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neiyigelirportali-blog · 5 years

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Kalp atış hızı sağlığınızı belirliyor

Türkiye İş Bankası iştiraki Bayındır İçerenköy Hastanesi Kardiyoloji Uzmanı Doç. Dr. Mutlu Güngör, kalpte görülen ritim bozuklukları ve düzenli yapılacak kontroller hakkında şu bilgileri verdi:

– Kalbin ileti sistemi, bir evin elektrik tesisatı gibidir. Bu sistem, elektriksel aktiviteyi oluşturan bir jeneratör (sinoatriyal nod) ve oluşan bu elektriksel aktiviteyi kalp kasına götüren yollardan oluşur. Jeneratörün veya ileti yollarının kendi hastalıkları, bazen de bunları etkileyebilecek sistemik hastalıklarda ritim bozuklukları görülebilir. Kalpte organik ritim bozuklukları ise çok geniş bir yelpazeye dağılır.

Nabız düşüklüğünü önemseyin

– Kalbin elektriksel aktiviteyi oluşturan sinoatriyal nodunda elektriksel aktivite oluşumu yaşla beraber olan dejenerasyona, damar tıkanıklıklarına bağlı beslenme bozukluğuna, bazı depo hastalıklarına, tiroid fonksiyon bozukluklarına veya pek çok sistemik hastalığa bağlı olarak azabilir. Bu durumda normalde 60-100 arasında olan impuls çıkarma hızı düşer. Hastanın nabzı 60/dk altındadır. Bu durum vücutta beslenme bozukluğuna sebep olur. Hasta baş dönmesi, halsizlik, minimal eforda dahi nefes darlığı veya bayılma gibi şikayetlerde bulunur. Hastanın nabzının düşük olduğu, çekilen EKG’lerde veya ritim takibi amacıyla yapılan 24 saatlik ritim holter incelemesiyle tespit edilir. Bu durumda tedavi, kalbin elektriksel aktivitesini sağlayabilecek kalıcı kalp pili uygulamalarıdır. Kalp pilleri göğüs kasının altına yerleştirilen 3×5 cm ebatlarında cihazlardır.

Kontroller ile kalbinizin sorunlarını dinleyin

– Normalde kalbin jeneratörüne bağlı kalp kasına iletim sağlayan bir ana kablo mevcuttur. Bazı kişilerde doğumsal olarak ikinci bir kablo bulunabilir. Buna ‘aksesuar yolak’ denilir. Bu aksesuar yolağın aktiflendiği durumlarda kalp hızının 150-200/dk kadar çıkabilen, ani başlayıp ani biten, göğüste huzursuzluk hissi oluşturabilen çarpıntılar oluşur. Bu çarpıntıların ne zaman başlayacağını ne kadar süreceğini tahmin etmek pek mümkün değildir.

– Eğer çarpıntı süresi uzun olursa hasta acil servise müracaat ettiğinde çekilen EKG veya sık tekrarlıyorsa takılan 24 saatlik ritim holter tetkiki ile tanı konulabilir. Bu çarpıntılar kalp krizine veya kalp yetmezliğine sebep olan kötü ritim bozuklukları değildir. Ancak nabzın çok yükselmesi hastada ciddi bir huzursuzluk oluşturabilir. Bu bozuklukların tedavisi EFÇ (elektrofizyolojik çalışma) ve ablasyon denilen tedavilerdir. Bu tedaviler anjiografi laboratuvarlarında yapılan ve kasık toplar damarından girilerek uygulanan işlemlerdir. Aksesuar yolağın yerinin tespit edilip, radyofrekans (yakılarak) veya criyoablasyon (dondurularak) ile ortadan kaldırılması temeline dayanır.

Çarpıntı nedeni yalnızca kalp olmayabilir

Çarpıntı, kalbin çalıştığını hissettiğimizde tarif ettiğimiz şikayettir. Normalde kalbimiz ömür boyu hiç aralık vermeden sürekli olarak çalışır, ancak biz onun çalıştığını göğsümüzde hissetmeyiz. Bu çarpıntılar bazen düzensiz teklemeler, bazen de nabzın 200/dk’ya yükselecek hıza ulaşması olabilir.

– Çarpıntı tarifi olan hastalarda mutlaka sistemik bir rahatsızlığın olup olmadığı araştırılmalıdır. Kansızlık, tiroid hastalıkları, sıvı kayıpları, ateşli hastalıklar, anksiyete, panik hali, ağır egzersiz, kronik sistemik hastalıklar, kondisyonsuzluk gibi pek çok durumda nabız değerleri artar, kişi bunu çarpıntı gibi hissedebilir.

– Aslında buradaki durum kalp hastalığından ziyade, kalbin mevcut hastalığı kompanse etmesi için hızını arttırmasıdır, yani olması gereken fizyolojik bir durumdur. Tedavi sebebe yönelik yapılmalıdır. Yani kansızlığın, enfeksiyonun ya da tiroid fonksiyonlarının tedavisi yapılmalı, kondisyonsuzluk varsa düzenli egzersize başlanmalıdır.

Ailesel sağlık öykünüzü iyi takip edin

– Kalpte yapısal bozukluğu olan hastalarda görülen ritim bozuklukları klinik olarak çok büyük önem taşır. Kalp krizi geçirmiş, bypass, stent gibi işlemler yapılmış, kalp büyümesi görülen hastalarda veya bazı doğumsal anomalilerde (hipertrofik kardiyomyopati, aritmijenik sağ ventrikül displazisi, ebstein anomalisi gibi) veya bazı ritim bozukluğuyla seyreden genetik geçişli hastalıklarda (brugada sendromu, uzun QT sendromu, kısa QT sendromu gibi) gelişen ritim bozuklukları (ventriküler taşikardi veya ventriküler fibrilasyon) kalpte ani durmaya yani bayılma veya ölüme sebep olabilir.

– Dolayısıyla kalp damar hastalığı bulunan tüm hastaların mutlaka rutin kardiyoloji kontrollerinin yapılması gerekir. Bu muayenelerde ekokardiyografik incelemelerinin gerek duyulduğu takdirde ritim holter incelemelerinin yapılması gerekir. Ailesinde sebepsiz erken ölüm öyküsü bulunan hastaların veya sporcuların mutlaka kardiyoloji muayenelerinin EKG ve ekokardiyografik değerlendirmelerinin yapılması gerekir. Yapılan muayenelerde veya tetkiklerde ani ölüm riski görülen hastalara ICD (implentable cardiak defibrilator) dediğimiz şok cihazlarının takılması gerekir. Bu şok cihazları kalp pillerine benzer şekilde göğüs kasının altına yerleştirilen, pillere göre biraz daha büyük, yaklaşık 5×7 cm ebatlarında cihazlardır. Bu cihazlar kalbin ritmini sürekli olarak takip edip ölümcül bir ritim bozukluğu görüldüğü zaman şok vererek kalbi tekrar çalıştıran cihazlardır.

Sporcular ve kalp hastaları düzenli kontrolleri ihmal etmemeli

– Kalpte görülen ritim bozuklukları felçle veya ölümle sonuçlanabilecek kadar önemli olabilir. Bundan dolayı herkesin mutlaka yılda bir kez ayrıntılı kardiyoloji muayenesinin, EKG ve ekokardiyografik incelemelerinin yapılması önerilir. Risk grubundaki hastaların ise koroner arter hastalığı açısından değerlendirilmek üzere eforlu EKG, talyum testi, gerekirse koroner anjiografi gibi tetkiklerinin yapılması ise önem taşıyor.

– Ailede erken ölüm olan kişilerin, sporcuların, kalp yetmezliği ile takip edilen hastaların veya baş dönmesi, halsizlik, bayılma gibi şikayeti olan hastaların kalp damar hastalığı veya ritim bozuklukları açısından EKG ve ritim holter takiplerini yaptırması ise ihmal edilmemelidir.

Sürekli devam eden ritim bozukluğu: Atriyal Fibrilasyon

– Atriyal fibrilasyon (AF) olarak bilinen, en sık sürekli devam eden ritim bozukluğu ise ayrıca ele alınması gereken bir hastalıktır. Özellikle ileri yaşta, kapak hastalığı, hipertansiyon, kalp yetmezliği varlığında görülme sıklığı daha da artar. Kulakçıkların (atriyum) kasılamayıp sadece titreşim hareketi yaptığı ritim bozukluğudur. Bu özelliğinden dolayı atriyum içindeki kan, hareketsizliğe bağlı pıhtılaşabilir. Bu pıhtıların embolize olması felç ataklarına sebep olabilir. İleri yaşta görülen felçlerin en sık sebebi de AF’dir. AF’nin tespit edilmesi, mutlaka pıhtı önleyici tedavi kullanımını gerektirir. Pıhtı önleyici tedaviler pıhtı ve felçten korurken diğer taraftan kanama eğilimini arttırdıkları için kontrollü kullanımları gerekir

Kalp atış hızı sağlığınızı belirliyor

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thecainmarko · 6 years

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We are live every Thursday from 10pm-12am on @hiphopnation on @siriusxm ... Here is the playlist from last night. Shout to @jamogang (@j57music @ras_kass & @elgant) & @djreadycee 's fav MC @planetasiamedallions For coming to the show and dropping some dope freestyles. #RapisOuttaControl #DJEclipse #DJRizz #DJLife #hiphop #Repost @rapisouttacntrl (@get_repost) ・・・ "Rap Is Outta Control" 1/25/18 Playlist (w/ Jamo Gang & Planet Asia) 1. Rasheed Chappell "Which One" (Freestyle) 2. O.C. "Powerful" (prod. by Motif Alumni) 3. CRIMEAPPLE "Siegfried" (prod. by DJ Skizz) 4. Singapore Kane "City On Lockdown" (prod. by Jon Glass) 5. Dox Diggla "L.O.L. (Last One Left)" (prod. & cuts by Vertical Jones) 6. Sully Nomad "Nomads" 7. Planet Asia "Hood Legends" (prod. by izzynyce, cuts by The Architect) 8. Jamo Gang "All Eyes On Us" (prod. by J57, cuts by DeeJay Element) 9. Raf Almighty "Dumpsters" (prod. by Sidefx) 10. Evidence "10,000 Hours"(prod. & cuts by DJ Premier) 11. Planet Asia feat. Turbin "Shots At Your Highness" (prod. by izzynyce) 12. St. Laz "Brooklyn Made" (prod. by Soul Arkitech) 13. Tha Soloist X Dr G "I Never Forgot" (prod. by Dr G, cuts by DJ Rolex) 14. O.C. "4Eva" (prod. by Dark Keys) 15. Evidence feat. Krondon "Bad Publicity" (prod. by Nottz, cuts by DJ Revolution) 16. O.C. "Quick To Jump" (prod. by Motif Alumni) 17. Smoovth x Blacastan x Stu Bangas "Don't Judge Me" (prod. by Stu Bangas, cuts by DJ 7L) 18. Ty Farris "Dirt Naps" (prod. by Stu Bangas) 19. Daniel Son x Futurewave "Trust the Process" (prod. by Futurewave) 20. Dave East "Prosper" (prod. by Joe Joe Beats) 21. JOAT SLNM feat. Jamo Gang & GGDT "Fire" (prod. by JOAT SLNM) 22. Planet Asia feat. TriState "Black Egypt" (prod. by izzynyce) 23. Ski "Daddy Sick" (prod. by Cardiak) 24. Drematic XL & K.E.V. feat. Donjuan & Kadence "Understand N Understood" (prod. by Drematic XL) 25. Jamil Honesty feat. Whitney C "Searching" (prod. by Wisdom Beats, cuts by DJ Grazzhoppa) 26. Jamo Gang "Straight No Chase" (prod. by J57) 27. Jamo Gang & Planet Asia Live Freestyle! (at SiriusXM Studios)

#repost #djeclipse #rapisouttacontrol #djlife #djrizz #hiphop

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airadam · 7 years

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Episode 96 : A City United

"It's not the world, it's the people in it..."

- LaPeace

What a month it has ended up being. Manchester suffered a terrible blow, and the figurative reverberations will be felt for a long time to come. It has been something to see how people have come together in the wake of the attack, and hopefully that spirit is something that can be carried forward.

While I wasn't able to completely re-do this month's show, I hope it's a pleasant listen for anyone who has the time to give it an ear. Amongst this episode's tracks we have a couple of Manchester tunes, some beautiful instrumentals, and an uplifting ending. Enjoy.

Twitter: @airadam13

Playlist/Notes

Kendrick Lamar : DNA

"I got loyalty, got royalty inside my DNA". Absolute fire. The Mike Will Made-It beat is dark and banging and from the very first line, Kendrick is on point. A beast of a track from the new, appropriately-titled album "DAMN." Definitely worth checking the video starring Don Cheadle too!

[Lex Luger] Kid Ink : Blackout (Instrumental)

I was struggling to find an instrumental in my library to fit in here but then thought about which producers might have something to fit, and Lex Luger, Mr."Hard In Da Paint", was my first idea. To be honest, I went to go and have a listen to the Kid Ink track and...I didn't rate it. All about the beat here, thanks to a mixtape of instrumentals on Datpiff!

Devin The Dude : Acoustic Levitation

Devin is a bit of a southern legend, starting off with Odd Squad and Facemob before commencing a long solo career. He's noted for bringing his sense of humour to his music, but that's not the vibe on this cut, the title track from his ninth solo LP. It's a fairly serious number with Devin in reflective mood about the world over a beat produced by his old Odd Squad running mate Rob Quest, who cooks up a solid 808 groove.

Children of Zeus : I Want You

The first time I heard this, I stomped over to DJ Chris E and demanded (ok, not like that ;) ) he tell me what it was immediately! It had only just been released on the CoZ Soundcloud account, and I got my download as soon as I got back home. This is a bodywork-rattling, baby-making slow jam out of Manchester that deserves all the listens. Vocally, it's a Tyler Daly solo, and as much as I love the lead vocal I think his backing styles on the hook put this one over the top.

Dr Dre ft. Jill Scott, Jon Connor, and Anderson .Paak : For The Love Of Money

One of my highlights from Dr Dre's "Compton" LP, a piece inspired by "Foe Tha Love Of Money" by Bone Thugs-N-Harmony. This has some of the foremost soul vocalists of recent-ish times taking a starring role, with Jill Scott bringing the gentleness and Anderson contributing a rougher tone. The origins of the track are that it was the first beat made by New Jersey native Cardiak when he moved to Los Angeles, and Jon Connor heard it and wrote his lyrics to it - it was only after that that it found its way to Dre for it to become what you hear now.

MC Eiht : Just Lean

This Compton veteran has carved out a long career, and it's amazing to think that "Affiliated" is his eleventh solo album. Add that to the Compton's Most Wanted LPs, and you have someone who deserves a ton of respect. He's not talking about anything super complex on this weed anthem, but he does definitely slip in some clever references - Ice Cube and UGK, to name but two. The longtime CMW producer Tha Chill collaborates with the D&B producer DJ Subflo for an eerie, creeping track with those echoing snares adding to the dissociative feel.

UNKLE : 24 Frames (Redux)

I can't remember how I exactly found this one - I hadn't been up-to-date with UNKLE's output after the "Psyence Fiction" album, but heard this orchestral killer on Spotify and have been dying to find a place to slot it into the show for months!

Count Bass D : Subwoofer (Dumile)

Somewhere right now, Count Bass D is making a beat. Crafting. Refining. He's sixteen solo albums in, not to mention EPs and compilations, but right here were back to his third, 2002's "Dwight Spitz", now available via Bandcamp. A tribute to the fallen DJ Subroc of KMD and also paying homage to Hip-Hop luminaries of times past, this is almost certainly my favourite tune on the LP. For a little listening detail, check how the drum pattern changes up on the approach to the hook, doubling up on the kicks and snares - very nicely done.

Mothership Connection : Space Junkin'

Manchester's Mothership Connection have been doing a stack of live appearances over the past few years, but as they're a collective of solo artists and member of other groups, it's taken a while for them to release their own product. we finally have their debut EP, "This Train Goes To Junkleberry Junction". All tracks are produced by Mankub, and this one is on a bit of an Apollo 13 vibe while the crew of MCs spill lyrics all over the equipment!

Ilajide ft. Propaine : In The House

The man behind the beats for Clear Soul Forces stays producing quality material. This particular piece is on the "Five Week Heet III" Bandcamp release, and after the quiet intro groove (hard to hear on the mix in/out, actually) it just thumps along. I definitely need to hear this man doing extra work outside the camp. Actually, how about Ilajide and Camp Lo...?

J Dilla ft. LaPeace, Moe Dirdee, & Seven The General : Say My Name

One of those songs that pops into my head fairly regularly but which I don't play even for myself as much as it deserves. Nothing esoteric here, just dope rhymes over an old Dilla beat - that's enough. Catch this on the "Rebirth Of Detroit" album.

The ARE : Midnight (Instrumental)

It's been a while since our last visit, but we return to The ARE's reworking of samples used by A Tribe Called Quest on the "Midnight Marauders" LP. This one is a re-imagining of one of my favourites, but crashing along with a vibe of its own :)

Ka : Up Against Goliath

I was having a listen to Ka's brilliant "Grief Pedigree" this month and found myself rewinding this track. It may at one level be a song about the street game, it could be an anthem for anyone up against the odds. DJs, for full thematic effect you could follow this with UGK's "Pocket Full Of Stones", which is also pretty close speed wise too. #yourewelcome

Damian Marley & Nas : Friends

It's been a while since "Distant Relatives" was released, and every so often a song gets shortlisted for the podcast before getting dropped at the last minute. This time though, it makes the cut. It's not often that Nas doesn't put in the best lyrical performance of all the vocalists on a track he appears on, but I think Damian's performance is superior here! Damian also handles the production, which is well-done, except that the periodic sloppiness on the two and four beats makes it sound like yours truly is making mixing mistakes :)

Yusef Rumperfield : Sparklin

From the Tall Black Guy Productions label come the instrumental stylings of Yusef Rumperfield on his "Jazz In Motion" album. I picked this chilled-out number because sometimes, there's no room for words.

Portishead : It Could Be Sweet

An old favourite from Portishead's debut "Dummy". Beth Gibbons' heartfelt scratchy-throated vocals go nicely on top of the drum machine beat and some subtle keyboards.

Air : High Point

The B-side to the "Once Upon A Time" single, and once again proving Chuck D right about the flip side, this is a beautiful instrumental.

Thundercat ft. Kenny Loggins and Michael McDonald : Show You The Way

A great song to end on, and one I've been playing over and over since I bought Thundercat's "Drunk" album. This bassist, producer, and singer is a really unique gem, and as is somehow befitting of a man who's worked with artists as different as Suicidal Tendencies and Kendrick Lamar, he's a lover of the R&B-infused jazz fusion styles of the 70s and 80s. When Kenny Loggins called him up to say that he and Michael McDonald would be interested in collaborating, he rightly flipped out! The combination on this uplifting cut is a straight classic to me, and I think with the pain of the last month, this is a fitting place to close the episode.

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!

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warezaudio09-blog · 7 years

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Download The Drum Broker Cardiak Presents Cold Air Vol 7 WAV | 369MB

Cardiak returns to his sample creation grind with the follow up to the popular Cold Air Sample Pack Volumes 1-5! After producing Dr. Dre's 'Compton', Cardiak and Drake's 'Views' Cardiak was MIA in the Lab crafting beats and cooking up new sounds for your production arsenal. He's back with the sixth installment of the Cold Air Series of Samples.

http://audioclub.top/drum-broker-cardiak-presents-cold-air-vol-7-wav/

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ugdigital · 7 years

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[MEET THE PRODUCER] @Jazzfeezy : MEET THE PRODUCER

One of the things we’ve enjoyed doing here at U.G. Digital Magazine is providing coverage and showing love on all levels of entertainment and music. One of the many features we do within the magazine is “Meet the Producer”, which gives us an opportunity to spread the word about some of the industry’s best and brightest producers. These individuals are creating some of the biggest staples in music, and it’s beyond fitting for them to get some love out there. Naturally, there’s not a lot who really shine a light on the producers, so we’ve taken that lane with “Meet the Producer”.

We’re excited to transition the feature directly to the site with this new feature with JazzFeezy. It’s definitely fitting, and lends to the things I just spoke of because our connection actually came via us showing love for one of the big hits he handcrafted, that being Hardo’s “I Know You Ain’t Got Act”, which also featured rapper T.I.. We tend to post via social media about a lot of the songs we enjoy, and through that post, Feezy hit back showing his gratitude, which ironically is something we don’t see a lot of, whether it’s with us, or anyone. It’s honestly was pretty refreshing, and we knew at that moment we needed to connect with Feezy, who we truly view as one of the game’s super-producers.

JazzFeezy gives us an open view into his life, what got him to this point, and the things he’s got planned to elevate the production game to an all-new level.

Check out our exclusive below…

U.G. Digital Mag: This is really awesome that we’re connecting man. Obviously, it’s been a while since we posted to that track, and it was so dope, but I honestly had never looked into the overall production. Once I saw your post, and really looked it up, I felt a little crazy. You’ve worked with so many people I follow, from Travis Porter down to T.I. and MGK, who hails from here in Cleveland. It’s dope to see all you’ve done. Kudos for everything you’ve done, and thanks again for tagging the post.

JazzFeezy: I’ve been listening to a lot of different motivational speakers, and they’re basically like have you ever sat down and searched the hashtag of all of your hit records? That’s what prompted me, and I saw so many people showing love. He recommended I post, say thanks, and introduce myself. You never know what could from that, whether it be a follow, or a production relationship. That’s honestly what I did, and it’s how we ended up here.

U.G. Digital Mag: I think another thing that makes me appreciate you so much more is so many producers are out there, but they kinda disassociate themselves with “enjoying” the fame and wanting to know who really digs their music. They don’t really care who is following, and it makes them lose that human side. For you doing this, it shows that side, and my thought is that this is supposed to be fun. I think it’s really cool, and people see that you’re just like them.

JazzFeezy: Of course. Before I started production, I was a lover of music first, and it also goes back to manners. If someone shows you appreciation, you give it right back. The fact you took the time to show love and post it, it means a lot because without that support, the song is dead. We release these songs by the ten-fold, but it’s the fan appreciation that gives it the longevity. Saying thanks is nothing, but it shows that this is a human being. Comments will say that it’s dope, but you don’t really know if it’s a bot or something. To actually say thanks and a few words behind it, it gives that person the idea they’re talking to a human being.

U.G. Digital Mag: You’re from Canada, right?

JazzFeezy: Right. Where Toronto is, I’m about an hour north of there in Barrie, Ontario. If Toronto was like the hubcap, there’s like an hour of trees, farms, and inhabited land; then you have a city called Barrie, and that’s where I’m from.

U.G. Digital Mag: It’s dope man. I connected with Peter Jackson, and I thought he was so dope too. I know you guys have worked together before. What got you into music, and how did it really start?

JazzFeezy: It went back to school. At 16 and 17, I began to see how easy the school system was, and I stopped caring as much. I started doing more with Sony Sound Pro, Fruity Loops 2, and Cool Edit Pro. I started tinkering with it, finished high school, went to school for a computer systems degree, and then realized that wasn’t what I wanted to do. My father let me go to a private school called Harris. It’s basically a studio, but they offer production engineering. It’s a 1 year program where it’s all year, minus Christmas break. Upon completion, they promise you a job, but there was nothing, and I was always on the Toronto scene. It was like around ’07, and Peter Jackson was just starting out. A lot of guys in the city were doing their thing, including Kardinal Official. I went to the battle of the beatmakers, and I met Matthew Samuels who is Boi-1da, and T-Minus from Ajax, and I kept in contact with them and kept sending them beats. I had the drive and just kept following music man. I’m also too stubborn man. It’s like a cockroach, where no matter how many times you try to get rid of them, they just keep lasting.

U.G. Digital Mag: I think you’re perfect for this column though. There’s a lot of people who know your work, but it’s been easy for them to overlook. You’re behind so many people. What comes next, and what more do you have planned?

JazzFeezy: In 2016, I put down the roots by working with a lot of labels. One of my managers, G. Roberson, has me locked in for a few different projects, so I’ve been working on those. We’ve been plugging away since October.

U.G. Digital Mag: In terms of your brand, what plan is there for continuing to get yourself out there? I compare you already to the biggest names like Dre. Where do you want things to go, and what outcome do you envision?

JazzFeezy: I always write my plans down. If you’re familiar with the Boi-1da kit series, I created the first one with him.

U.G. Digital Mag: Right. I know you have your own kit as well.

JazzFeezy: Right. I have one now, but in May, I’ll do volume II. I think it’ll bring more people to it. Every 3-4 months, depending on what people want, I’ll continue the kit series. There might be sample versions where it’s essentially just playing a piano and putting an effect on it, similar to what Cardiak does. That’s all that’s all these sample kits are. I think Frank Dukes and Q-Beats made that famous, but I want to continue on the lineage of the drum kits. Other than that, I do have a logo and I want to get into the merchandising side of things. Maybe snap backs, T-shirts, and real merch. If Dr. Dre ever did merch, people would buy it ten-fold. I guess that’s just not what he wants to do. It’s a lot of ideas that once I get into a certain atmosphere of being known, there’s a lot that I’ll have in the works. Property out here is very cheap, so I want to buy like an acre of land and build my own house, but on the back end have my own studio, almost like an Air-Bnb. I could have like 10-20 people, or like a production room, and have two rooms attached. It’ll be like a studio and Air-Bnb where people can stay at your spot. It makes it even more a commodity because artists will realize they can stay at the studio and not have to leave. Just think how much more work gets done. They’ll hate to leave, and have come back to get in that mind frame again.

U.G. Digital Mag: I love the mindset. It makes perfect sense, and it’s outside the box. Not many have thought that through, and it really makes sense and goes next level. I say why not?

JazzFeezy: Absolutely. It all comes down to having better funding. The more cuts you have and credibility, people are more likely to get it and invest in you that much more.

U.G. Digital Mag: In terms of Canada, do you look to take any of this back to that area? There seems to be so many artists there without the proper voice behind them. It’s really growing in that sense.

JazzFeezy: That’s why I want to build the studio to have the infrastructure. We have some great studios, such as Metalworks, and Phase One Studios, but I don’t think those places are giving back in that way. I find there’s a lot of big sessions that producers go to, and they don’t necessarily keep notes about the experience. I start sessions off with my notepad, and at the end, I write down what we covered. Down the road, I want to write a book, and give my experiences. Instead of selling it, I can give it away like a 20-page E-book, maybe as part of a subscription. If people want it, then down the road take it into a book where there is a mentorship. I just don’t think Canada is the platform where we have enough people to do seminars. Truthfully, all of our talent goes to New York, to L.A., to Atlanta, and to Nashville. People rarely stay here.

U.G. Digital Mag: I think it makes sense. A lot of places are that way where their talent will go to other areas, and in a sense, it’s like that here in Cleveland. The city is growing so much though, and people are now trying to build here so you don’t have to leave. Will that ever happen in Canada?

JazzFeezy: You know what? I don’t know. There’s this mystique about L.A., and I can’t explain it. Over time I’ll talk to an artist, and they get hooked. They say L.A. has exactly what we have, but it’s also the weather. If we have a few producers come together and the proper infrastructure is there where we can set it up, they may stay. America just gives more opportunity. The actual budget you can get is much more in the states, and you just feel more valued in the states.

U.G. Digital Mag: I get it. I love everything you have, and I’ve been going through your site. I like the set up, and can honestly say I haven’t seen it from very many producers. You make it a point to connect with your listeners, and again, I don’t see it a lot. It’s dope and game-changing. You’ll go a long way.

JazzFeezy: It also helps with publications like yours and people who take the time. If someone takes even an email just to say I’m from here, and please check out my music, I’ll give them feedback whether it’s good or bad. I’m never out there to crush dreams, but if someone clearly recorded something on their computer and you can hear the reverb and mom cooking dinner in the background, then I’ll let them know it was a good first attempt, but if they want to take it seriously, then here’s what they can do. It’s only as serious as you want it to be. A guy wrote me back and said nobody took him seriously and that he was 16 and really wanted to do this. I was 16 once, but if you really want to do it, then you’ll find a way to get to where you want to be.

U.G. Digital Mag: Exactly. What is the biggest take away from the time you’ve put in? What’s been the biggest lesson?

JazzFeezy: Oh man, I think it’s patience. When it comes to it, there have been situations where I know I got the cut, I know it’s on the album and everything is good to go, and then 6-months later, were still finishing paperwork and you’re still waiting to get paid. I think the mystique of people in the limelight who show you they have the money, cars, and whatever, that’s cool, but most of that is their advance. They never say 6-months from now, this will be happening. It’s too much smoke and mirrors. When you’re actually in it, you just know that if you get paid, say $10,000, it may be your budget over the next 3 months. If you’re going to do it properly, you won’t blow it on something stupid. You’ll slowly invest in yourself and use the money you need to get by until you learn the art and respect of money so that when you do get a good lump sum of money, you’re not throwing it away.

U.G. Digital Mag: Right. Now where can everyone check you out online? Facebook, Instagram, etc?

JazzFeezy: Twitter, IG, Facebook, and the website. My handle is @Jazzfeezy. People speak of Snapchat and Linked In, but you don’t have to do them all at once. I need to get more credits, stay creative, keep working, and keep following up with different A&Rs, artists, and managers. Down the road, I’ll do the whole Snap Chat thing.

U.G. Digital Mag: I really appreciate this opportunity. This is something we love to do, showcasing producers man.

JazzFeezy: I appreciate that as well. The other thing is it’s become this “cool” thing [for producers] to not have things in publications like your, and people just see songs that you do. I think it’s just the big producers who are doing articles, and the other producers are less likely to reach out and do it. To me, it makes no sense. The reason Dr. Dre doesn’t do a lot of interviews is he’s working. That’s fine, but if you’re my level, you should do every publication you can. You need them to help you, otherwise people won’t know your story.

U.G. Digital Mag: Right. Any kind of final thoughts at all?

JazzFeezy: It goes back to what I’ve learned the most. I think the biggest mistake I’ve seen is if you go to a networking party, and you get different email addresses for other producers, A&R people, or labels mates, I think the biggest mistake people make is they try to hit them up a week, month, or year after the fact. The best thing to do is hit them up right away so they at least know you’re serious. People always blame the A&R, but if the producer doesn’t even make the attempt to reach out, they don’t need the new guy. If you want to get into that infrastructure, you have to make that connection. So the best advice I can give is to follow up. You never know what kind of relationships can spark. The only one who suffers is that person.

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