Exclusive Interview
Aug 25, 2025
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
Jake Fridkis - From Classical Flutist to Rap Producer Behind Drake and DJ Khaled
Studio Talks sits down with Jake Fridkis, an elite, classically trained flutist whose orchestral career laid the foundation for his rise as a successful producer, working with Drake, DJ Khaled, DaBaby, Sexyy Red, and more. In this interview, Jake opens up about his journey from classical training to recording studios, his creative process, the role of AI in music production, and the advice he has for aspiring producers looking to break into the mainstream. From live flutes to chart-topping beats, Jake shares the stories behind the music and what it takes to stand out in today’s industry. This interview was conducted via video call by Rudy Manager on August 11th, 2025.
"There’s a lot I want to accomplish musically for myself, to reach a higher level. I want to hear my work and think, ‘I can’t believe I did that.’"
- Jake Fridkis
Can you share how you first got interested in music, and was there a specific moment that made you decide to pick up the flute?
It’s kind of a long story. I started playing the flute around age six, but I was involved in music even before that, probably starting when I was five. It wasn’t something I was naturally drawn to at first. It was more something my parents thought would be good for me as a little kid.
I took a beginner music class where I learned a simple instrument similar to the recorder called the penny whistle, which is like an Irish version of a recorder. After that class, my teacher also taught the flute. I finished the beginner class and then started learning the flute with her. She was a great teacher, and I was just five years old at the time.
I kept playing, and at first, I didn’t plan for music to become a big part of my life. But as I got older, I became more and more invested in it. By the time I was around 14, music was already a major part of my life. That’s basically how I got started.
What was your experience studying music at university like?
My experience was great. I often see debates about whether producers should go to music school, and opinions vary widely I have three music degrees: an undergraduate, a master’s, and an artist diploma, which is similar to a performance doctorate. I would say absolutely not if your goal is to be a producer. I went to school for classical music because I wanted to play flute in an orchestra. It’s similar to basketball. You need structured opportunities and “game reps” to reach a professional level. For me, that meant playing in orchestras and learning everything I needed in a conservatory setting.
Along the way, I learned a lot that helps me with production today, but I wouldn’t recommend going into debt for a music degree if your goal is producing. Producers can gain more practical knowledge by spending time in the studio, studying music theory, watching tutorials, and taking classes. For my path, though, a conservatory was essentially the only way to enter the field I wanted at the time. Overall, it was a valuable experience, even though it isn’t necessary for everyone.
When you say “flipping,” do you mean creating the melody or idea first and then re-sampling it?
Almost all of my loops are like that. Nearly everything I make goes through that process. I rarely just bounce a regular loop because it feels flat to me. Most of the time, I bounce it out and then flip it, maybe pitching it up, speeding it up, or chopping it in some way. Often, I sample my own material until it hits the vibe I want. This is especially true when I work with live instruments. That process can take a track from a raw recording to something polished, almost like a Kanye-style production.
Can you tell us the story behind “No Secret” by DJ Khaled featuring Drake?
“No Secret” was wild and definitely one of the highlights of my production career. It started when I went to LA for the first time to try to be a producer. I didn’t know anyone out there except my friend Jerry, whom I mentioned earlier, and his friend Adam. I was hitting up everyone I could think of, sliding into DMs on Instagram, trying to connect.
I DMed Rex Kudo, a producer I had been following and really admired. At that point, I had just done flutes on Mike Dean’s album and a song with DaBaby, so I had a little credibility. I DM’d him on my last day in LA, which was kind of awkward because he responded the next day, but I was already home. I told him I could come back in a couple of weeks and he said, “Whenever, just pull up.” So I booked a flight back, nervous because I’d never done a real studio session before.
When I got there, it was incredible. The studio was legendary, like recording on Pink Floyd’s mic, gear everywhere. Rex loves music above all else, so we just worked nonstop. Sometimes falling asleep on the couch and then keeping at it. I got to meet amazing people like Carlton McDowell, Aaron Paris on violin, Matt Spatola on guitar, and of course, Rex. I really learned from him how a studio session works and how to push creativity to new heights. That’s how the idea for “No Secret” came together. We also did the Roddy Ricch intro for LIVE LIFE FAST during that trip.
After that, Rex asked if I could come to Atlanta for the Thug sessions. I could only stay a couple of days because of a concert, but those sessions were legendary. Everyone was there: producers, rappers, artists. We had the “No Secret” idea and kept playing it over and over because we knew it was something special.
A few months later, Rex randomly FaceTimed me and said, “Drake’s on it.” I couldn’t believe it. From being at those sessions and making music with so many incredible people including London on da Track, Metro Boomin, DY, Southside, Taurus, it was surreal. Eventually, I guess Drake sent the song to DJ Khaled, and that’s how it all came together.
What are your thoughts on AI in music production?
I don’t really use AI in my music, so I can’t speak from personal experience. I know there are tools that claim to be AI, like stem separators, and I use those for sampling, which is helpful. But a lot of the time, companies just slap “AI” on something to make it seem more valuable. Honestly, if someone makes an entire loop with AI and does nothing else, I feel that’s not a sustainable way to build a career. I wouldn’t feel comfortable releasing a song I didn’t actually contribute to, it’s embarrassing to me.
That said, AI is definitely the future in many ways. I use it all the time for non-creative tasks like looking things up, handling business tasks, fine-tuning details, or even putting together a press kit. But I caution people to be careful with AI music tools. Some pull from massive databases, which could lead to legal trouble, or the company might claim a large percentage of your output. You could lose royalties or even get blacklisted if you release something under the wrong conditions.
I’m not against AI as a tool; it can do incredible things like vocal sampling, but it’s not how I make music. The human element is crucial. If you’re only generating MIDI loops or presets, you’re skipping a key part of the creative process. The lasting music, the stuff that connects with people, comes from that human element. AI might replicate patterns, but it cannot replace the intention, feeling, or voice you bring as a creator.
Is there a track that’s particularly close to your heart, and if so, why?
Definitely “Get It Sexyy.” That one is close to my heart because it was so out of my zone and happened really fast. I texted the idea to Tay Keith, he made the beat, Sexyy posted the snippet almost immediately, and the song dropped two weeks later. Suddenly, everyone was asking for loops like that, so I had to catch up to my own wave. Beyond that, it became culturally huge with memes, TikToks, and funny videos everywhere. Being part of something so widely shared was amazing. I’m also grateful because Sexyy Red is an incredible artist, and having my work on a song with her name attached makes it even more meaningful.
What advice would you give to upcoming producers who want to take their careers to the next level and start working on mainstream records?
Just try to be yourself. I know it sounds corny, but be genuine. Introduce yourself with something that makes you stand out. If you don’t know what that is, take time to figure it out. Do some self-searching to discover what you can offer. When I started, I could offer live instruments, sending tracks with live flutes, which was different. I could also reference my career in orchestra and symphonic music, that was my real-life experience. That was an easy way to stand out. In a lot of ways, I had it easy because my path to standing out was that, but if you’re starting from a production standpoint, you have something special too. Every producer has something unique to offer, you just have to figure out what it is.
Avoid mass DMs like, “Hey bro, I love your vibes, let me send you some loops.” Don’t follow and then unfollow when people don’t respond, everyone sees that. Be genuine and focus on people who matter to you, not just those who are influential in the industry. I reached out to people whose music I genuinely enjoyed. I wanted to work with JB Made It because I was listening to his stuff. Then I worked with Uzoharbor on DaBaby’s “Giving What It’s Supposed To Give” track because I loved a track he did with an independent artist. Same with Rex, I listened to a ton of his music. I later connected with Tay Keith after working on “No Secret.” I had studied his beats repeatedly while learning FL Studio, so I was eager to collaborate with him because I loved his beats.
Find people you relate to musically, offer something different, something special, and build from there. Organic growth is the best. Looking back, it’s amazing to see the people I can now text or FaceTime compared to five years ago. That growth came step by step. Over time, I’ve built real friendships, not just “send loops” relationships. Focus on building your life around genuine connections, people who can be collaborators and friends, not just contacts. That’s the best way.
Where do you see yourself both professionally and personally one year from now?
Honestly, that one’s tough because I didn’t really see any of this coming. When I was in college, I thought my career at 25 would look a certain way, so I don’t really try to predict where I’ll be in a year. I don’t want to limit myself with expectations. My imagination probably isn’t big enough to picture what’s really possible.
I just finished my first country song, and I’m really excited for it to drop. As for other genres, I love hip hop. A lot of producers want to work in every genre, but I kind of didn’t want to do that. I’m not the type of industry producer who makes every type of track, but at the same time, I am excited about country. When I started getting into it, I realized there are a lot of great songs and albums, and that got me motivated. I definitely want to do more in that space. I’ve always loved R&B as well, growing up listening to Mary J. Blige, so I want to do more of that too.
Ultimately, I just want to keep pushing my limits. There’s a lot I want to accomplish musically for myself, to reach a higher level. I want to hear my work and think, “I can’t believe I did that.” It’s not just about getting placements or being on an album. It’s about improving as a producer. I never really got to lead a session until after signing with Tay Keith. They threw me in, and I had no idea what I was doing. But having that opportunity showed me I could handle it, and I actually love it. That’s something I’ve been doing a lot more over the last couple of years.
I really don’t know what I’ll be doing next year because even two years ago, I wouldn’t have thought I’d be doing what I’m doing now, and I wouldn’t have even known if I wanted to. Sometimes I look back at my goals from each step along the way, and it’s funny because as I learn more, my world opens up and I discover new things. I don’t know what my life will look like in a year, but hopefully it will show progress and new opportunities opening up, that’s always what I’m looking for.
Follow Jake Fridkis on Instagram: @jakefridkis
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