Studio Talks sits down with KC Supreme, the Salt Lake City born producer and key member of Internet Money whose credits include Juice WRLD, Trippie Redd, Lil Tecca, and more, for a focused conversation on his rise and creative process. He reflects on early roots, breaks down how Trevor Daniel’s “Falling” came together, shares his daily routine and go to tools, explains running FL Studio on a Steam Deck, weighs in on AI in music, and offers practical advice for new producers. This interview was conducted by Rudy Manager via video call on October 10, 2025.
“Aim to build with a smaller artist instead of chasing the biggest names right away.”
- KC Supreme
How did you first get into music, and what led you to music production?
I got into music through my family when I was a kid. My dad always had a band room in the basement, and my older brothers would play with him in a family basement band, learning songs he picked. I grew up watching that, and by middle school my friends, my brothers, and I became the next generation. I played keyboard and piano, and we learned whatever songs my dad picked, which exposed me to a lot of different genres. He’s into country, folk, and rock, so I learned a lot of those songs and got comfortable with instruments. At the same time my mom was into R&B and hip hop. She’d always have music on while cleaning the house or driving around, so I was hearing two different worlds while learning to play.
Production came along in high school when a friend told our group he’d been making beats and played one for us. My friends were blown away, and it stuck with me. I thought I could do that since I could play keys. He told me he used FL Studio, so I downloaded it and started experimenting. I later found out he hadn’t made the beat, but it still introduced me to FL Studio and showed me that people think it’s cool when you can make music. Around that time SuperStar O and Johnny Juliano were the big guys online making a lot of money from beats, and it looked exciting. I wanted to impress my friends and make some money, and that pushed me into production.
What was your process for improving back then? Did you have mentors, or was it mostly self taught with YouTube?
When I started in 2010 and 2011, YouTube tutorials weren’t as big yet. Industry producers weren’t sharing their screens or breaking things down online, so I looked to people like SuperStar O and Johnny Juliano. They were selling beats and putting out a lot of material, so I studied them and tried to understand why their beats hit so hard. I remember thinking that if I could get my mixes to sound like theirs, especially how the 808s and kicks landed, I’d be on the right track. There were a few tutorials around, like the Warbeats channel, but most of my learning came from analyzing those guys and reverse engineering what I heard.
I also spent a lot of time replicating popular songs I loved. I’d remake the beats, try to match the drum samples, and figure out the structure to understand the choices behind them. On top of that, it was just repetition and years of making beats. I tried selling beats online many times and failed, took breaks, rebranded, then came back to try again. That cycle repeated for years and became my learning process.
Who were some of the first artists or projects you worked on?
My first projects were all local. I’m based in Salt Lake City, Utah, and when I started I wanted to sell beats online, but I wasn’t having much success. After I graduated high school, I knew I didn’t want a normal job, so I decided to work at a local recording studio. I interned there, then got hired as a recording engineer. Most of the clients were pop artists, with a few rappers here and there. They’d come in to record, and I’d sell them beats and make custom tracks, so it was mostly local work at first. Later, as I got further into the industry, Yung Pinch was the first bigger artist I worked with. I was really excited about that. He was the first major name I did projects with.
Who were some of the first artists or projects you worked on?
My first projects were all local. I’m based in Salt Lake City, Utah, and when I started I wanted to sell beats online, but I wasn’t having much success. After I graduated high school, I knew I didn’t want a normal job, so I decided to work at a local recording studio. I interned there, then got hired as a recording engineer. Most of the clients were pop artists, with a few rappers here and there. They’d come in to record, and I’d sell them beats and make custom tracks, so it was mostly local work at first. Later, as I got further into the industry, Yung Pinch was the first bigger artist I worked with. I was really excited about that. He was the first major name I did projects with.
Who were some of the first artists or projects you worked on?
My first projects were all local. I’m based in Salt Lake City, Utah, and when I started I wanted to sell beats online, but I wasn’t having much success. After I graduated high school, I knew I didn’t want a normal job, so I decided to work at a local recording studio. I interned there, then got hired as a recording engineer. Most of the clients were pop artists, with a few rappers here and there. They’d come in to record, and I’d sell them beats and make custom tracks, so it was mostly local work at first. Later, as I got further into the industry, Yung Pinch was the first bigger artist I worked with. I was really excited about that. He was the first major name I did projects with.
How did you first connect with Taz Taylor and Internet Money?
I’d been following Taz online. Earlier, guys like SuperStar O and Johnny Juliano were the first wave of successful online producers I studied. When I came back to selling beats in 2014 and 2015, there was a new wave, and Taz Taylor, TheBeatPlug, and mjNichols were the big names. I watched them, followed their content, and learned from what they did. I rebranded as KC Supreme, started selling beats, and had a few interactions with Taz in his community.
When I heard he was teaching a seminar in Los Angeles, I decided to fly out, even though I’d never been to LA. A few days before the trip, he messaged me saying a few people had canceled on an Airbnb and asked if I’d pitch in and stay there. I was nervous about staying with people I didn’t really know and almost said no, which would’ve changed everything. I said yes, and it went from attending a seminar to sharing an Airbnb with Taz for the weekend, helping set up, and becoming friends fast.
That was right when he was starting Internet Money. It was barely a thing, and Nick Mira was about 15 and just joining. It felt like the right place at the right time. At first we focused on selling beats online. None of us had placements yet, and we were collaborating and posting on YouTube and BeatStars. Then Taz got his first placement. We stepped into the industry, and he brought us along to sessions.
How did you start working with Yung Pinch?
We met Yung Pinch after Taz signed to APG. They set up sessions, and we started working together. At the time he was really taking off, so he became the first bigger artist we worked with consistently. We made multiple songs, built a workflow, and eventually put a project together.
Do you have any creative routine before making music? Do you listen to favorite songs first, or do you treat it like a nine to five?
At this point, I try to treat it like a nine to five. I like having a routine because it helps me show up every day. I sit at my desk with coffee and try to make something. Any creative person knows it’s hard to feel inspired all the time. There are creative blocks, days when nothing works, and even weeks or months that feel off. What helps is starting by organizing my files. I get tons of samples, loops, and kits in my email, and my downloads folder fills up fast. Going through and sorting them puts me in the right headspace. It’s like going to the gym. Showing up is most of it, and once you’re there, you’ll do the work. If I make something, great. If I don’t, that’s fine too. I still try to lock in on whatever moves my career forward.
Sometimes listening to my favorite songs or albums gives me a spark. As a producer, you can get burned out and stop listening for enjoyment because you’re always making music or in sessions. When I feel uninspired, I’ll drive and just listen. Great songs give you a feeling, whether it’s joy or sadness, and that feeling is what inspires me to create. I try to listen for the feeling, not analyze or study how they did it, and that brings the motivation back.
How did you first connect with Taz Taylor and Internet Money?
I’d been following Taz online. Earlier, guys like SuperStar O and Johnny Juliano were the first wave of successful online producers I studied. When I came back to selling beats in 2014 and 2015, there was a new wave, and Taz Taylor, TheBeatPlug, and mjNichols were the big names. I watched them, followed their content, and learned from what they did. I rebranded as KC Supreme, started selling beats, and had a few interactions with Taz in his community.
When I heard he was teaching a seminar in Los Angeles, I decided to fly out, even though I’d never been to LA. A few days before the trip, he messaged me saying a few people had canceled on an Airbnb and asked if I’d pitch in and stay there. I was nervous about staying with people I didn’t really know and almost said no, which would’ve changed everything. I said yes, and it went from attending a seminar to sharing an Airbnb with Taz for the weekend, helping set up, and becoming friends fast.
That was right when he was starting Internet Money. It was barely a thing, and Nick Mira was about 15 and just joining. It felt like the right place at the right time. At first we focused on selling beats online. None of us had placements yet, and we were collaborating and posting on YouTube and BeatStars. Then Taz got his first placement. We stepped into the industry, and he brought us along to sessions.
How did you start working with Yung Pinch?
We met Yung Pinch after Taz signed to APG. They set up sessions, and we started working together. At the time he was really taking off, so he became the first bigger artist we worked with consistently. We made multiple songs, built a workflow, and eventually put a project together.
Do you have any creative routine before making music? Do you listen to favorite songs first, or do you treat it like a nine to five?
At this point, I try to treat it like a nine to five. I like having a routine because it helps me show up every day. I sit at my desk with coffee and try to make something. Any creative person knows it’s hard to feel inspired all the time. There are creative blocks, days when nothing works, and even weeks or months that feel off. What helps is starting by organizing my files. I get tons of samples, loops, and kits in my email, and my downloads folder fills up fast. Going through and sorting them puts me in the right headspace. It’s like going to the gym. Showing up is most of it, and once you’re there, you’ll do the work. If I make something, great. If I don’t, that’s fine too. I still try to lock in on whatever moves my career forward.
Sometimes listening to my favorite songs or albums gives me a spark. As a producer, you can get burned out and stop listening for enjoyment because you’re always making music or in sessions. When I feel uninspired, I’ll drive and just listen. Great songs give you a feeling, whether it’s joy or sadness, and that feeling is what inspires me to create. I try to listen for the feeling, not analyze or study how they did it, and that brings the motivation back.
How did you first connect with Taz Taylor and Internet Money?
I’d been following Taz online. Earlier, guys like SuperStar O and Johnny Juliano were the first wave of successful online producers I studied. When I came back to selling beats in 2014 and 2015, there was a new wave, and Taz Taylor, TheBeatPlug, and mjNichols were the big names. I watched them, followed their content, and learned from what they did. I rebranded as KC Supreme, started selling beats, and had a few interactions with Taz in his community.
When I heard he was teaching a seminar in Los Angeles, I decided to fly out, even though I’d never been to LA. A few days before the trip, he messaged me saying a few people had canceled on an Airbnb and asked if I’d pitch in and stay there. I was nervous about staying with people I didn’t really know and almost said no, which would’ve changed everything. I said yes, and it went from attending a seminar to sharing an Airbnb with Taz for the weekend, helping set up, and becoming friends fast.
That was right when he was starting Internet Money. It was barely a thing, and Nick Mira was about 15 and just joining. It felt like the right place at the right time. At first we focused on selling beats online. None of us had placements yet, and we were collaborating and posting on YouTube and BeatStars. Then Taz got his first placement. We stepped into the industry, and he brought us along to sessions.
How did you start working with Yung Pinch?
We met Yung Pinch after Taz signed to APG. They set up sessions, and we started working together. At the time he was really taking off, so he became the first bigger artist we worked with consistently. We made multiple songs, built a workflow, and eventually put a project together.
Do you have any creative routine before making music? Do you listen to favorite songs first, or do you treat it like a nine to five?
At this point, I try to treat it like a nine to five. I like having a routine because it helps me show up every day. I sit at my desk with coffee and try to make something. Any creative person knows it’s hard to feel inspired all the time. There are creative blocks, days when nothing works, and even weeks or months that feel off. What helps is starting by organizing my files. I get tons of samples, loops, and kits in my email, and my downloads folder fills up fast. Going through and sorting them puts me in the right headspace. It’s like going to the gym. Showing up is most of it, and once you’re there, you’ll do the work. If I make something, great. If I don’t, that’s fine too. I still try to lock in on whatever moves my career forward.
Sometimes listening to my favorite songs or albums gives me a spark. As a producer, you can get burned out and stop listening for enjoyment because you’re always making music or in sessions. When I feel uninspired, I’ll drive and just listen. Great songs give you a feeling, whether it’s joy or sadness, and that feeling is what inspires me to create. I try to listen for the feeling, not analyze or study how they did it, and that brings the motivation back.
What kind of music do you listen to in your free time?
I grew up on a lot of different genres through my parents, so I listen to all sorts of music. R&B and hip hop are my top choices, and I usually lean more toward R&B. It depends on the day and my mood. I’ve saved a bunch of songs I love across different genres, and often I just hit shuffle and let it go wherever.
What are some of your favorite VSTs and hardware gear?
Right now, I don’t use much hardware. I’m mostly working with VSTs. I love Serum, and I’ve been into Serum 2 since it came out. ElectraX is another favorite. For effects, you can’t go wrong with Gross Beat, and I use Valhalla reverb a lot. As for hardware, the Roland Fantom G is my favorite. I had one around 2012 and probably had no business owning it then, since I wasn’t successful yet, but I loved it. I sold it, and I really want another one. I’m drawn to the way it looks, the sounds it has, and the overall feel. It’s my favorite board.
Where did the idea for SteamDeck come from?
I’m a gamer and use Steam on my computer a lot, so when the SteamDeck came out I picked one up mainly for emulation. I prefer playing PC games on my desktop rather than on a handheld device, but the Deck can emulate retro consoles like Game Boy, Super Nintendo, PlayStation, PlayStation 2, and GameCube really well. While I was setting it up, I realized it’s basically a mini computer and wondered if FL Studio would work on it.
It was tricky since the SteamDeck runs Linux and FL Studio needs Windows or macOS. I didn’t want to install Windows because it can get messy, so I figured out how to make it work on Linux and filmed a couple of videos making beats on it. Those videos did well, and people started asking how to set theirs up. I’ve been helping others get it running and even offering preconfigured setups. It all started with wanting to play old school games. I tried FL Studio and it worked, and the idea took off.
Can you share how you made “Falling” with Trevor Daniel?
At the time, Internet Money was starting to get placements and step into the industry. Through that, Taz got the chance to turn Internet Money into a label and sign artists. Trevor was one of the first artists he discovered, and Taz flew him out to Los Angeles. I’d been making a lot of beats in the Juice WRLD style, so that sound was my focus. Charlie Handsome sent me some guitar ideas. I built a beat around one of them and put it in a pack for Trevor’s first session. He made one song, then picked that beat, and “Falling” became the second song of the day.
Right away, people around us were saying it was special. It’s hard to hear a record the way others do when you made the beat, so I thought it was cool but didn’t see it like they did. Taz kept saying it should be the single. We went back into the studio, the three of us, and added more parts. Trevor had a verse we ended up not using, and we finished the record. He put it out as a single, and it did pretty well for a brand new artist. Time passed. We worked on more music, and then during the pandemic it blew up on TikTok out of nowhere. It went viral, climbed the pop radio charts, hit number one. It was one of those lightning in a bottle moments where a song gets a second life and takes off a couple of years after it first came out.
What is your opinion on the use of AI in music?
I feel torn. AI is here to stay, and if you’re a smart entrepreneur or creative, you’ve got to adapt and learn to use it. It can be a very useful tool. I think about it like students using AI to write essays. Giving it a topic and submitting a full essay of five pages isn’t the right approach. The right way is to use it as an assistant to help you write, not to do the whole job for you. I see the same thing in music. Platforms like Suno are fun to mess with. I’ve tried them, but I don’t think the point is to have AI make entire songs by itself. Use it for inspiration, ideas, and support, the same way a DAW helps you turn what’s in your head into real songs.
If you treat AI as a tool rather than letting it do the work for you, you’ll get the best results. Otherwise you get what people call AI slop, like the flood of AI videos with low quality. I think AI songs will usually feel like that, and people will still prefer music made by humans. At least I hope so. Who knows where it’s going, but that’s how I see it. Don’t be scared of it or assume it’ll replace you. Learn to use it to your advantage.
Do you have a favorite song you’ve made?
Honestly, “Falling” is one of them because it changed the trajectory of my life and career. It did so much for me, opened doors, and brought real success. The Internet Money album is also special because it was our thing and gave us a chance to show we could make a full project. Hopefully we can make another in the future.
As for a single song, I’d probably say “Blastoff” because it has Juice WRLD on it, and it’s one of the songs I have with him that actually came out. That makes it really meaningful, and I’m glad it saw the light of day and did well.
What advice would you give new producers who want to work with established artists and land more placements?
Aim to build with a smaller artist instead of chasing the biggest names right away. A lot of new producers say they want a song with someone like Drake, and they focus only on life changing placements and plaques. History shows a better path. Find an artist you truly like, whether local or online, and build with them. Work with someone whose music excites you, so you’re not fixated on money or streams, and you stay focused on making great songs. When that artist has a record that blows up, you rise with them. Look at examples like Nick Mira and Juice WRLD.
Once a smaller artist breaks and a song you produced goes viral, other artists start hitting you up because they’ve heard your work. Many producers think they’re too good to work with small artists, but that’s how most producers come up. That’s what happened with Trevor. He was a new artist we believed in. We made music for the love of it, and when “Falling” went viral, it opened doors and changed everything.
The same idea applies to collaborating with producers. Instead of sending loops to the biggest names, connect with producers at your level whose work you genuinely like. They might land a record with a smaller artist that takes off, and you’ll already be linked with them when the momentum hits. Work with people at your level. Don’t be too proud to build from the ground up. Make music you’re proud of.
Where do you see yourself a year from now, personally and professionally?
A year goes by fast, and nothing is guaranteed in life or in a career. In a year, I hope I’m still happy with what I’m doing, still able to make a living from what I love, and still finding real enjoyment in it. That’s the main goal. Time flies. It’s already October, and it feels like the year just started. I just want to keep doing my thing, stay consistent, and feel good about life and the work I’m putting out.
Follow KC Supreme on Instagram: @kcsupreme
