If you've been keeping your ears to the ground in the underground hip-hop scene on RepostExchange, you’ve likely come across Groove Cru. Hailing from Kansas City, he’s been producing groove-heavy, sample-driven tracks for several years now blending hip-hop, soul, and rhythm in a way that pays homage to classic culture. We caught up with Groove Cru to get a look inside his creative process, chatting with him about his self-taught journey, why he still swears by stock plugins, and why he thinks the internet’s brutally honest feedback is actually a producer's best friend.
I’ve been producing music for several years now. I started out making hip-hop beats and experimenting with sounds just to see what I could create. Back then, it was really about curiosity and trying to capture the feeling I got from the music I grew up listening to. Over time, I started studying the history of hip-hop production, breaking down classic records, recreating beats I loved, and learning how different producers approached sampling and arrangement. Most of what I learned came from hands-on experience, trial and error, and spending countless hours developing my ear and finding my own sound.
I mainly use FL Studio because the workflow feels second nature to me at this point. I own a couple of MPCs and definitely appreciate the classic hardware sampling approach, but FL Studio gives me the speed and flexibility to really push ideas further.
As a sample-based producer, I love how easy it is to chop, rearrange, stretch, and manipulate sounds without breaking the creative flow. It gives me the soul and feel of vintage samplers, but with modern freedom that lets me experiment and stay inspired while creating.
Right now my favourite pieces of gear are the Akai Fire and the Behringer BCF2000. The Akai Fire helps me stay hands-on and creative when working with samples, especially with the NFX2 script. The BCF2000 gives me that classic tactile feel for mixing and controlling plugins.
Honestly, I use a lot of the stock plugins in FL Studio. SliceX, Edison, Fruity Parametric EQ 2, and Patcher are probably my most used. SliceX is amazing for sampling and chopping sounds, EQ 2 is my go-to EQ, and Patcher is super powerful for MIDI routing and controlling other software or hardware—especially plugins like the ESPI SP1200 VST. Patcher can get really deep once you learn how to use it creatively. Lately, I’ve also been experimenting with free plugins like rePedal and AMORPH for sound design, texture, and saturation. For me, it’s less about having expensive plugins and more about really learning the tools you already have.
My workflow usually starts with a sample, a melody, or just a vibe that immediately catches my attention. From there, I focus on building the groove first because, to me, that’s the foundation of the entire track. If the groove doesn’t make you feel something, nothing else really matters. Once I lock that in, I start layering drums, bass lines, and additional textures to build energy and emotion. After that, it becomes about arrangement, refinement, and making sure the mix translates well across different systems while still keeping the original feeling intact.
I’m always studying music in some way. I watch a lot of hip-hop documentaries and YouTube videos focused on sampling, sound design, mixing, and producer workflows. I also spend time listening to music across different genres and eras because inspiration can come from anywhere. Sometimes I’ll study how older records were arranged or how certain producers layered sounds to create emotion and groove. A lot of improving your craft is really about training your ear and staying curious.
I can’t remember the exact tutorial, but I regularly watch producers like Verysickbeats and Navie D. They do a great job breaking down sampling workflows, beat arrangement, and producer mindset in a way that’s easy to understand, especially for newer producers. I like watching content that focuses less on “rules” and more on creative approaches that help you develop your own sound.
Honestly, I wish I would’ve learned earlier that you don’t need every plugin or piece of gear to make great music. You can spend years chasing tools, when the real key is developing your workflow and training your ear, regardless of what DAW or equipment you’re using.
I also didn’t realise early on how much a good audio interface can improve the overall music experience. Even a simple interface paired with solid headphones or speakers can help you hear sounds more clearly and make better sound-selection decisions. And probably the biggest lesson of all is to finish more music. You learn way more from completing tracks than endlessly tweaking unfinished ideas.
Being a solo producer, producer’s block and time constraints are probably the biggest challenges for me because there isn’t always someone there to bounce ideas off of in the moment. Sometimes you can spend so many hours creating that your ears almost become numb to the music and you lose perspective on what you’re making. When that happens, I usually switch styles, dig for new samples, or step away completely for a bit. I’ll go back and listen to old-school grooves, classic records, or even music outside of hip-hop just to reset my inspiration. I’ve learned that sometimes the best creative move isn’t forcing the idea. Give yourself space to come back with fresh ears, a clear mind, and a new perspective.
One technique I like is pitching a sample way down, resampling it, and then stretching it back to the original tempo, kind of the opposite approach of what Kanye popularised. It can give the sample a completely different texture and vibe. I’d also say don’t be afraid to get creative with your chops instead of just looping a sample straight through. Sometimes the magic comes from rearranging small pieces in unexpected ways.
Yeah, I use a mix of online tools throughout the creative process. I’ve experimented with tools like Output Co-Producer for idea generation and inspiration, and I also use platforms like Discord to connect with other producers, collaborate, and get feedback.
Beyond production, I think platforms for promotion, analytics, and audience engagement (like RepostExchange) are just as important today as the music tools themselves. Being an independent artist means understanding both the creative side and the business side of building a career, so I try to use tools that help with both.
Definitely. I think feedback is important because after hearing a track so many times, you can miss things that stand out immediately to someone else. I use social media along with platforms like SoundCloud and RepostExchange to connect with other artists, producers, and listeners to get honest reactions to my music. I pay attention to both the technical feedback and the emotional response people have to a track because both matter. Sometimes a single comment can completely change how you approach a mix, arrangement, or even the overall direction of a song. For me, the feedback process is a big part of continuing to grow creatively while staying inspired to keep pushing forward.
It’s hard to choose just one track because they each represent different sides of me creatively. Officially released, I’d say “Why Don’t You” because it really captures my groove-based production style and musical influences. It blends hip-hop, soul, and rhythm in a way that feels authentic to me and reflects the sound I’ve spent years developing.
On the underground side, I’d say “Black U.N.I.T.Y.” because it stands for something bigger than music. I wanted to create a modern-day “We Are The World” type of record—something that bridges old school and new school hip-hop while carrying a message of unity, healing, and inspiration for the next generation. The track pulls influence from multiple decades of Black music culture, making it one of the most personal and meaningful records I’ve created.
Definitely. Using RepostExchange has changed the way I think about both music and audience engagement. It taught me the importance of consistency, presentation, and building real relationships within a music community instead of just uploading tracks and hoping people discover them. Being active and posting consistently on the platform helped me grow my following organically, even on the free tier. It’s also exposed me to a wide range of genres, sounds, and grooves that have inspired me creatively. Hearing feedback and listening to artists from around the world keeps me motivated and constantly pushes me to evolve my sound.
Top left to right: Akai Fire, Behringer BCF2000.
Bottom left to right: FL Studio, AMORPH, rePedal.
Connect with Groove Cru on SoundCloud, Instagram, TikTok, and YouTube.
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This interview has been lightly edited for brevity and clarity.