Exclusive Interview

Oct 7, 2024

Produced by: Rudy Manager

Edited by: Rudy Manager, Andrej Aroch

Juke Wong – From GarageBand to Producing Hits for Future and Gunna

Juke Wong, music producer known for collaborations with Future, Gunna, and EST Gee, in an exclusive Studio Talks interview discussing his journey and creative process.

Juke Wong, a rising star in the music industry, discusses his journey from following his passion for music to establishing himself as a sought-after producer. Known for his unique sound and relentless work ethic, Juke has made waves by working with artists like Future, Gunna, and EST Gee. In this exclusive Studio Talks interview, we dive deep into Juke's creative process, inspirations, stories behind his hit records, and tips for new producers.

“This year, I’ve made around six or seven hundred beats”

- Juke Wong

How did you first get into music, and how did that lead to producing?

I first got into music in middle school during a computer typing class. We were just learning typing, but they had GarageBand on the computers. I was good at typing, so I would finish my work early and mess around with GarageBand for about 30 minutes. I was 11 or 12 at the time.

Later, in my junior year of high school, my dad got me a laptop, mainly for writing college essays. But I was like, "Nah, I’m making beats." I spent about a year and a half on GarageBand before I upgraded to Logic Pro X. In my senior year, that’s when I really got serious about making music. I’d stay up until 4 a.m. making beats, running on just three hours of sleep before school.

It wasn't even about making it big at first—I just loved doing it. I started going professional in 2020 when I linked up with ForeveRolling. My manager knew his manager, and we connected. ForeveRolling and I worked on "Red Zone" by EST Gee, then "Lick Back." After that, Wheezy followed me, and everything else fell into place.

What were your inspirations back then? Did you have people you looked up to?

I was inspired by all the big artists of the 2010s—Drake, Kanye, Big Sean, J. Cole, Kendrick, and Lil Uzi around 2016 and 2017. The main reason I wanted to start making beats was Metro Boomin. Watching his vlogs and seeing him get his big break in music really pushed me. All the 808 Mafia stuff, too—their vlogs inspired me a lot.

Metro Boomin was my first big inspiration when I was just starting out on GarageBand. Then, about two years later, it was Southside. With every beat I made, I tried to emulate his sound, even though I was on Logic instead of FL Studio. By 2018, Wheezy became another major inspiration for me. His bounce was so unique. Honestly, I feel blessed to work with him now because, to me, he's the GOAT of trap producers.

What was your approach to improving your music production? Did you use YouTube, have mentors, or attend any institutions?

It’s crazy! I was actually about to attend SAE Institute to study engineering, the same school Pi'erre Bourne went to, but in Atlanta. I had planned to go to the Chicago campus, but the pandemic hit, so that plan didn’t happen.

Basically, I just dedicated all my time to making beats. During my senior year of high school, I’d stay up from 10 p.m. to 4 a.m. making beats. Then I would wake up at 8 a.m. for school. I had a job too, so after work, I’d come home, shower, and go straight back to making beats, trying not to get caught by my parents. I’d use headphones or keep the volume super low to not get caught.

Even in college, I was making beats during my classes. I’d be in science class with my Apple headphones on, cooking up beats because I was bored. Around that time, I joined a music collective in Chicago called Rich Vision, full of local producers and rappers. I started working on their music and ended up making around 500 beats for an album by a guy named Flex Sinatra. This was all over the span of six months, and even though I was using loops and sample packs I found online, it helped me get better at drums. After making those 500 beats, I really leveled up my drum skills and started focusing more on melodies during my freshman year of college.

I didn’t actually step into a studio until I was 19. Before that, I was mostly working from home or random spots at school, just constantly improving.

What's your creative process like when you sit down and start working?

Nowadays, I usually start by opening whatever VST I’m feeling at the moment and finding a sound that I like. From there, I start to build the track. I often visualize paintings or scenarios in my head, or even draw inspiration from movies, video games, or TV shows. Inspiration can truly come from anywhere. Sometimes, I take long walks in nature and come back with my best ideas. That’s why I love having a studio with a view; being on the 13th floor, I can look out the window while working and get inspired.

I’m good at making trap, and it’s something I love, so that’s what I spend a lot of time on. However, I create all kinds of music—drum and bass, Afrobeat, R&B. I try to dabble in different genres, and with all the practice I’ve had in these lanes, I feel like combining them creates something special.

What’s your work ethic like now, and how has it evolved over the years?

This year alone, I’ve probably made around six or seven hundred beats! My work ethic has always been like this, though. Back in my senior year of high school, I was really locked in. I was also into bodybuilding at the time, so I’d wake up at 4 a.m., hit the gym, then go to school at 8 or 9 a.m. After school, I’d work a seven-hour shift from 3 to 10 p.m. Then, sometimes, I would make beats at 11 p.m., even if I had to be up in a few hours.

I also have a tradition of being in the studio at midnight on New Year's to keep myself grounded and focused. I sacrificed a lot—schoolwork, partying, hanging out with friends—just to make beats. I remember one time, I was hanging out with friends for 30 minutes, but I asked them to take me home because I had an idea for a beat that I just had to chase.

Do you have any favorite VSTs that you are using right now?

Yeah, my all-time favorite is Omnisphere 2. Funny story—I bought it when I was 17. My dad gave me a savings account, and I had about $1,500 in there. I took out $500 to buy Omnisphere, and he was mad—like, "Why did you spend $500?" But I just really wanted it for my music. A year or two later, I bought Keyscape with my own money.

Omnisphere will always be the GOAT for me. Every placement I've gotten, I used Omnisphere, and I’ve made back that $500 many times over. I've been using it since 2017, so it’s been seven years now. It feels like a part of me at this point—like my kid or little cousin.

Do you usually work in VSTs, or do you use synthesizers as well?

I mostly work with VSTs and effects right now. I’ve thought about investing in a synthesizer, but I want to find the right one. My friend James Maddocks told me about the Prophet-5, so I might look into that in the future. Sometimes I’ll use voice memos or play something on the piano, but for the most part, it's all VSTs.

Could you share the story of how "pushin P" for Gunna came about and what the creation process was like?

I’m pretty sure I was working at Jimmy John’s the day I made the loop. I worked my usual shift, went to the gym, and then came home to make beats. I had already made four loops that day and was about to call it a night, but I decided to try one more. I wasn’t really feeling it at first; it felt kind of off, but everything ended up flowing together. Even though I thought it sounded a bit wack, I bounced it out anyways; it might hit harder later. I sent that loop around July 2021, and "pushin P" came out in January 2022, so there was quite a gap.

When "pushin P" dropped, I didn’t even realize it was my loop at first. I woke up and was getting ready to go to work when I saw Gunna post the song on Instagram and thought it sounded dope. Then, I went back to sleep for about five minutes, and I realized it sounded familiar. I went back and checked the packs I’d sent to Wheezy, and sure enough, it was mine. It was a surreal moment, and the rest is history.

What's your creative process like when you sit down and start working?

What’s your work ethic like now, and how has it evolved over the years?

Do you have any favorite VSTs that you are using right now?

Do you usually work in VSTs, or do you use synthesizers as well?

Could you share the story of how "pushin P" for Gunna came about and what the creation process was like?

What's your creative process like when you sit down and start working?

What’s your work ethic like now, and how has it evolved over the years?

Do you have any favorite VSTs that you are using right now?

Do you usually work in VSTs, or do you use synthesizers as well?

Could you share the story of how "pushin P" for Gunna came about and what the creation process was like?

Future recently released Mixtape Pluto, and you have four tracks on there. Can you share something about the process of making them?

Every loop for that album was made in my studio, which makes it feel even better knowing that the rent I pay for this space has really paid off. When I first got this spot, I knew I would make some legendary music here because the vibe is perfect. It’s a corporate building, and I work at night when everyone leaves, so I can blast music. From the outside, you’d never guess there’s a music studio inside; it’s like my little hideaway.

I made most of the tracks in the early morning hours. I remember making "Ready To Cook Up" and "Plutoski" around 4 a.m., and I did "Aye Say Gang" at 2 p.m. on a Sunday. Having my own personal space to create in meant a lot, so getting those tracks on the album was really special to me.

What advice would you give to upcoming producers trying to build their name and work with different artists?

Creatively, I’d say be different. A lot of producers fall into the trap of trying to make the same type of beats just to get placements—like sending 4PF loops because Lil Baby is working on an album. That makes music feel stagnant. You don’t need to be anyone else when producing. It’s fine to imitate at first; I did it with Southside, Metro Boomin, and Wheezy—but once you put in enough hours, you’ll find your own unique approach.

Being unique is how you stand out. The reason I got connected with Wheezy was because I made a unique loop for "Lick Back." I knew it sounded different from everything else out there, and that’s the approach I always try to take. It’s hard to create something unique from scratch that everyone loves, but the more you work at it, the easier it’ll become to capture that feeling.

So my advice is to focus on being unique. Music should be fun and enjoyable. Just be more original with your craft.

What plans do you have for the rest of the year?

I’m focused on working—pumping out more loops and sending them out. But I’m also working on a documentary, roughly 30 minutes to an hour long. It’s not exactly a “day in the life,” but it’s similar; it’s more about documenting my process. I’ll be going to Japan for about a month, and the idea is to challenge myself. I don’t speak the language, don’t know anyone, and I’ll be figuring everything out—how to get to the studio, where to eat, and what to do with my day—all in a foreign place.

I want to show my music-making process in a documentary format because I feel like that’s the best way to express it. Instagram Live is cool, but this will give a deeper look.

If you’ve seen the 10000 Hours documentary by In The Lab on YouTube, that’s the kind of feel I’m going for. So, aside from that, I’m just grinding and working on my music.

Do you have any last words you'd like to share?

To upcoming producers: if you really want to make it in this industry, you have to put in the hours. I sacrificed a lot to get to where I am, and it’s all about improving yourself every day. Also, don’t do bad business—nothing ruins things faster than that.

Follow Juke Wong on Instagram: @jukewong