Exclusive Interview
Oct 2, 2025
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
Juko – From Bedroom Beats to Major Placements with Young Thug, Lil Baby & Roddy Ricch
Juko has gone from bedroom beats to major placements, establishing himself as a producer shaping today’s rap scene. From placements with Roddy Ricch and Future on “all good,” to crafting Lil Baby’s introspective standout “Top Priority,” and most recently contributing to Young Thug’s “Miss My Dogs,” Juko has quickly become a name to watch in rap production. In this exclusive Studio Talks interview, Juko opens up about his early journey into music, his creative process, and what it takes to stand out in today’s crowded producer landscape. This conversation was conducted by Rudy Manager via a video call on September 23, 2025.
“I believe good music finds its way to big records, but you have to give it time and keep pushing.”
- Juko
How did you first get started with music, and what eventually led you into music production?
So when I was really young, I always liked music. Nobody in my family created music, but my dad was really into rock music back then. I remember always being in the car with him and hearing what he played, and that was my first introduction to music. I really connected with whatever he was listening to. Around fifth or sixth grade, I got into rap. I discovered artists like Lil Uzi Vert and Fetty Wap, and they were some of the first rap artists I remember hearing. Once I started listening to that, I instantly got hooked and became obsessed. I dove deeper into the genre, listening to Gucci Mane and so many others.
I didn’t get into music production until ninth grade, when I was about 14. That was right when COVID hit. I was already a huge fan of rap music, and for my birthday my parents gave me some money. I decided to spend all of it on getting FL Studio. This was just a month or two before COVID hit and everything shut down. That’s really how I discovered music and eventually made the transition into producing.
What was your process for improving your music back then? Were you mostly learning from YouTube, or did you study in a more formal setting?
When I first started, right around when COVID hit, I had all this free time on my hands. The first things I was really watching were a lot of Internet Money videos because back then, in 2020, they were huge. I remember watching Sidepce’s live streams a lot, and I also followed a producer named Paryo Beats. He used to stream frequently, just making beats live, and I would watch him all the time. They’re still producing now, but back then they put out more content, and that was a big influence on me.
Around July 2020, I came across ProducerGrind and shout out to TB Digital. He used to run these daily live streams with a group called Headahh Gang. It was basically a Zoom call with a bunch of producers. Most of them were way ahead of me since I was still new, but I decided to join one of the Zoom sessions. That experience was a huge part of why I was able to level up quickly. Suddenly I was surrounded by about 15 producers who were all more skilled than me, and we would cook up together every day. We built strong relationships, many of which have lasted to this day.
That community was one of the main reasons I was able to elevate my sound so quickly. Through that connection I ended up making videos and even some kits for ProducerGrind over the next few years. Looking back, that was a huge turning point for my career.
When you made the loop, did you know it was special right away, or did that realization come later?
Honestly, I felt that more with the Roddy Ricch and Future record. I really liked that one, to the point where I posted it on my story because I knew it had something special. With “Top Priority” I didn’t have that same feeling at first. I didn’t immediately think it was the one. But once I heard it again after I found out it got placed, I realized how crazy it actually sounded. So I wouldn’t say I felt it right away, but after hearing it again later I realized how strong it was.
When you’re starting an idea from scratch on your DAW, what does your process usually look like?
It depends on whether I am making a beat or a loop, since I do both. If I’m making a beat without aiming for anything specific, I like to create with no expectations. I might grab a loop and flip it, add effects, then open a plugin to stack a few layers. I often start with drums and build melodies around them as I go, sometimes working on both at the same time. I also like digging on YouTube for samples to chop, using Serato Sample to flip them into new ideas. Other times I go completely from scratch. Sometimes I do drums first and then add minimal melodic elements, especially when I want a simple, focused vibe. I also enjoy combining elements from multiple people’s loops, taking stems or a section from one, halftiming it, layering it, and arranging sections so the beat evolves.
For loops and samples, my approach is similar. I love sampling, so I find interesting pieces on YouTube, chop them in Serato, and build with additional parts on top. I might also start entirely from scratch or flip an idea I already have. If I’m creating with a specific artist in mind, I narrow the sound to fit that lane and stay within the vibe I’m targeting. In general, I make better music when I start without expectations and follow what inspires me in the moment, especially with my sample work.
Do you have a specific routine when it comes to making music?
Honestly, I’m pretty simple. I usually wake up, do the usual morning stuff, and then spend most of the day cooking up. It’s nothing too exciting or structured. Once I get on my computer, I just start creating. I wouldn’t say I have a specific routine when it comes to making music. It’s more about working consistently every day and focusing on new ideas.
What are some of your favorite VSTs, and do you also use any synthesizers or hardware gear?
I have a Prophet Rev2 that I use. I’ve had it for a few years. At first I used it for a while, then I stopped, but a few months ago I got back into it, and now I use it a lot. I definitely want to pick up more hardware soon because I really enjoy working with it. Right now the Prophet is the only synth I own, but I plan to add more.
For plugins, I really like ZENOLOGY because it’s quick to navigate and I have a lot of banks for it. Analog Lab is another favorite. Omnisphere is always solid, and I also like The Prince by Cradle. Kontakt is great, Falcon too. Those are probably my go-to VSTs, along with the Prophet Rev2 on the hardware side.
What’s your opinion on AI in music production?
It’s pretty controversial, but I see it as another tool that can and will be used. The way I look at it is similar to something like Splice. Splice has packs where people generate sounds and layers, and AI is just another way to add to that toolkit. If I’m making a melody and run it through AI, it might create a new section or new textures I can layer on top. It can help extend an idea or introduce something fresh to the melody. I see it in the same category as Splice or FL Cloud. It’s simply another tool you can use to your advantage, so I do not see a problem with it when it is used that way.
You’ve built a big Discord community and you’re selling beats. What are the key aspects of growing those channels, and what tips would you give upcoming producers who want to follow in your footsteps?
I built a big Discord community, and for a while I was also doing a lot of YouTube tutorials. Back then, people knew me from YouTube and the content I did with ProducerGrind. I used that visibility to funnel people into my own community. I had my own channel, I was putting out tutorials, and I would promote my Discord server there as well. I still promote it through my Instagram bio, but to be real I’m more focused on the industry side now. So I’m not the best example right now because I’m not pushing content the way I used to, and the Discord isn’t as active as it used to be.
That said, my advice for someone trying to grow a Discord community is that you have to stay active. You need moderators to help keep things moving, and it is important to host events to give people a reason to engage. Content is key too. Reels are huge right now, much bigger than before, so consistent short-form content can drive people toward your community. YouTube tutorials can also be really effective for funneling people in. Once they’re there, you have to treat it like a real community. Talk to everyone, engage with them, and keep it personal. I’ve also seen more producers streaming, and it’s a solid way to build your brand while growing your audience.
Is that something you see yourself doing in the future?
I don’t know. I’m not sure I have the personality for streaming. I don’t really think so, to be honest.
What are your thoughts on type beats in 2025? Do you think they’re still relevant, and can they be a viable way for new producers to break into the industry?
I was never really successful with type beats, but I found huge success a few years ago with melodies. I became one of the top collaborators on BeatStars, at one point I was number two for most added collaborator, because a lot of people were using my loops. I sent ideas out every day, and that helped me grow. So from that angle I would say there is definitely still room to make money and build momentum.
As for type beats specifically, it is more saturated now than it was back then. Honestly, everything in producing is more saturated now, since the barrier to entry is so low. I still think it can work, but you have to find a way to stand out. If you want to do type beats, focus on what makes your sound different and make sure that comes through in your catalog and how you present yourself. It is definitely possible, but in my opinion you have to stand out much more today to break through.
What tips would you give to producers who want to stand out today?
I think one of the biggest things is making sure the music you create really holds up. When I look back at the loops I was sending out early on, a lot of it doesn’t sound good to me anymore. As I kept going, my ear developed and I started to understand what worked better. One thing that really helped me was taking a step back from samples for a while and focusing heavily on beats. For about six to eight months, I stopped making samples and focused only on beats, especially while working with London On Da Track where we focused heavily on drums. That period gave me a better understanding of rhythm, pocket, and how drums interact with melodies. When I went back to making samples, I had a clearer sense of how to keep them simple, effective, and ready for someone to add drums on top.
Even if you want to specialize in samples, it’s important to also get good at making beats and drums. It will improve your understanding of the pocket and help you craft samples that producers actually want to use. In terms of standing out, it comes down to building that understanding of music over time and developing a good ear. Once you learn to balance your ideas and make them feel natural and usable, your sound will stand out more. It does take time, but that growth is what makes the difference.
Let’s talk about your recent placement, Young Thug’s “Miss My Dogs.” Can you share how that song came together?
London and I were just cooking up together. He originally found the sample with the vocals we used. From there we took those vocals and built a new melody around them, shaping it into more of an intro vibe for the track. After that we put the full beat together in a trap style. It was a collaborative process between the two of us.
How did you first link up with London On Da Track?
Shout out to my boy Mac Shooter. He’s the one who put that connection together. Last year in May I took a trip to Atlanta, and it just so happened Mac was going too, and London was out there at the same time. London had invited Mac to a session, and Mac hit me up asking if I wanted to pull up. I went with him and my friend Josh, and we ended up linking with London for two days in a row at the studio.
After that, I got his number. He went back to Miami and I went back home a little later, but I kept sending him FLPs every day for a couple months, just projects and ideas. Then in July he called me out of the blue and told me to pull up to a session when he realized I was living out here. A few days later I went to his crib and from then on we just kept working consistently. That’s how the connection started, and it grew naturally from there.
Is there a production of yours that feels especially close to your heart?
My favorite right now is probably “Insecurities” by Lil Baby. It’s also one of my biggest records, but beyond that I just really like the song. There isn’t a super specific reason why it’s my favorite. I think it’s a really catchy and genuinely good song, and I’m proud of how it turned out. It came out about a year ago, and it still stands out to me, so I would go with “Insecurities.”
What advice would you give to upcoming producers who want to work with established artists and land more placements?
It depends on where you are as a producer. If you’re just starting out, don’t even think about placements right away. Spend at least a year locking in on your sound and improving. The biggest thing overall is consistency. You need to be consistent with putting in the reps and developing your skills, but also with getting your work out there. If you’re making samples, that means regularly sending packs to producers and staying disciplined.
Standing out is also important, but that takes time. You won’t instantly make music that stands out at a high level. If you keep working every day and stay consistent and disciplined, you will naturally elevate over time. From my own experience, a lot of my records have come from samples, so I know firsthand how important consistency is in that lane. If your music is strong and you keep sending it out, it will eventually find its way. I believe good music finds its way to big records, but you have to give it time and keep pushing.
What kind of music do you usually listen to in your free time?
I listen to all types of music. Of course I listen to rap, but I also really enjoy soul. I’m honestly all over the place. Since I spend a lot of time digging through samples to chop, that process has opened my ears to different genres. I might listen to Tame Impala and psychedelic rock, old school soul, rap, pop, or R&B. There isn’t really anything I don’t like.
That variety also shows up in the music I make. I might make an underground beat, and then something more in the R&B lane. I feel like I’m pretty versatile and just make whatever inspires me in the moment.
Who are some upcoming artists you think will blow up in the next few months?
I won’t mention artists everybody already knows. I want to highlight a couple I really like right now. One of them is Swapa. I don’t know if you’ve heard of him, but he is really solid. Another one is Destin Laurel, who I’ve been seeing around. He has some fire music as well. Those two are definitely artists people should watch out for.
What are your plans for the rest of the year, both personally and career-wise?
Career-wise, I want to keep working consistently like I have. I plan on going out to LA soon and traveling more. I’ve been at home for a while, so toward the end of the year I want to get out, meet new people, and network more in person. Other than that, it’s really about staying consistent with what I’ve been doing.
On a personal level, I want to hit the gym more and improve my diet. Those are probably the main things I need to focus on outside of music.
Follow Juko on Instagram: @prodjuko
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