In the ever-evolving world of beatboxing and live looping, there are still moments of genuine breakthrough. Vision and dexterity reign supreme in a musical democracy where everybody is encouraged to bring something new to the table. Though competitions are the lifeblood of the art form, there exists a level playing field where camaraderie and mutual respect thrive. Meanwhile, untapped talent is always bubbling beneath the surface, ready to spring up under the pressure of performance and break new sonic ground. Such was the case when Martin Benati, aka Tino and Dekartellas, suddenly stepped onto the scene. At the heart of his performances was the BOSS RC-505mkII Loop Station.
3, 2, 1… Beatbox!
In 2024, the Loop Station master appeared seemingly out of the blue at the NUE Beatbox Battles. There, he announced his unforeseen arrival with an explosive triumph. Going from strength to strength the following year, he scored a hat-trick of wins in a frenzied streak of victory at the genre’s most respected competitions.
Armed with the RC-505mkII—the gold standard for live beatboxing and looping—Benati went head-to-head against the best beatboxers on the planet. Using this industry-leading model, he tackled high-pressure battles with flair. They were jaw-dropping spectacles of skill and spontaneity that left audiences stunned.
The French artist’s rapid rise has been defined not just by trophies; creative growth and community are equally important to this vocal virtuoso. Guided by instinct from the beginning, his natural curiosity soon became a calling. Now, beatboxing is a purpose.
BOSS caught up with Benati to trace his remarkable journey, including appearances at the NUE Beatbox Battles, French Beatbox Championship, vokal.total, and Grand Beatbox Battle. Along the way, he reveals the inspiration behind his resounding victories and offers insight into creative technique and mindset.
Read on to discover how inspiration starts one loop at a time, over and over.
Loop of Victory
Congratulations on your incredible run of competition wins. How does it feel to be a beatboxing champ?
Thank you very much. Well, it’s kind of recent, so I still need to fully identify this feeling. But what I can say is that it’s incredible and fulfilling. It feels like the biggest confirmation you can have that the time, work, attention, dreams, and passion you put into the craft all pay off. It’s so amazing.
"The time, work, attention, dreams, and passion you put into the craft all pay off."
You have enjoyed an incredible run of victories, including the NUE Beatbox Battles in 2024, followed by the French Beatbox Championship, vokal.total, and Grand Beatbox Battle in 2025. How do you look back on this period, and what has it meant for your growth as an artist?
The NUE Beatbox Battles 2024 (in Tamworth, England) was my first-ever competition. I remember feeling something new back then—the energy of the battle, the energy of sharing the stage with people who were supposed to be my adversaries.
My first opponent was Slether from Germany. I’ll never forget the feeling of being next to him on stage—watching him perform, hearing him encourage me, both of us dancing to each other’s songs… By the way, he’s such an amazing artist. I’m proud he was the first person I shared a battle with.
Then I got to face my French friend Smonal in the finals. And what a great experience it was! I had met him more than a year earlier and watched him win NUE23. He was the one who indirectly motivated me to give it a try—and to make NUE24 my first loop competition.
And then winning the whole thing… I already knew I had a chance—and I had prepared for it—but actually succeeding and winning sparked something in me. It motivated me to push even further, to become one of the best. To make history.
I was like, “Okay, I don’t know what to expect from this experience, but I love it. And I won it. Let’s win everything now!”
After the NUE Beatbox Battles in September 2024, there was the French Beatbox Championship in April 2025. At the time, I was focused on giving it my all, just like always—giving my maximum on stage for the people in front of me. And we all did great—all four participants. Together, we gave our absolute best performances.
It was only afterwards, the moment my hand was raised and I became the new French champion, that I realized I was actually competing. People were telling me, “Dude! You’re the French champ now!” And I was like, “Oh shit! I guess they’re right!”
That experience was really fun. I kept my eyes on what was coming next.
"Succeeding and winning sparked something in me. It motivated me to push even further, to become one of the best. To make history."
After the French Championship, I already knew what my next step would be: vokal.total, happening in July 2025. I felt even more motivated to continue my winning streak. This third experience felt very different from the others, and more time had passed.
The setting of this competition was a bit special because we weren’t battling; it was more like a collective showcase. There were five of us on stage, all performing next to each other. After each song, one person got eliminated until only one remained.
I remember the pleasure of being on stage together with Nils, Raje, AVH, and FRIIDON, feeling more like a family than opponents. The whole experience of being in Austria was so pleasant, and the people were incredibly nice. Everyone was so warm, joyful, and welcoming.
I also got to connect with many more beatbox artists and loopers who had come to enjoy the event. I got to hang out with all these people from the beatbox family in such a warm space. It felt more like a vacation than a competition. I loved it.
"I remember the pleasure of being on stage together with Nils, Raje, AVH, and FRIIDON, feeling more like a family than opponents."
At that time, I also knew in advance that I had been selected for the Grand Beatbox Battle [in late October/early November 2025], and my battle mindset was a bit different. I was thinking, “I really want to make this my third win—then I’ll have that status of the guy who’s never lost a battle!”
But as I said earlier, when I arrived, everything just felt so different that I didn’t care that much. I mean, I knew it was going to be enjoyable whatever happened.
Step Back, Go Forward
What mindset or preparation helps you stay focused and consistent when you step onto the competition stage?
My preparation process comes in different steps. The biggest one is to compose and create my tracks. That takes the longest amount of time. Once I’ve created my tracks and rehearsed them, it’s essential to focus on taking care of myself.
"I rehearse my tracks as much as I can until they're ready. And once they're ready, I don't over-practice them."
My mindset is to rehearse my tracks as much as I can until they’re ready. And once they’re ready, I don’t over-practice them. Usually, that’s the moment when I can take some distance from my tracks.
For example, at vocal.total, we battled on the third day of the trip. During the first two days, I focused on enjoying everything as much as possible—enjoying it while also taking care of myself.
I was taking some distance from looping and just rehearsing once a day, doing the song just once to ensure my memory and fingers were fresh.
Taking a step back has always been very important to me. Sometimes, the more you work on something, the fewer ideas and inspiration you have, because you become locked into what already exists.
Like on my loops, I can press play and listen infinitely to what I have and get stuck; I can risk losing sight of what I had in mind. Usually, in those moments, taking a step back and going for a walk is beneficial.
Here’s an example of something I like to do that usually unlocks my creativity: I’ll go take a walk and start humming one of my unfinished tracks. Once it gets to about one minute in length, I’ll freestyle the rest while recording myself.
"Taking a step back has always been very important to me. Sometimes, the more you work on something, the fewer ideas and inspiration you have."
Relistening to it later helps me get a fresh perspective. It unlocks me, especially when it comes to structure. At the right moment, taking some distance from my own looping is essential. That’s my mindset for creating and performing.
Are you saying your creativity thrives when your mind is clear?
Strangely, yes. I thought it was strange at first, but now it makes perfect sense. Once you’re able to strip away things, you can just focus on being with yourself and listening to yourself.
Brave New World
Away from competition mode, what other musical interests do you have? Are there any styles or projects you enjoy exploring outside of the beatboxing world?
I’m also a drummer. I was before I had my first Loop Station. I was already composing and producing on Ableton. Outside of the looping world, I’ve worked with friends who are artists in Paris, and I’ve been in bands here and there.
"When I’m looping, I’m really pulling from every part of my musical background, from drumming to producing, and fusing it all together."
When I’m looping, I’m really pulling from every part of my musical background, from drumming to producing, and fusing it all together. I know that’s who I am and what I enjoy. Drumming is an integral part of my identity, and finding ways to incorporate it into looping felt intuitive.
It came easily, and I’m really happy it happened this way, because it was something that scared me at first—like, “How am I going to use my experience from outside of the looping world?” It’s a different world, but it came together fast.
I was already really inspired by some looping artists like Marc Rebillet and FKJ [French Kiwi Juice] before I knew about the beatboxing community. They both kept me indirectly in touch with the art of looping for many years, so maybe that’s also why it came to me relatively easily.
Mix It Up
Who were the artists that first influenced you on your journey, and who inspires you most today, whether from the beatboxing world or beyond?
Well, like I said, Marc Rebillet and FKJ are definite inspirations. My looping style is also partly inspired by the producer Kaytranada—his approach to creating dance-y beats and mixing different vibes. I feel really connected to his style and to his grooves.
"Sometimes I try to incorporate influences here and there from artists I love or random songs I love."
For the rest, it varies. Sometimes I try to incorporate influences here and there from artists I love or random songs I love. Sometimes it’s conscious, sometimes it might not be.
Like, for example, Snarky Puppy, who are one of my all-time favorite bands. In my musical artistry—my musical thinking and way of seeing music—I definitely got inspired by them, without even noticing.
Also, Nate Smith is one of my favorite drummers. I feel a strong connection to his music.
The Core of Looping
Alongside the BOSS RC-505mkII Loop Station, what other gear is central to your setup?
Well, I would say the RC-505mkII has everything you need. It’s good not to add too much stuff. I see many artists combining it with other interesting components and exploring possibilities, like adding MIDI controllers and a computer.
But I found myself to be more inspired and more creative by stripping it down to just the RC-505mkII—the core of looping.
"The possibilities of the RC-505mkII are limited only by your imagination. For me, it's the perfect device for creativity."
The possibilities of the RC-505mkII are limited only by your imagination. For me, it’s the perfect device for creativity. Using computers, I’m often confronted with so many tools and effects that I can lose focus and, with it, the inspiration.
My approach is to stick to the core of looping, because there are already so many possibilities to explore.
Reanimation
Can you describe the moment you decided to pursue beatboxing as a dedicated artistic path?
It was a thing that came into my life really soon—like before I even started to talk. When I was a few years old, I started making sounds with my mouth, but it was limited to just trying to imitate drum sounds in the music my parents were listening to.
That was a thing that was part of my life, but I never developed it further until June 2022, when I saw MB14 in concert.
"When I saw MB14 perform his song “Pyramids,” I was immediately fascinated by beatboxing and looping... It felt like a passion reanimated itself inside of me."
I was at a festival, and randomly saw that he was performing. Like, “Oh, cool, there’s a beatboxer performing here. I’ve never heard a beatbox performance before.”
When I saw MB14 perform his song “Pyramids,” I was immediately fascinated by beatboxing and looping. During his performance of that song at that moment, it felt like a passion reanimated itself inside of me.
That was when I decided to learn more about beatboxing and looping, so I started watching videos and researching.
Dance to the Music
What is the most essential piece of advice you can give to someone who is just starting with beatboxing or looping?
There are many different approaches to learning beatboxing and looping—different technical approaches—and everyone will have their own strengths. But I would say there is one crucial thing for anybody: you have to enjoy what you’re doing.
You absolutely have to. If you’re trying beatboxing or looping and you find yourself bopping to it, then you’re probably enjoying what you’re doing. And that’s the most important thing.
"When I watch an artist, I love that feeling when they totally believe in what they’re doing, because it feels like their true essence. That's such a beautiful thing."
If you learn how to love your art, people will love it as well. If you don’t enjoy yourself on stage—if you don’t enjoy your music when you’re performing it—then how can people enjoy listening to you?
It’s something you can feel when you watch an artist. When I watch an artist, I love that feeling when they totally believe in what they’re doing, because it feels like their true essence. That’s such a beautiful thing.
There are so many ways of finding your own artistic path into looping or beatboxing. So, I think it’s worth trying lots of different stuff, because you’re obviously going to be more attracted to some styles than others. It makes sense to try to discover what you enjoy most in the moment.
Music First
For players who already understand the basics of the RC-505mkII, what advanced techniques or creative approaches would you encourage them to explore?
Over time, after many years of using the RC-505mkII, some people may feel discouraged, thinking they’ve already explored a lot but still haven’t found their style or identity. But never forget that you are doing music first and foremost.
Don’t be too obsessed with exploring new techniques and finding more unique ways to use the device. Using a specific set of effects and parameters isn’t the only way of being different.
"Never forget that you are doing music first and foremost."
Beatboxers and vocal performers are already doing something truly unique: using their voices. Every voice is distinctive—everyone’s vocal cords and mouth are unique.
So, I think that whenever you find a technique you love using and feel is your own, keep on doing it. It develops.
Sometimes you feel like you’re always doing the same thing, but when you take a closer look, it often becomes more polished over time. Since there are many ways to use the RC-505mkII, focus on areas where you feel strong.
Go With the Flow
Can you share some tips or techniques that have helped you shape your sound on the RC-505mkII?
In the loop-building process, as soon as people hear the first sound—the first loop—the music is already underway. It’s good to build everything in a way that feels like it’s really going somewhere—not just setting up all the elements you need in the intro, and then pressing play later. Try to keep every sound people hear purposeful and musical.
I also really enjoy using my voice and beatboxing skills because I know they are strengths I can rely on to keep things lively. I’ll usually try to incorporate singing or beatboxing elements between recordings to make transitions as the track progresses. It’s important to always do this in a musical and entertaining way.
"Try to keep every sound people hear purposeful and musical."
Recently, I’ve been really deep into techniques that allow you to sing chords instantly, rather than recording different notes separately. Harmonizer and chorus effects work really well together. They can create layers of notes, so when you use just your input voice, you already have a full chord to harmonize with.
Playing with the Osc Bot effect is also very satisfying in that regard. Your vocal audio signal already does so much to influence the sound. If you’re making different sounds with your voice, different vowels, it will bring another texture to the effect.
But whatever technique I’m using, I’m always trying to use it in a way that helps the flow of the music and keeps people into it.
Organized Chaos
How do you take a new idea and develop it into a complete performance piece?
My creative process is a bit chaotic sometimes. You have to be inspired when you’re working on music. And, unfortunately, you cannot always command the inspiration to come.
Sometimes, I try to picture a song I have in my repertoire or knowledge of music, and if there’s one I can imagine myself performing as if it were my own, it instantly becomes a huge inspiration for me.
"A song that inspires you can be a great starting point for imagining the possibilities of looping, beatboxing, and using your voice to approach that style."
It could be the approach of the song that inspires me, or just a musical genre I haven’t explored before. In other words, I’ll generally use other songs as a model to create my own tracks.
I think it helps to have a model, rather than feeling like you’re starting from a blank page. You know, like when you’re creating, if you feel you haven’t a single idea to begin with, it’s really hard to know where you’re going.
So, a song that inspires you can be a great starting point for imagining the possibilities of looping, beatboxing, and using your voice to approach that style.
Once I have the first step accomplished, I can leave it there for many weeks or even months. I’ll take a step back from it and leave it in demo state. It’s the same thing as when I’m producing. I have lots of starting ideas that are demos.
I’ll take a step back because I feel like I can’t advance it any longer. Later, I’ll have those starting ideas in mind, but I’ll have enough distance to be able to improvise.
For the competitive aspect, you have many rules to follow, and there are often limitations on time—the duration of the track. You might have only three and a half minutes, for example, so it’s a good way to start thinking about the structure. Therefore, if you’re using a specific BPM, you can easily work out how many measures you need.
Infinite Potential
What do you enjoy most about beatboxing as an art form, and what keeps you inspired to keep pushing your sound forward?
One thing I really admire about beatboxing is that it’s an instrument everyone carries with them. Human beings have unique voices and can explore them if they’re curious enough. The human aspect of it—the social aspect of it—means a lot to me.
Beatboxing is often seen as a weird thing to do. I have wondered why people find it weirder than, say, playing piano or violin. I mean, the voice is an instrument too. Perhaps some find it unusual because most people have a voice, but aren’t accustomed to hearing it used this way.
"Beatboxing takes proof of infinite human potential to another level."
We use our mouths to talk, so if you use them to make sounds, it seems weird; it’s not the way people usually picture a human being using their mouth or vocal cords. But I think it’s more proof of the infinite potential we have as human beings. Beatboxing takes proof of infinite human potential to another level.
Beatboxing could help many people socially because I feel like it’s a language—a way to communicate with others. And it’s a thing that has no barrier. Having something that has no barrier and that we constantly have with us (because it’s our mouth, our body) is really inspiring.
I wish for people to be more curious and aware of beatboxing because it’s one of the most human things you can do.
Step to the Beat
Which features or effects of the RC-505mkII stand out as your favorites?
Recently, I’ve been using the RC-505mkII Flanger effect much more because of the possibilities—the sheer polyvalence. Aside from typical flanger use, you can widen the sound by adjusting the separation parameter. You can also sequence it in many different ways—even similarly to how you would use the Step Slicer effect.
"I love everything that allows you to create interesting rhythms."
I also really like using EQ, of course. People often don’t realize how overpowered and important it is. Oftentimes, when people are searching for something to enhance the texture of a sound, they might go for an effect that’s intended to be artistic, like maybe the Distortion effect. But they could end up getting what they are looking for, or even better, just by enhancing the right frequencies with the EQ.
The LPF, BPF, and HPF filters are also really fun to play with. As are the Pattern Slicer and Step Slicer effects. I love everything that allows you to create interesting rhythms.
Back to Basics
Where do you see beatboxing and loop-based performance heading in the next few years? What role do you think the RC-505mkII will play in shaping that evolution?
Beatboxing and looping are not separate; they are mutually beneficial. It’s hard to get a handle on a global view of where all this is going, but the beatboxing community is growing, for sure.
It attracts more and more people all the time, and that is a great thing.
"The Grand Beatbox Battle was stripped down to using just the Loop Station... They took it back to the core of looping."
I think the future of looping looks good, too. For me, 2025 was the richest year yet in terms of innovation. The Grand Beatbox Battle was stripped down to using just the Loop Station, and participants were not allowed to use MIDI devices, unlike in previous years. They took it back to the core of looping.
I was both very excited about it and a bit scared because I felt it might not be something people would agree with or find inspiring. Fortunately, the exact opposite happened. People got so inspired and so innovative—more innovative than ever before, in fact.
Taking it back to using just the RC-505mkII motivated so many artists to create new stuff. I also saw many legends return to the scene and reconnect with their roots.
Given that, it’s hard to say whether looping will shift to a more old-school vibe or a new-school vibe. I feel like it’s something of a mix between the two.
"Taking it back to using just the RC-505mkII motivated so many artists to create new stuff."
Currently, there are numerous approaches to looping. Whether it’s a very technical or more intimate approach, people are increasingly more open to different styles.
My approach to looping is about enjoying the styles I like, exploring new things, and being as true to myself as possible.
Along the way, I hope I’ve convinced at least some people to try looping while staying true to themselves, too.
