This time I caught up with one of the best producers in drill. Ghosty is a 20-year old music producer hailing from London, UK. He has made his name by working with some of the biggest drill artists both in the UK and oversees. He produced for artists such as Digga D, Dave, Headie One, 22Gz, and many more. In the interview, he talks about the process of making his breakout tracks, his creative process and provides advice to upcoming producers.
Were you interested in music growing up, or did it come later in your life?
I have always been very music-driven as a child. I am a very creative person, academically I’m terrible. I passed all my GCSE’s, but I’m not very good. I don’t like it. I started DJing when I was 12, jungle and I was really into the early drum and bass stuff. I did that from 12 until 14. One day I must have been like; I’m mixing all these sounds together, but how did the sounds even get there in the first place? I was really intrigued. Around that age like 14, 15 I downloaded FL Studio 11, the demo version. I had no idea what I was doing. I was just playing around, and it started from there. I dropped out when I was in my first year of college and took music seriously, and build my name as Ghosty, the drill producer.
Did you play any musical instrument back then?
I took guitar lessons at one point in school, but I wasn’t very good. I took drum lessons as well for a couple of months, nothing serious. Now I taught myself piano which is really handy. I use the piano a lot on melodies. I taught myself music theory which is great.
How long did it take you to learn to make music and the software until your beats started sounding good?
A lot of people ask me this, and the thing is that because I had that interest as a young child, at 14, that’s when I first opened FL Studio. I slightly knew my bearings. When I dropped out of college, I kind of had my bearings. From the moment I dropped out of college, it took me a year because I have been doing drill for three or four years now. It probably took me a year for them to start sounding good. But I had that previous experience.
This time I caught up with one of the best producers in drill. Ghosty is a 20-year old music producer hailing from London, UK. He has made his name by working with some of the biggest drill artists both in the UK and oversees. He produced for artists such as Digga D, Dave, Headie One, 22Gz, and many more. In the interview, he talks about the process of making his breakout tracks, his creative process and provides advice to upcoming producers.
Were you interested in music growing up, or did it come later in your life?
I have always been very music-driven as a child. I am a very creative person, academically I’m terrible. I passed all my GCSE’s, but I’m not very good. I don’t like it. I started DJing when I was 12, jungle and I was really into the early drum and bass stuff. I did that from 12 until 14. One day I must have been like; I’m mixing all these sounds together, but how did the sounds even get there in the first place? I was really intrigued. Around that age like 14, 15 I downloaded FL Studio 11, the demo version. I had no idea what I was doing. I was just playing around, and it started from there. I dropped out when I was in my first year of college and took music seriously, and build my name as Ghosty, the drill producer.
Did you play any musical instrument back then?
I took guitar lessons at one point in school, but I wasn’t very good. I took drum lessons as well for a couple of months, nothing serious. Now I taught myself piano which is really handy. I use the piano a lot on melodies. I taught myself music theory which is great.
How long did it take you to learn to make music and the software until your beats started sounding good?
A lot of people ask me this, and the thing is that because I had that interest as a young child, at 14, that’s when I first opened FL Studio. I slightly knew my bearings. When I dropped out of college, I kind of had my bearings. From the moment I dropped out of college, it took me a year because I have been doing drill for three or four years now. It probably took me a year for them to start sounding good. But I had that previous experience.
This time I caught up with one of the best producers in drill. Ghosty is a 20-year old music producer hailing from London, UK. He has made his name by working with some of the biggest drill artists both in the UK and oversees. He produced for artists such as Digga D, Dave, Headie One, 22Gz, and many more. In the interview, he talks about the process of making his breakout tracks, his creative process and provides advice to upcoming producers.
Were you interested in music growing up, or did it come later in your life?
I have always been very music-driven as a child. I am a very creative person, academically I’m terrible. I passed all my GCSE’s, but I’m not very good. I don’t like it. I started DJing when I was 12, jungle and I was really into the early drum and bass stuff. I did that from 12 until 14. One day I must have been like; I’m mixing all these sounds together, but how did the sounds even get there in the first place? I was really intrigued. Around that age like 14, 15 I downloaded FL Studio 11, the demo version. I had no idea what I was doing. I was just playing around, and it started from there. I dropped out when I was in my first year of college and took music seriously, and build my name as Ghosty, the drill producer.
Did you play any musical instrument back then?
I took guitar lessons at one point in school, but I wasn’t very good. I took drum lessons as well for a couple of months, nothing serious. Now I taught myself piano which is really handy. I use the piano a lot on melodies. I taught myself music theory which is great.
How long did it take you to learn to make music and the software until your beats started sounding good?
A lot of people ask me this, and the thing is that because I had that interest as a young child, at 14, that’s when I first opened FL Studio. I slightly knew my bearings. When I dropped out of college, I kind of had my bearings. From the moment I dropped out of college, it took me a year because I have been doing drill for three or four years now. It probably took me a year for them to start sounding good. But I had that previous experience.
Did you have any influences/influencers who helped you shape your sound early on in your career?
I’m kind of known for a dark sound in drill and I’ve got quite dark sounding melodies. I think it stems from my love of drum and bass. It’s such a dark genre. There is liquid drum and bass. I never listen to that. I hate all that. That sounds “too happy” for me. I listen to the proper gritty shit and that just stuck with me. I always loved dark sounds, they hit my feels, I can relate to it and like them a lot more. I’ve got a really aggressive 808’s, same patterns are shown in jungle and drum and bass and that’s always been there. I think that was something what I’ve kept on subconsciously without knowing it.
In terms of drill, it’s all the drill goats. LA Beats, Mazza, Ras, MK The Plug, M1 On The Beat, BKay and all of them guys. They were goats when I was starting. I was always looking up to them.
Were you reaching out to artists for placements back then, or did they come to you?
I did the one thing you should never do which is to spam managers and artists’ inboxes. I must have got myself blocked from about five different artists. It was really bad, and you should never do that. I was really spamming them. Now they come to me which is great because I don’t have to go out of my way. I still approach people if I specifically want them on a beat and I got a bit more confidence approaching them now, whereas before I’ll probably just get aired. When you’re starting there is a fine line between reaching out to the point when you’ll get heard or just being a prick and annoying them.
How was the whole process of making ‘No Diet’ with Digga D?
I just got in contact with Jay OD from Mixtape Madness. He’s a great guy, I worked with him for quite a long time since ‘No Diet’. He just asked for a pack one day and I must have sent him over a pack of beats. I always work very quick. My mind is always racing with ideas. I’m coming up to my 900th beat this year. When I sent that pack there must have been around 50 beats, which is standard for me. Digga D just must have gone through them. One day I see on Mixtape Madness and Digga D’s socials the trailer for ‘No Diet’ and I recognised the logo, the little cup with the emoji because they have been putting stickers around London for promotion. I was fucking gassed. That was my first big song. And then it dropped. It’s my most favourite song that I made to this day because it has so much meaning for me. It’s my first beat that got my name out there. It’s a great track as well. Good promo behind it, a good team around them. It was great. It was perfect timing.
Did you have any influences/influencers who helped you shape your sound early on in your career?
I’m kind of known for a dark sound in drill and I’ve got quite dark sounding melodies. I think it stems from my love of drum and bass. It’s such a dark genre. There is liquid drum and bass. I never listen to that. I hate all that. That sounds “too happy” for me. I listen to the proper gritty shit and that just stuck with me. I always loved dark sounds, they hit my feels, I can relate to it and like them a lot more. I’ve got a really aggressive 808’s, same patterns are shown in jungle and drum and bass and that’s always been there. I think that was something what I’ve kept on subconsciously without knowing it.
In terms of drill, it’s all the drill goats. LA Beats, Mazza, Ras, MK The Plug, M1 On The Beat, BKay and all of them guys. They were goats when I was starting. I was always looking up to them.
Were you reaching out to artists for placements back then, or did they come to you?
I did the one thing you should never do which is to spam managers and artists’ inboxes. I must have got myself blocked from about five different artists. It was really bad, and you should never do that. I was really spamming them. Now they come to me which is great because I don’t have to go out of my way. I still approach people if I specifically want them on a beat and I got a bit more confidence approaching them now, whereas before I’ll probably just get aired. When you’re starting there is a fine line between reaching out to the point when you’ll get heard or just being a prick and annoying them.
How was the whole process of making ‘No Diet’ with Digga D?
I just got in contact with Jay OD from Mixtape Madness. He’s a great guy, I worked with him for quite a long time since ‘No Diet’. He just asked for a pack one day and I must have sent him over a pack of beats. I always work very quick. My mind is always racing with ideas. I’m coming up to my 900th beat this year. When I sent that pack there must have been around 50 beats, which is standard for me. Digga D just must have gone through them. One day I see on Mixtape Madness and Digga D’s socials the trailer for ‘No Diet’ and I recognised the logo, the little cup with the emoji because they have been putting stickers around London for promotion. I was fucking gassed. That was my first big song. And then it dropped. It’s my most favourite song that I made to this day because it has so much meaning for me. It’s my first beat that got my name out there. It’s a great track as well. Good promo behind it, a good team around them. It was great. It was perfect timing.
Did you have any influences/influencers who helped you shape your sound early on in your career?
I’m kind of known for a dark sound in drill and I’ve got quite dark sounding melodies. I think it stems from my love of drum and bass. It’s such a dark genre. There is liquid drum and bass. I never listen to that. I hate all that. That sounds “too happy” for me. I listen to the proper gritty shit and that just stuck with me. I always loved dark sounds, they hit my feels, I can relate to it and like them a lot more. I’ve got a really aggressive 808’s, same patterns are shown in jungle and drum and bass and that’s always been there. I think that was something what I’ve kept on subconsciously without knowing it.
In terms of drill, it’s all the drill goats. LA Beats, Mazza, Ras, MK The Plug, M1 On The Beat, BKay and all of them guys. They were goats when I was starting. I was always looking up to them.
Were you reaching out to artists for placements back then, or did they come to you?
I did the one thing you should never do which is to spam managers and artists’ inboxes. I must have got myself blocked from about five different artists. It was really bad, and you should never do that. I was really spamming them. Now they come to me which is great because I don’t have to go out of my way. I still approach people if I specifically want them on a beat and I got a bit more confidence approaching them now, whereas before I’ll probably just get aired. When you’re starting there is a fine line between reaching out to the point when you’ll get heard or just being a prick and annoying them.
How was the whole process of making ‘No Diet’ with Digga D?
I just got in contact with Jay OD from Mixtape Madness. He’s a great guy, I worked with him for quite a long time since ‘No Diet’. He just asked for a pack one day and I must have sent him over a pack of beats. I always work very quick. My mind is always racing with ideas. I’m coming up to my 900th beat this year. When I sent that pack there must have been around 50 beats, which is standard for me. Digga D just must have gone through them. One day I see on Mixtape Madness and Digga D’s socials the trailer for ‘No Diet’ and I recognised the logo, the little cup with the emoji because they have been putting stickers around London for promotion. I was fucking gassed. That was my first big song. And then it dropped. It’s my most favourite song that I made to this day because it has so much meaning for me. It’s my first beat that got my name out there. It’s a great track as well. Good promo behind it, a good team around them. It was great. It was perfect timing.
I heard that you are one of the hardest working producers in the game. Do you have any creative process when it comes to making music? (certain time of the day when you make music or do you always start with a melody first)
When I started, I wasn’t sleeping. I would just stay awake for days and days which isn’t healthy. I don’t encourage that. It’s not very good. When you stay up for a certain amount of nights you just get mad ideas [laughs]. Unlock an extra 20 percent of your brainpower. Now I can kind of relax a bit more because I got my name, but I still work crazy hard. Like I said, I’m on my 900th beat this year, and most men work on 100s or something like that.
What I do is that I wake up at 9 A.M. every morning, eat some fruit, drink some water and Red Bull, and crack on until 4, 5 or 6 P.M. depending on how I’m feeling. I get two to eight beats done in a day. Recently I’ve been doing eight. I have been going crazy. That’s what I do. In terms of structuring it, I always start with the melody or the sample. Drums have to be around that. Very rarely it’s the other way around.
How many beats do you make per month, and what is your process with the beats once you make them? (Do you send them to artists, your management, or put them for sale/on your YouTube channel)
I’m coming to my 900th beat this year. The problem is when you got so many beats is that a lot of them are just sitting there, catching dust. They are all in a big Google Drive and I’m pretty sure people hack into it because people have been telling me the names of beats as they are labelled, and they haven’t been released. So, things are being compromised on that. I just put them in a big Google Drive and send them out when need be. Like I said, so many are catching dust and I ain’t got a problem with that. I do this for a passion and when you do it for a passion you can allow shit like that.
You worked with some of the biggest drill artists, is there someone you would still like to work with?
I still would like to work with Abra Cadabra, he’s moving very smart recently. He’s got a good team behind him and the songs that are coming out are amazing. His beat choice at the moment is amazing. PS. I was in a session with PS, but we didn’t get anything done, which is a bit annoying. BackRoad Gee. I’m getting in with him soon. I like his sound. People like that, no one specifically. Also, all the American guys. Fivio Foreign. I got some stuff on the way with him. Lil Tjay. I got some stuff with him. People like that.
As someone who has a very established YouTube channel and a big following on social media, what is your opinion on the importance for producers to be involved in the business/marketing side as well?
That’s so key. Social media, that’s some huge powers. I wouldn’t be who I was if it weren’t for the social media presence. It’s mad! On Twitter I just post weird little thoughts and people liking it, I get followers. Them followers go on to my Instagram and see who I am. Then they go on to my YouTube and watch my videos and I get paid from that. Maybe they tell their friend. That friend will buy a beat from me. It’s crazy! People don’t really understand it. I always try to tell people this.
What would you say are the best ways a producer can build their brand?
Just solidify your sound and get known for something. I’m known for aggressive 808s, nice piano melodies and a good mix. Establish your sound. Have a very strong social media presence. Post all your placements when they drop, never miss one. Always promote your shit on your page. Even maybe pay for promo, I’ve never done that, but it could work.
What advice would you give to upcoming producers trying to make it in the game and get placements?
Work hard and enjoy it. Don’t let it be like a money thing straight away. Let your passion drive you. I’ve never thought I would do it as my job and it’s a blessing. Never let your hunger for money override your hunger for music production and the culture.
What was the process of making the Headie One’s ‘Rose Gold’ track?
Recently I’m quite known for using ethnic samples. So, I use a lot of folk music mostly from the Balkan region (Romania, Bulgaria, Albania). I love the sound, it’s amazing because when you leave the Western world, the scales they are using are very refreshing to hear. One guy must have sent me a YouTube to MP3 link of a sample from YouTube which was this girl singing and literally I just made a beat. I made a beat with the sample from YouTube and then Rob from Relentless Records must have reached out to me for a pack and that must have been in there. I think that beat is medium; I can’t lie. Vocals are the only good thing about it, but a lot of people like that beat.
Do you enjoy doing studio sessions with artists, or do you prefer sending out beats to people?
I’m very anti-social. I used to never go to sessions. It’s only a past couple of months I’ve actually done sessions. I’m not good with conversating that shit. I’m just sitting in a corner of the room with my headphones on, my laptop on my lap making music. Nowadays I do enjoy them. I kind of prefer sending out beats, but it’s a thing where sometimes you go to a session and nothing will get done and you leave a bit disheartened, but then again you catch a vibe when you’re there and you build a relationship with the artist and that’s key. You get to know them. It’s great when an artist has input in the making of the beat. I like that a lot. It’s good to see an artist input on a beat.
You also worked with US-based artists. What’s your opinion on UK drill producers working with international artists and exporting the sound?
I think it’s great. Drill originated in Chicago and we got their sound and changed it for the better. I didn’t like them beats back then; I can’t lie. Everyone always asks me; “Who’s your favourite Chiraq artist?” and I didn’t really listen to them because I didn’t like the beats. I think it’s great developing the sound. The beats have changed so much it has created a whole new style. But it’s good for like; “we’re going to be eating more, they’re going to be eating more”. It’s going to be on the radio more. It’s a win-win really and truly. I don’t think people look at it as a “culture vulture” thing because it’s not, they do it well. Pop Smoke was fucking huge. 22Gz’s huge and they’ve done bits for the drill sound. They’ve done bits for us. But then the UK has done its part. I’m not saying it was all America.
Are you working/Do you plan on working with other artists outside of the UK/US?
Yeah, defo. I saw some Italian guys on Twitter the other day. That was hard. They were talking about “no spaghetti mafia”, they were hard. Italian drill, French drill, Spanish drill.
I worked with a huge Russian artist the other day and he’s got over a million followers. We were trending on Russian Apple Music. It was number 1. Crazy! Russia got a big supporting base out there because Russian fans are fucking die hard. I love them. They are great. I want to work with more Russian artists. I’m down to work with everyone. I’m here for expanding on the sound. It would be great for others.
What are your plans for 2021?
I want to keep going. I want to start building a more of an artist name like Dr Vades or DJ Khaled. I want to start being like; “Ghosty X this person, that person”. Get that flow going because I’ve been speaking to people and they say it’s good to be recognised as an artist. I’m not going to be singing or rapping, just be in the title.
And just keep doing me, keep working. Hopefully, move out soon. I’d like to get a nice little flat in the countryside, somewhere nice and quiet. Get a farm or something [laughs]. Keep on doing me and keep producing.
Follow Ghosty: Website: ghostyuk.com | Instagram: @ghostyuk | Twitter: @ghosty1up
