Multi-platinum record producer Amadeus is a man of many hats. In addition to producing, he is the CEO of Platinum Boy Music Inc., Trey Songz’s Musical Director/Tour Drummer, and Presidential Lifetime Achievement Award recipient for his community service work with students of all ages. He’s worked with over 100 artists, including Jennifer Lopez, French Montana, 50 Cent, and Justin Bieber, as well as produced musical scores for networks like BET, VH1, and ESPN. As a member of the Sound Royalties community, we recently caught up with Amadeus to learn more about his various roles within the music industry.
When were you introduced to music, and who were your biggest influences?
Growing up in the Bronx, I was grateful for my parents who surrounded me with music throughout my entire childhood. On “cleanup Saturdays”, we couldn’t do anything until the house was spick and span while listening to my parents’ favorite music. We listened to a lot of Michael Jackson, Stevie Wonder, Salt-N-Pepa, and the Furious Five. I fell in love with hip-hop, specifically watching artists like Nas, Wu-Tang Clan, Mase, and Biggie on Video Music Box.
I was introduced to the drums in the 4th grade and developed a love for creating. Fast forward to when I was 14 or 15, I started to appreciate the production of beats and rhythm.
What is your creative process?
For me, I’ve always created from feeling – meaning, how I’m feeling in that particular moment. If I’m angry, sad, or happy, you’ll feel it in the music through the drums, chords, and beats.
It’s never been my niche to create in a specific order. Some artists have a lane they prefer to be in and can work on the spot, but I’m not that producer. It’s important for me to deliver my best work, and sometimes, that means sending me into a corner and letting me do my thing.
I remember being brought into a studio where a lot of my favorite artists and producers worked. It was so cool and had all the best equipment. I spent a week there, but it wasn’t the same for me. I do my best in my studio.
When you think of Amadeus the producer, there is no specific sound. I’ve always wanted to be the creative that surprises the listener, where you have to look at the record to know it’s me. For instance, what I did for Chris Brown doesn’t sound like what I did for Trey Songz or Fabolous or Lil’ Wayne.
When did you feel you made it in the music industry? What was your “Aha” moment?
I’ve worked with over 100 artists, sold millions of records, and traveled the world. Though, I would say it was crazy to have my first placement with Foxy Brown. She was working on Cradle 2 the Grave, and we worked on the movie and soundtrack. It did really well, selling over 500,000 hard copies; back when you had to go to the store for CDs, vinyl, and cassettes.
For that to be my first placement, my first beat sold, my first record on the wall – it was a great place to start. That was a powerful way to break into the industry. There’s been a million other “aha” moments, but if I never did anything else, that moment was it for me.
Do you have a unique project that you are most proud of?
I would have to say I’m proud of creating and producing the theme song for ESPN’s First Take. Being a sports fan and waking up daily to a song I made is still wild!
Besides creating that, I’ve also scored the music behind many of my favorite athletes’ highlights on ESPN. To be able to work in the industry from a different lens has been really cool.
What gave you the idea to start Platinum Boy Music?
In 2000, I was in the ASCAP office working on my membership, and they said I needed a name for my publishing company. Back then, I was terrible at coming up with names. So, I sat there and thought about how I wanted everything I produce to go platinum, and I’m a boy, so here we are!
It started as a production office. Then I added more producers, writers, and artists. I wanted to create a team I could collaborate with on all levels.
Separate from producing and being an executive, you are the Music Director and lead drummer for Trey Songz. How did you get started with Trey?
We were actually working on a song together when Mike Jones flew us down to Houston. In the corner of the studio, they had a drum kit. I mentioned I played; they laughed it off and didn’t take me too seriously.
When we finished the song, I told Trey that his new album is super dope and soulful. I let him know that, eventually, he’ll need a live band, and when that time comes, I want to be the person who puts the band together. Like when I mentioned I drum, he said cool, but didn’t think much of it.
A year later, I got a call from Trey’s manager asking if I was ready to put the band together. I said “nope” at first because I didn’t actually have experience with this; I only played the drums and produced.
I asked a colleague of mine, who was already a music director for K-Ci & JoJo if he would do it, but he reminded me that Trey wanted me. He said he’d be on the keys to support me but that I could do this.
Trey never had a band, and I never directed, so we all grew together these past eighteen years and counting!
You focus a lot on education and giving back. Tell us more about your education path and community service background.
I finished high school and attended some college at Mercy University, but I realized it wasn’t for me. Being from a tough neighborhood in the Bronx, music was the outlet that saved my life. My love and passion was music. I didn’t want to wait to dive in.
However, two years ago, I was blessed with the opportunity to receive an honorary doctorate in music business and entrepreneurship from Harvest Christian University. Fast forward to this year, I played a pivotal role in Busta Rhymes receiving the same honor. I got to share how he influenced me as a young creative, which eventually led us to working together. Giving him this honor was a full-circle, meaningful moment for me, and moments like this show that there are no rules to success.
I speak to students in all five boroughs about my journey. I stress that learning all the core subjects is important, but so is pursuing your passions just as I did.
Before the pandemic, my partner, Mike Daniel, was in the education world and knew about my passion and work motivating younger kids and approached me about branching out to colleges.
This led to the “Music 101 College Tour”, where I spoke to students at colleges like NYU and Howard, who were specifically interested in the music business and didn’t know about the various roles within the industry.
Can you tell me about your Sound Royalties experience?
At first, I didn’t think it was real, but it is! It was a blessing, and the process was transparent. Typically, you are paid on the quarters of your royalties, but with Sound Royalties, they advance you on what they project you will earn. That’s how simple it is, and I’ve been working with them ever since. Every couple of years, we go back through the numbers and see how we can do another advance.
They’ve done amazing by me, and I’m proud to be part of the Sound Royalties Family!
What’s on the horizon for you?
I’m grateful to wear so many hats! School is in session, so I have many assemblies about chasing dreams at schools in the Bronx, Brooklyn, and New Jersey coming up. I also have a residency in Las Vegas, which has been exciting to return to my second home, and I’m still touring with Trey Songz.
As a producer, I’m working on something that I have to keep under wraps because I don’t want to jinx it until it comes out, so for those that aren’t tuned in, be sure to follow me!
For more information on Amadeus, check out his Instagram and be sure to stream his catalog of music on all major platforms.