This was about 2003 and I had already seen how the movement they had was unfolding and Duke saw how I was grinding and how I had my hand in a lot of shit, so I guess he took a liking to that and the rest is history.

305DJ’s: How many producers are you managing right now and where are they from?

Spliff: Pro V out of Miami, a producer I just signed by the name of Freebass out of Miami.  He’s down with the Southside Bombers and is doing a lot of work with Hennessey. Both of them are beasts. I.N.F.O.
from Pittsburgh, and lastly STREETRUNNER, who is also down in Miami, I pretty much represent him in NYC. He has a manager in Miami, I went to school in North Miami Beach so I’ve got to support my producers on the come up down there. So it’s 4 producers I’m managing: Pro V, Freebass, I.N.F.O. And STREETRUNNER.

305DJ’s: Does it ever get difficult managing all those producers, compared to one or two?

Spliff: Originally when I started my company (Spliffington Management), I had 6 or 7 producers. I kind of got over my head a little bit, because I just figured I’ll work with a bunch of producers and the more
options I have, the better the chances I’ll have to land a placement for the tracks. But with the team of producers I have now, each producer has their own style and no one steps on anyone’s toes and they all
compliment each other. Compared to having one producer that has one style of beats, we cover a lot of territory.

305DJ’s: How do you decide which track from which producer goes on a beat CD to be submitted. And is there ever a problem with that amongst the producers?

Spliff: That’s pretty much my job, my expertise, my ear. It’s pretty much based on the newer tracks they do because they are always making new beats and in some cases if an old track is overlooked and I feel
it’s still fire, I might go back to that track and try to shop it hard. I try to spread them out as much as possible and making a CD every month and shopping the same beats to all of the labels. I used to create
custom beats CD’s just for certain artists but its very time consuming. Plus if 2 or 3 artists want the same beat, it only makes the price tag go up to a higher bracket, you have more leverage compared to one artist.

305DJ’s: Go through a small run down of some tracks your producers have done.

Spliff: Because of the whole Diplomat Records foundation, we have done a lot of work with them in the past, present and I’m sure the future, but we are definitely expanding in 2006. Pro-V did "Get Down" featuring Cam’ron and Juelz Santana, he also did the intro for Cam’ron’s new album
Killa Season that just got released. I.N.F.O. did the Cam’ron diss to Jay-Z "You Gotta Love It" and also has a record coming out on Trey Songz’s new album which features Keisha Cole. STREETRUNNER did "Take
You Home" for Terror Squad and the intro on Fat Joe’s last album and "Gone" for Juelz Santana’s What the Games Been Missing LP. Freebass, who I recently signed, is in the works of landing a track for
Petey Pablo’s new album right now as we speak and also has a beat on 50 Cents new album. There’s a lot more so make sure you look out for their names!

305DJ’s: When choosing a producer to manage, what do you listen for?

Spliff: The main thing that I listen for is that they have an original sound or a new sound that’s not the current trend. If the producer can do a lot of different things and not just sample, that’s always an incentive. Sampling really cuts into your money, so if you play keyboard or instruments, that’s a plus in my book. Number one, I’ll be able to sell the beat for more money, and on the back end, its more money as far as publishing and royalties.

305DJ’s: How do your producers differ from others in the game?

Spliff: The quality of their beats is real good and they have a different sound to me. Early on I had a lot of producers sending me beats and their mixes weren’t good, the drum sounds were too high or the sample was too high, things like that. But when it comes to my producers now, the quality is there and they come up with a lot of original concepts which is lacking in the game right now.

305DJ’s: Is there a lot of politics involved when trying to submit beats, or is it just about the music?

Spliff: It’s definitely a lot about politics and what you have to think about is how many producers are out there shopping beats. You’re in a bucket with thousands of producers trying to holla at the same A&R,
so what are the chances of mailing a cd and them liking it and them calling you back. The A&R’s have to apply your name with someone well known for them to give you a real chance. Sometimes maybe a favor needs to be done, and you have to play your cards right and play the position. But once you build up your track record it becomes a lot easier, politics and all.

305DJ’s: What made you go from assistant A&R with Duke da God at Diplomat Records to managing producers?

Spliff: I changed because the position wasn’t giving me too much of a chance to advance in the company and I’m not the type of person to just sit around; I needed results. And I like to be in charge of my own
destiny and call the shots. Plus the thing I love most was being on the creative side of things, knowing that I played a crucial in something happening, so what’s better than working with producers and molding
hit records.

305DJ’s: What’s your relationship right now with Diplomat Records or are you just working on Spliffington Management?

Spliff: Day to day it’s just Spliffington Management. I no longer do the same things I used to do for the Diplomats, but I still have a relationship over there. I’m still going to give them beats, as long
as the business is right. I still have to give them a lot of props for opening the doors for me. So I’m not going to forget about that ever, and that‘s pretty much the bottom line.

305DJ’s: What’s next for Spliffington Management?

Spliff: I just hope it’s a lot of money and building up the brand and getting more placements.

305DJ’s: How can people get in contact with you for some tracks?

Spliff: Go to www.spliffingtonmanagement.com or email me at info@spliffingtonmanagement.com

305DJ’s: Any last words?

Spliff: Go get Cam’ron’s new album "Killa Season", my producers’ have 4 tracks on their, more than any other producers on the album. Go get NBA Ballers 2 the video game; we have a lot of music on
there as well as the music for the commercial. Also, look out for JR Writer’s album July 11, we did about 75% of the production on that album, and 305djs.com. Good Lookin’ Out.