Exclusive Interview
Sep 12, 2025
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
Che Pope - From Lauryn Hill to Kanye West, 30 Years in the Music Industry
Che Pope has spent more than three decades shaping the sound of modern music as both a hitmaking producer and influential executive. He’s the force behind projects ranging from Lauryn Hill’s The Miseducation of Lauryn Hill to Kanye West’s Yeezus, with a résumé that includes working with artists like Destiny’s Child, Aretha Franklin, Whitney Houston, Eminem, The Weeknd, A$AP Rocky, Nas, and many other icons. From his early days working with Dr. Dre to running G.O.O.D. Music, Pope has remained one of the industry’s most forward-thinking voices. In this exclusive Studio Talks interview, he opens up about his three decades in music, being discovered by Teddy Riley, his creative process, the state of today’s music and emerging technologies, his advice to rising artists and producers, and his vision for his upcoming solo album. This interview was conducted by Rudy Manager via video call on August 28, 2025.
"I’ve never been the type to walk into a room and announce my resume. I just press play and let the music speak for itself."
- Che Pope
Can you give us a breakdown of how you first got interested in music and how that eventually led you to music production?
A lot of people got into it the same way I did. In my neighborhood, there was a really good DJ named Ant Green. A close friend of mine from school, Gee Spin, who now runs Drake’s OVO Sound 42 station, was already ahead of me in DJing. He was a year younger than me but had turntables before I did. When he upgraded his setup, he sold me his old pair, which became my first real entry point into music. I was around 14 at the time, which is about freshman year in high school.
Down the street from my house, there was a record store owned by a guy who would regularly go to New York and bring back all the latest music. He was always up to date on the latest tracks in hip hop or R&B and had the singles as soon as they came out. Back then, I didn’t have much money, so buying a 12-inch record was a big deal. I had to save up whatever I could to go down there and buy a few records. That was really my gateway into music. Like a lot of kids, I also started going through my parents’ collection, listening to everything they had at home.
Around the age of 16, I remember hearing Boogie Down Productions’ first album, Criminal Minded, and that was the moment things changed for me. There is a track on there called “Dope Beat” where KRS-One sampled an AC/DC record. I grew up in the inner city, but I was bused to school in Brookline, a suburb outside the city. As a Black kid in a suburban school system, I got exposed to a lot of rock music like AC/DC, Led Zeppelin, and The Beatles. By then, I already knew all those records. So when I heard that AC/DC sample on Criminal Minded, my brain connected the dots. I realized they had taken this rock record and transformed it into something completely new. There was another song on the album where KRS-One sang lyrics using a Beatles melody, and that really made me start to understand what was happening in the production.
For the first time, I began hearing music differently. I started noticing what the drums were doing, what the bass was doing, and how the different elements came together to make the record. That was when my curiosity about production started, but I didn’t actually begin producing until I was about 19. At 16, I was just learning and absorbing everything I could. I was lucky because my high school was close to Berklee College of Music, and there were several music stores nearby. I used to spend time in one store in particular that let me hang out. They shared a lot of information with me about the gear people were using to make music.
You said that at 19 you really started to take it seriously?
Yes, I still didn’t own any equipment at that point, but I was all in.
You have been producing for a long time now. Has the way you approach working on a new project changed over the years?
Part of being a professional producer is understanding that this is ultimately a service role. Our job is to create a record from start to finish for the artist. Every artist has different needs, so you have to tailor your approach to whoever you are working with. I often compare it to private security companies. You have the army and the navy, then you have specialized private companies that come in for a specific job. As producers, we are a bit like that. We are brought in to do a job and we adjust our process depending on the artist or project we are working on.
When I am just creating on my own, my process varies. I have a lot of keyboards and instruments in my studio, and sometimes kids come in and say, “You don’t need all that anymore, you can just do everything on a laptop.” And it’s true, some days I just sit with the laptop and make music that way. But other days I like to walk around, pick up a guitar, or start something on a keyboard or drum machine. A track can start anywhere. It might start with a sample, a random sound, a guitar riff, or even a patch from my Korg 700. It’s a modern remake of a vintage Korg I picked up in Japan and absolutely love. There is really no set formula when I am just creating for myself.
However, when I am working with an artist, it becomes much more focused. For example, when I work with someone like Ye, he often has a very specific vision. In those situations, the direction is clearer and my role is to help bring that vision to life as precisely as possible.
You mentioned the Korg 700 earlier. What are some of your favorite hardware pieces as well as VSTs?
Every producer has their go-to gear. For hardware, my favorite piece of all time is my Juno. I use it constantly. The new Oberheim is also amazing. I’ve always been a Moog guy, so I have quite a few, probably six or seven in the house right now. I am also a big fan of the Mellotron. I love the way it sounds. The real Mellotrons are incredibly high-maintenance, and while I’ve owned one in the past, I don’t have one now. I use the Mellotron remake now.
Back in the day, I had a Yamaha DX7, one of the first keyboards I ever worked with. Because of that, it has sentimental value, so I keep a Yamaha around. Right now, I have a DX9 and something called a TX816, which is basically a rack of DX7s. I am also a fan of Teenage Engineering’s products. Their gear is incredibly clever, and I still use the OP-1 a lot.
For VSTs, I really like Arturia’s collection. That is probably my number one go-to. I use Native Instruments and Output’s Arcade a lot too, but if I had to pick a favorite, Arturia would be at the top.
Do you have any kind of creative routine before you start working on your own music?
Yes, definitely. I’m a very visual person, so I like watching movies. Sometimes I go to the theater, but often I keep a TV in the studio with an old movie playing on mute. It gives me a constant stream of visuals while I work, and that’s always been part of my creative process.
I also listen to a lot of music. I’m still a vinyl collector and even have a dedicated listening area in my house where I just sit and play records. It’s not even about sampling or looking for material to use. I just enjoy putting on a record and fully absorbing it. I listen to everything from ’60s and ’70s psychedelic rock to funk and other genres. When I am in Japan, I buy a lot of records because the record stores there are amazing. I have a friend who runs Re-Up Records in Japan. He’s originally from Australia, but he lives there now and always finds me great records, from Japanese anime soundtracks to all kinds of rare music.
The more you listen, the more you fill your mind with ideas. It’s like building a database in your head. When you hear different rhythms, instrumentation, or unusual approaches to a song, all of that stays with you and can inspire something new when you go into the studio. So I definitely make a point to listen a lot before I create.
What kind of music do you listen to in your free time?
I mostly listen to older music. I keep up with current music so I know what’s out there, but not much of it is what I listen to purely for enjoyment. My taste is pretty eclectic. I like everything from Death Grips to Freddie Gibbs, and I also listen to composers like Ludwig Göransson, who did the Oppenheimer soundtrack and a lot of Childish Gambino’s work. Anything he does, whether it’s a film score or a soundtrack, I make a point to hear because I think he’s an incredible musician.
Recently, I’ve been listening to Freddie Gibbs’ Alfredo project and a lot of Ghostface Killah, especially Supreme Clientele 2. I even went back to Adele’s first album, the one with “Chasing Pavements,” not the one with all the big hits. It was probably part research and part just listening as a fan. For some reason, I also revisited Nas’s Illmatic recently, and with the passing of Ozzy Osbourne, I’ve been playing a lot of Black Sabbath on vinyl instead of streaming. When I go back to records like that, I prefer to experience them on vinyl.
Why is that?
Because when I listen to that kind of music, I want to hear the entire album from start to finish, and I prefer to experience it on vinyl rather than streaming. It feels different. Of course, it depends on the situation. If I’m in the car, I’ll stream music. I have been a Black Sabbath fan for a long time. I had an Ozzy night and listened to Paranoid from top to bottom.
How do you see this period in music right now? What do you think about it, and where do you see it evolving over the next few years?
The thing about technology is you can’t stop it. It will always keep evolving. Steve Jobs saw it early. He understood that once music became digitized, it would open endless possibilities. That led to the iPod, which then evolved into smartphones so people no longer needed a separate device. Now most music is consumed through phones. People plug their phones into cars, listen on headphones, or play music through Bluetooth speakers at home. That has become the standard way music is consumed.
On the creation side, it is the same story. Thanks to digitization, anyone can make music at home with just a laptop. With distribution companies like DistroKid, where I worked as an executive, you can upload your music for twenty dollars and see it on Spotify the same day. For someone who comes home from work, makes beats, records a song, and then sees it live on streaming platforms, that is an incredible feeling. But it also creates massive amounts of traffic. We’re talking about hundreds of thousands of songs being uploaded daily, making it harder for truly great music to rise above the noise.
Back in the day, record companies gave artists exposure, found them a fan base, and helped build careers so artists could focus on making great music. Now it’s the opposite. Artists have to build a fan base, create momentum, and basically become their own record label before anyone will even consider working with them. The barrier to entry is lower because anyone can release music, but getting real support or funding has actually become harder. In the past, talent alone could get you a deal. Now labels want to see your Instagram following, TikTok presence, and Spotify monthly listeners before they even take a meeting.
So while today’s artists face a challenging landscape, I remind people that it used to be much harder. The artists in the 50s, 60s, 70s and even the 80s and 90s had to work far harder to get into a studio or even get heard. Some had to save up for months just to afford a few hours of studio time, and they had to record perfectly because they couldn’t afford mistakes. So while things feel difficult today, previous generations had far bigger obstacles.
What advice would you give to upcoming producers who want to work with established artists and earn a living from music?
Always aim for established artists, but don’t overlook the up-and-coming ones. The artists who don’t have a budget or resources often have the biggest need for producers. They are the ones who are going to be the next big names. Think about it, Billie Eilish, Tyler, the Creator, all started somewhere before they became household names. If you invest time and creativity into artists like that early, you can come up together. Finneas, for example, wasn’t the superstar producer he is now until he came up alongside Billie Eilish. They grew together, and now he’s a massive producer and songwriter. Many successful producers have similar stories. Dr. Luke came up with Katy Perry, Max Martin worked with pop bands early in his career, and for me, it was Lauryn Hill after Wyclef. There is nothing wrong with growing alongside new talent.
I hear a lot of stories from artists who say they approached producers while they were in high school or college with no money. The producers turned them down because they wanted to charge full rates. I get it, producers have studios to maintain and bills to pay, but I think it’s important to balance things. Pitch for bigger projects, but also be open to smaller opportunities. Too many producers turn down what they see as “little jobs,” whether it’s a two-thousand-dollar ad gig, a demo for a commercial, or a smaller independent project. They think it all has to be major-label work, but the reality is making a living in music requires diversifying.
I have done everything from licensing tracks for film and commercials to working on K-pop and C-pop projects. It would be great to make $50 million producing for The Weeknd, but that doesn’t work for everyone. Sometimes you have a big placement, sometimes it’s a smaller gig, but it all adds up. You have to think like a businessperson. It’s like running a convenience store: one customer might spend a hundred dollars, but twenty customers spending two dollars each still bring in forty. It all counts.
Too often, creatives let their art get in the way of the bigger picture. We love making music, but at the end of the day, you’ve got to run a business too.
What do you think about AI in music production?
Like I said earlier about technology, you can’t stop it. Quincy Jones, one of my mentors, once told me about when synthesizers and electronic instruments first appeared. At the time, jazz purists and other traditional musicians were upset. They had studied their instruments for twenty years or more and felt like this technology threatened everything they had dedicated their lives to. I understand that perspective, and I respect musicians and their opinions. But I’ve always been a futurist. I believe technology is a tool, and like any tool, it depends on how you use it.
Some people want to use AI to create everything from start to finish. That’s not my approach. I see it as a co-producer. If I have an idea, I can use AI to try ten variations and see if it comes up with something better. Why not? I agree with Timbaland on this. Technology has always disrupted industries. When the assembly line was created, people said robots would take jobs, and they were right. But technology also increases output and efficiency. Digital audio workstations replaced tape machines for the same reason. Tape sounds amazing, but editing on tape took forever. With digital recording, you could edit and produce at a speed that completely changed the music industry.
If AI can improve your creative workflow and increase your output without sacrificing quality, why wouldn’t you use it? If you can multiply your business tenfold, why wouldn’t you use it? The key is to use it responsibly. Music still needs heart and soul. If you remove the human element entirely, maybe the music loses something, but that’s subjective. There are hit records right now that I personally do not like, but someone out there clearly does.
AI, like sampling, can be used the right way or the wrong way. Sampling can be done properly by clearing records and compensating the original creators, or it can be done illegally by ignoring copyrights. AI is similar. I’ve been in debates with the person who created the AI Drake song. To me, that’s like hacking. If Drake wants to use AI for his own voice, that is fine. But no one else should be able to use AI to copy his voice without permission. That’s an irresponsible use of the technology.
Personally, I’m excited about AI, not just for music but also for filmmaking, visual art, and other creative fields. It is a powerful tool, and like any tool, it depends on how you use it.
Over the years, you have worked on many amazing records. Is there one that is especially close to your heart for any reason?
I wouldn’t say I have a single favorite, but there are definitely some close to my heart because of the experiences surrounding them. For example, “To Zion” on Lauryn Hill’s album is special to me because it was written about her unborn child, who is now grown and making music himself.
Some moments are unforgettable because of the people involved, like working with Santana or being in the studio with Aretha Franklin and Whitney Houston. Those experiences are priceless because they’re no longer with us. I never worked with Prince, but I met him, and what he said to me has stuck all these years.
Looking back on my career, it feels like a collection of incredible moments rather than one record. I’ve made an album in Paris, recorded outdoors in Saudi Arabia, spent time in Sting’s house in Tuscany making music, and created records in Japan. Traveling the world, collaborating with so many talented people, and sharing that creative bond are the experiences I truly treasure.
Do you have a special moment working with Ye that stands out to you and that you can share with us?
I don’t know if there’s just one moment, but many of the most memorable times were away from cameras and outside the public eye. It might have been in the studio, the back of a car, a restaurant, anywhere really. Those quiet moments stand out the most because you realize you’re sitting with someone who’s a once-in-a-generation talent.
I never had the chance to work with Michael Jackson or Prince, but Ye is the Michael Jackson or Prince of my generation. He’s a true artist in every sense of the word. Like all great artists throughout history, he can be challenging. His viewpoints and tactics can be controversial, but that comes with being an artist. When you spend time around him, you witness genius up close. It feels like you’re sitting with someone who’s almost otherworldly. And there are only a few like that walking among us. There are amazing artists who sell millions of records, but they’re nowhere near this.
Over fifteen years of working with him, I’ve had countless moments behind the scenes that weren’t about controversy or publicized, just genuine conversations and experiences as friends and collaborators. Those times showed me the human side of someone who happens to be one of the most extraordinary creative minds of our time. It’s similar to what people must have felt being around someone like Michael Jackson or John Lennon.
What plans do you have for the rest of the year? You can share both your personal plans and your career goals.
World domination, in the Dr. Evil sense from Austin Powers, but not in an evil way. Musically, I want to push things as far as I can. I keep this picture of Rick James on my screensaver. He’s wearing a fur coat and this wild outfit, looking at two women, and in my mind, he’s saying, “Yeah, you see me.” That is how I feel about music right now.
I’ve been making music professionally for thirty years, which is crazy to say out loud. I’m still here, still standing, and still working with some of the top artists today. Most people in this business don’t stay relevant for one decade, let alone three. I was always comfortable staying in the background, focusing on the music rather than the spotlight. Pharrell once told me to get a publicist because people needed to know more about me, but I resisted.
Now, thirty years in, I’m open to stepping into the forefront a little more I’m planning to do my own album, a kind of compilation project that brings together artists I’ve met all over the world. Think of it as if Dr. Dre made a kind of world album. The goal is to give them exposure while creating something timeless. I don’t want it to be trendy or tied to one sound. It won’t just be a trap album, a boom bap album, or a soul-sample album. I want it to be music that stands the test of time, something you could play in 2025 or 2050 and it would still feel fresh.
It’ll be genre-bending because I have so many influences. My studio walls are covered with photos of my heroes: Quincy Jones, Biggie Smalls, Slick Rick, Nina Simone, Aretha Franklin, Prince, Curtis Mayfield. Their work is always on my mind when I create.
Do you have a timeline for the album?
It was originally planned for this fall, but I’ve decided to let the music guide the process. The album will probably be ready by spring. Before that, I’ll likely start releasing singles to warm people up to the idea that I’m putting out my own records. It’s about building awareness, creating momentum, and planting seeds so that by the time the album drops, people are ready for it.
I also plan to bring on a publicist so more people know about Che Pope. A lot of listeners don’t realize the records I’ve been part of over the years. I like the idea of people discovering the new music first, then going back and realizing, “Wait, he did that record? He was part of that project?”
It happens all the time with younger artists I work with. They meet me in the studio, call me OG, but don’t know my background. Then, as they find out what I’ve done, they’re blown away. I’ve never been the type to walk into a room and announce my resume. I just press play and let the music speak for itself.
The album will have three volumes. One will focus on singing, another on rap, and the third will be more experimental.
Follow Che Pope on Instagram: @3000fuego
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