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Terrace Martin & Carrtoons Interview - The TrevBeats Show Episode 1

About This Episode

Terrace Martin and Carrtoons join Trevor Lawrence Jr. on Episode 1 of The TrevBeats Show for an inspiring conversation on music, creativity, culture, and the evolution of modern sound. Terrace shares insights from his work with Kendrick Lamar, Herbie Hancock, and his own artistic journey, while Carrtoons breaks down his approach to production and collaboration. This premiere episode sets the tone for a powerful new series exploring musicianship and artistic truth.

Topics Covered

  • The creative process behind Carrtoons, Terrace Martin’s new genre-bending album

  • How Terrace blends jazz, hip-hop, film scoring, and improvisation into a unified sound

  • The evolution of LA’s music scene and the cultural forces shaping today’s artists

  • Terrace’s philosophy on collaboration, trust, and building lifelong musical chemistry

  • The role of vulnerability, wellness, and self-awareness in sustaining a creative career

  • How AI, technology, and modern workflows are reshaping producer and musician identity

  • The importance of mentorship, lineage, and artistic legacy in today’s industry

  • Terrace’s behind-the-scenes stories from Kendrick Lamar, Herbie Hancock, and more

  • Practical advice for young artists navigating pressure, growth, and self-definition

  • Why authentic storytelling still cuts deeper than trends, streaming strategies, or algorithms

Full Transcript

THE TREVBEATS SHOW — EPISODE 1 Featuring Terrace Martin & Carrtoons** TREVOR LAWRENCE JR.: What’s up, everybody? What is going on? Welcome to The TrevBeats Show. I’m your host, Trevor Lawrence Jr. Thank you for joining us for our live premiere episode. Today, we’re diving into a hot—sometimes even polarizing—topic: AI. We also have two very special guests joining us: Mr. Terrace Martin — fresh off two Grammy nominations Cartoons — producer, bass player, collaborator to the stars, and one of my favorite musicians And if that’s not enough, we’re doing giveaways, news, travel talk, and more. So let’s get into it. SEGMENT: LET’S TALK TECH TREVOR: I’m excited to announce that my latest drum pack, Trevor Lawrence Jr. Boom Bap Drums, dropped Wednesday, November 12th on Splice. This is my second Splice pack, and I built it with a specific goal: Authentic pocket with a vintage vibe — but with modern clarity. You’ll get loops, one-shots, classic kits, different snares, everything tailored to hit hard in any genre. Here are a couple of demos produced by me and my brother Stray. [Music plays] We also have another new release: XLN Audio’s Addictive Drums 2 – Hip Hop & Gospel, which includes 20 presets I created. I’ve been using Addictive Drums since 2008 — you can hear it all over my work with Eminem on Relapse, and almost everything I did through Dr. Dre’s Compton in 2015. And because this is the premiere of The TrevBeats Show, we’re giving viewers 20% off the entire XLN catalog. Details are in the episode description. SEGMENT: YOU CAN’T MAKE THIS UP — NEWS TREVOR: Sometimes real life outdoes fiction. Today we’re talking shutdown drama, bonus checks, healthcare confusion, leaked emails, and more. After a federal shutdown long enough to freeze paychecks and cancel flights, the government is finally reopened. But the drama didn’t end there. In Houston, Homeland Security Secretary Kristi Noem announced that TSA agents with exemplary service during the shutdown would receive $10,000 bonus checks on top of back pay. I hope it happens, but honestly… it feels like a big bowl of hell no. Meanwhile, flights are still a mess. FAA restrictions, staffing shortages — airports look like old-school sneaker drops. Even President Trump suggested $10,000 bonuses for controllers who kept working unpaid. So yes: two sides of government promising the exact same bonus amount. You can’t make this stuff up. The spark that ended the shutdown? A bipartisan discharge petition pushed over the top by Senator Adalita Grajalva from Arizona, breaking with party leadership. On the healthcare side: ACA subsidies are still active. Payments and credits delayed by the shutdown should begin processing again. Millions of Americans were confused, but coverage remains intact. We’re slowly getting back to normal. SEGMENT: LET’S TALK MUSIC — AI IN THE INDUSTRY TREVOR: AI is everywhere: in creation, registration, and—depending on who you ask—potential capitulation. Things are changing fast. Major labels (Sony, Universal, Warner) and big distributors (Merlin, Believe) are collaborating on responsible AI tools built around choice, rights, compensation, and connection. It sounds hard to believe, but it’s happening. Meanwhile, some in tech argue copyright should be abolished. They say musicians’ rights don’t matter. That’s obviously a huge issue. One major announcement: ASCAP, BMI, and SOCAN now accept registrations of partially AI-generated works. A year ago, this would’ve sounded impossible. Fully AI-generated works? Still not allowed. Human + AI collaboration? Eligible. We’re watching history unfold in real time. AI will be as normal as Pro Tools or Ableton. Every new technology has pushback. But creativity is evolving, and AI isn’t going anywhere. ​ SEGMENT: KNOW YOUR RIGHTS — TRAVELING WITH GEAR & FIREARMS TREVOR: Touring musicians ask me about this all the time: “Can I fly with a firearm for protection?” Here’s how it works: You must declare it at check-in It must be in a locked hard case Ammo must be kept separate These rules have nothing to do with concealed carry Some states may confiscate firearms — know the laws If you’re traveling with instruments, TSA allows guitars, basses, cymbals, etc. on board or checked. But flights are packed these days, so a hard case is smart. And carry a letter from a tour manager or studio verifying why you’re traveling with gear — especially internationally. Pro tip: Check every state’s regulations before traveling. Your rights + your equipment = your responsibility. ​ ⭐ INTERVIEW SEGMENT — TERRACE MARTIN & CARTOONS Introducing the Guests TREVOR: Time to bring in my guests. First up: Terrace Martin — two 2026 Grammy nominations for Best Progressive R&B Album (Come As You Are with Kenyon Dixon) and Best Melodic Rap Performance (We Mage featuring Rapsody). Second guest: Bass player, artist, and collaborator Ben Carr, aka Cartoons — everywhere right now, and one of my favorite musicians. Fun fact: Cartoons and I met during the pandemic in Instagram DMs. We’ve had 3–4 placements together and had never met in person until now. That’s the age we’re in. Let’s jump in. ​ Terrace on His Musical Fusion of Jazz, Hip-Hop & Soul TERRACE MARTIN: I grew up in a working-musician household — not celebrity musicians, working musicians. My parents gigged constantly: weddings, church, jam sessions, clubs. Growing up in LA shaped everything. Driving from my home to the Valley, I’d change radio stations every 10 minutes — Power 106, 92.3 The Beat, 94.7, 88.1. That constant switch shaped who I wanted to be: a musician who covers all great music, not just one style. Jazz is part of my foundation, but really, Black music is my foundation. In LA, you can’t be the “best at one thing” and think you’re the man. You have to be versatile. ​ Cartoons on Finding His Lane & Viral Success CARTOONS: During COVID, people found my videos, and everything took off. Folks I’d admired forever — like Nate Smith — started following and hiring me off the strength of what they saw online. We toured together before ever meeting in person. I had already been building my sound, but the pandemic put a spotlight on it. I was in the right place at the right time, with the right preparation. ​ Terrace on Cartoons’ Talent TERRACE: When I first heard Cartoon’s sound, I didn’t know if it was a human or what. But it was a sound first — distinct, real, soulful. No gimmicks. A lot of new producers try to mimic that vibe through AI or lofi presets, but Cartoon actually plays it. That’s the difference. Cartoon is one of the first artists the internet introduced to me through sound alone, and that’s rare. AI will never catch up to a real mind like his. ​ Discussion: AI, Creativity, Tools, and Fear TERRACE: In art, you can’t say “never.” Every new technology gets pushback — the Minimoog, drum machines, digital recording, sampling. Some musicians resisted and got left behind. I use AI as a tool: To separate drums from piano tracks To create vocal references To refine bass ideas It’s a tool, not a replacement. CARTOONS: Same here. Tools like iZotope helped me fill in mixing weaknesses. My dad was a jazz musician but loved tech — he gave me an eight-track recorder on floppy disk in 4th grade. Tech has always been part of my process. TREVOR: Exactly. AI is evolving, but ultimately it’s about finishing work and using tools intentionally. Creativity still comes from the artist. ​ Grammy Nominations — What They Mean TERRACE: Getting nominated for an independent project hits differently. No big machine. No big budget. No huge campaign. Just work being recognized by peers. That’s special. ​ Closing the Interview TREVOR: Thank you both for being part of my premiere episode. It means a lot. TERRACE: We should make a trio record. Split the master three ways. Six songs. Let’s go. TREVOR: Now that’s business. Let’s make it happen. ​ ⭐ FINAL SEGMENT — WHERE WE STAND TODAY TREVOR: Before we close, I want to take a moment to honor the ones who paved the way — the artists and innovators whose shoulders we stand on. [Music plays] We remember them. Always. Next episode, we’re talking about staying relevant and building a long-lasting career. Our guest will be the legendary Mike Elizondo. Giveaways, merch links, socials — everything is in the description. Thank you for watching the first episode of The TrevBeats Show. We out. [Music plays]

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