Exclusive Interview
Oct 3, 2024
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
FaxOnly – “Being authentic to yourself will help you stand out.”
FaxOnly is a rising star in the industry known for his dynamic beats and creative sound. He embarked on his musical journey at 18, diving into production with FL Studio and honing his craft through collaborations with the producer collective Working on Dying. His trajectory took off after connecting with fellow producer Oogie Mane, leading to impactful placements, including his work on Drake's track “Pipe Down,” as well as his contributions to projects with artists like Freddie Gibbs, Baby Keem, Lil Uzi Vert, Meek Mill, and more. In this exclusive Studio Talks interview, we’ll explore FaxOnly's approach to music production, his inspirations, and the lessons he's learned along the way, reflecting on his drive to make a lasting impact in the music scene.
How did you first get into music, and from there, how did you transition into music production?
I first started making music when I was around 18. I downloaded FL Studio, and from there, I began taking it seriously when I was about 21 or 22. I started producing more seriously with the producer collective Working on Dying. After that, things really took off—it was all about the connections and the people I met. I met Oogie Mane in 2019, and we made a strong connection. He's still my homie to this day. We started gaining momentum together.
My first placement was with Killy, a Canadian artist. We made a song with him at a producer camp that Working on Dying had organized. The connection Oogie and I had while making music was effortless. That’s how things started moving for us in the industry and how we began collaborating.
I wasn’t too interested in college, even though I was enrolled. I didn’t really want to go to class, but I knew I had to do something. That’s where it all started, and ever since, it’s been going pretty well.
What was your approach to improving your beats? Did you watch a lot of tutorials? Did you have any mentors, or how was the process back then?
I’m sure every producer has gone on YouTube and looked up a “type beat” or searched for how to make a specific kind of beat. But for me, I used to watch videos from Jahlil Beats and Cardiak Flatline over and over. Jahlil Beats, when he was younger, had a video where he was making beats, and I would study that repeatedly, trying to replicate his sound. I also tried to emulate how Cardiak made his drums and live drum sounds.
I watched beat battles they did in Canada as well. The first video I ever watched was one with WondaGurl, and her beats just blew me away. I was like, “Her beats are so crazy.” I would listen to the OGs, the people who had been making beats for a while, and I’d try to improve by emulating their techniques. I wouldn’t call emulation stealing; at the end of the day, it’s about trying to learn from other producers.
I think that’s how producers level up their production. The more you draw inspiration from your influences—not to steal their sound, but to learn from their techniques—the more you grow and develop your own unique style. This is how your production evolves. I spent a lot of time studying producers, and obviously, Kanye is someone I study all the time. There are so many others—the list is endless.
How did you promote your music back then when you were just starting out? Did you have any specific strategy, like using SoundCloud or other methods?
I had a small SoundCloud page—I’m not even sure if it’s still around. I used to post beats there, but luckily, I was close enough to Philly that I had connections through people who knew others in the industry. The first person who connected me with bigger names was DJ Bran, who’s from Delaware. He was Meek Mill’s DJ for a while. Being around him allowed me to soak up knowledge and gain insight into the industry.
Other than that, I didn’t really post a lot of music. I had a Traktrain page for a bit, but it didn’t lead to much. I posted a few beats on SoundCloud, but it was all small-scale stuff. Honestly, I was fortunate to be around the right people at the right time, and those connections helped get me out there.
How does your typical day-to-day look like?
Well, it’s Thursday right now. A lot of people might think I’m this huge producer, but listen, I’ve got a regular nine-to-five job. From Sunday to Wednesday, I go to my nine-to-five, and then from Thursday through Saturday, I have time to cook up beats. Luckily, I’m in the studio right now, so after we’re done with the interview, I’ll be making beats until around five o’clock. Then I’ll head home and cook dinner—just regular life. It’s cool.
I find inspiration in different ways. Sometimes I’ll go on YouTube to see what’s hot or what’s just dropped, and I’ll get ideas from that. Then I just start creating. Sometimes I’ll make beats from scratch; other times, I work with what’s sent to me. Like right now, 2one2 just sent me a loop, and I’m in the middle of cooking that up. It’s pretty straightforward—nothing abstract about it. I just sit down and make beats.
You worked on a track, “Pipe Down,” by Drake. Can you share the story of how that came about?
I was working with a female artist named Alia Kadir. We connected through Instagram—I think I hit her up, saying I really liked her music and asked if we could collaborate. I started sending her some beats, and at the time, she was close with Leon Thomas. During a studio session, Leon heard some of the music I had sent her and was like, “Who the f*** is making these beats?”
Alia told him who I was, then she called me and said, “Hey, someone wants to talk to you.” It was Leon. He was like, “Yo man, your production is crazy!” That’s how our relationship started. He heard the music I was making for the artist he was working with, and from there, we kept in touch. For about a year, maybe a year and a half, we were steadily working together—I’d send him beats regularly.
Then I sent him the “Pipe Down” beat. He hit me up and was like, “Yo, this sh** is fire!” Originally, though, the beat was slower than what people ended up hearing. He sped it up by around 20 BPM. When he sent it back, I wasn’t feeling it at first. I was like, “Damn, why did he speed the beat up?” But it ended up turning out crazy.
I’ll never forget the day he called me while I was driving in the snow. It was snowing heavily, and he was like, “Yo bro, we got something with Drake.” I was like, “Come on, bro, this is not the time to do this. I’m driving in the snow, it’s hazardous, I could crash. Don’t play with me!” But he was like, “Bro, I’m dead serious.”
That was definitely a moment I’ll never forget. It was awesome. The crazy part is that after that call, it took about six more months for the track to actually come out, so I wasn’t sure if it was set in stone. But I knew Drake had cut the track, and it all worked out.
Is there any project or production of yours that didn’t get mainstream attention, but is still close to your heart?
I did a track with G Herbo called “Watch Me Ball, Pt. 2.” I loved that record. I thought it was going to blow up, but consumers’ ears are different from mine. The way he was talking on that track and everything he was saying—it hyped me up. So that one, for sure.
What’s your opinion on AI when it comes to producing music and incorporating it into your production?
Honestly, I love it. I know there are going to be a lot of opinions on it—some people might feel like it takes away from musical abilities, but I don’t think it does. If you use it the right way, I feel like it can actually enhance the music, maybe even bring back some of the elements we’ve been missing.
I know it’s artificial intelligence, and it can pretty much make a beat on its own. I have an account on Suno, where I can upload a beat, type in some lyrics that might fit the vibe, and give it the feel I’m going for, and it’ll spit something out. I think it’s a great tool, especially for the writing process. But don’t just upload a track and rip the whole thing from the AI—that’s messed up.
In general, I think AI can help, so I don’t have a problem with it.
Do you have any favorite plugins or VSTs that you use and would recommend to upcoming producers?
Right now, I’m heavy on using Scorch. And, of course, I’m sure everyone has Kontakt. Another one I use a lot is Octave Deluxe—it’s a big part of my sound. There’s a bass on there that’s crazy, and I actually used it on “Pipe Down.” But I’m not gonna reveal the exact sound!
I also like FB-3100 by Full Bucket Music. It’s kind of a weird one—it’s a synthesizer with a few sounds I like to tweak and experiment with. I’m into synthesizers, basses, and all types of unique sounds.
What advice would you give to upcoming music producers who are trying to chase placements and work with established artists?
My biggest advice would be to stand out as much as you can. In the music industry today, I’ve noticed that a lot of producers sound similar, which is fine. Like I mentioned earlier, I was trying to emulate Jahlil Beats and Cardiak. That’s not a bad thing. However, I think it’s crucial to develop your own sound. Being authentic to yourself will help you stand out.
You don’t want to get caught up in a rat race chasing plaques and money—that’s not the objective. When I started making music, I wasn’t after accolades; I just wanted to create music that people would hear and potentially change lives. I was making beats because I loved it, not because I wanted to make money. It might sound crazy, but I was young and chasing a dream— one that I believed could change the world. I’m sure every young producer has the same dream.
So, try to stand out and don’t be afraid to sound different. If someone doesn’t like what you’re doing, remember there’s probably someone else out there who will. Just be different.
Look at BNYX. I remember having conversations with him where he said, “Yo, how do I get my drums in Ableton to sound like they do in FL Studio?” I told him, “I don’t know; you just have to make it happen.” But it didn’t matter in the end—he found his own way and developed his own sound. Now his drums sound uniquely like BNYX drums, and there are people trying to emulate that.
He was like, “Man, I’m gonna create my own wave,” and he did just that. He has his own style, his own sound—everything is distinctly his. Shout out to BNYX; that’s my brother right there.
Who are some upcoming artists and music producers that you think will blow up in the next few months?
Leon Thomas—he’s already making waves, but just wait until his album drops. It’s going to be something special. There are so many artists emerging right now that I sometimes find myself thinking, “What the heck?!” New artists are popping up every week.
Honestly, just pay attention. Check out social media to discover the latest talent. There are so many artists out there.
What plans do you have for the rest of the year, and where do you see yourself in five years?
For the rest of the year, I’m really excited to push this new album with Leon Thomas. I’m also working heavily with Skaiwater, who’s from the UK. My goal is to keep pushing, sending out music, and working as hard as I can. I think I’m going to Miami soon, too.
In five years, I see myself being comfortable, with more plaques and placements. Maybe I’ll even have a school open. Five years is a long time, but at the same time, it can go by quickly. I hope to make some more changes in the world with my music.
Follow FaxOnly on Instagram: @faxxonlyy
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