Exclusive Interview

Produced by: Rudy Manager

Edited by: Rudy Manager & Andrej Aroch

RafMade - Producer Behind Destroy Lonely & Lil Uzi Vert on Atlanta’s Underground Scene

Studio Talks caught up with RafMade again, this time in person at Raf’s home studio in Atlanta on April 9, for an update to our first interview. With placements for artists like Destroy Lonely, Lil Uzi Vert, 2 Chainz, and many more under his belt, RafMade has continued building his name as a producer. We dove into what he’s been working on recently, his perspective on the evolving Atlanta underground scene, and the records and artists he’s been locked in with. In the conversation, RafMade also reflects on one of his favorite placements, shares advice for new producers trying to grow their name, and talks about his plans to keep expanding both creatively and professionally.

"The underground is doing well, but trap music is still doing really well too. I know a lot of people like to say trap is dead, but it’s not."

- RafMade

Can you share any news and what you’ve been up to since we last spoke?

Lately, I’ve just been working with a lot of different people across the board. Yesterday, I had a song come out on Money Man’s new record. I’ve also been trying to stack up songs with artists like Protect and ApolloRed1.

There’s also that kid I told you about earlier, Łee. I’ve been helping him diversify his music and explore different directions. That’s not everything I’ve been working on, but those are my main focuses right now. I’m also working a lot on loops for Lil Uzi Vert, Ken Carson, Destroy Lonely, and all the producers connected to them. So that’s where I’m at right now.

How would you describe the scene in Atlanta right now, especially within the genre lane you work in?

I’d say the scene is evolving really quickly right now. It’s definitely in a different place than it was when we last talked about it in January. There haven’t been as many shows, but I know people are streaming the music more on DSPs and SoundCloud.

It’s really just a waiting period because nobody has dropped any major projects since then. I know Nine Vicious dropped his project, so people are paying close attention to that. But other artists, like 1300SAINT, diamond*, and ApolloRed1, haven’t dropped anything besides SoundCloud songs yet. So we’re really in that evolutionary period, waiting for everything to come out.

What’s one of your favorite songs you’ve had the chance to work on, and how did it come together?

For that one, it’s got to be Lil Uzi Vert’s “On Sight.” It’s not an official release on DSPs, unfortunately. It’s a leak on SoundCloud, but it’s one of my favorites because of the time it came from. I was waking up every day getting a lot of Uzi songs, seeing them come through, and working with my boy xgiannii on them. He was working closely with another producer who was getting him all the songs, so we were really locked in together on that for a little bit.

That beat was one of my favorite beats I’ve made with other people. There were a bunch of producers on it, but everybody did everything perfectly. The loop I made for it was called “Neon Guts,” named after another Uzi song, so it was cool to see them use that one.

What advice would you give to the new generation of producers who want to build their name and start working with artists?

I think new producers really have to work on being consistent and focus on working with other new producers in their own little categories in the underground, while also working with bigger producers. It’s really critical to have Telegram, email, Discord, and different platforms where you can send things out without spamming people. You can’t spam a producer on three platforms at once. You’ve got to have a separate roster of people for each platform.

I think that’s really important for new people because that’s where your work is going to spread, whether you’re sending loops, MIDIs, or ZIPs. It’s also about being open to working with new people, trying new ideas, being receptive to others, and letting songs play out naturally. I wouldn’t say it’s about being unprofessional, but it’s more like being able to say, “Okay, cool, we got this song. I’m just going to let it go and see if it comes out.” I feel like that’s really important for new producers, not pressing the issue when it comes to whether a song comes out.

What are your plans for the near future?

Just to evolve more as a human and get my life together. But on the business side, when it comes to production, I really just want to keep it going with the underground stuff and capitalize on the opportunities these artists have given me to work with them.

I also want to do more major records again. I’ve been trying to get back into the trap side. Like I said earlier, I had a Money Man record come out yesterday, so that’s me stepping back into that space. The underground is doing well, but trap music is still doing really well too. I know a lot of people like to say trap is dead, but it’s not. It’s always going to be there, so I want to be able to do everything again.

Follow RafMade on Instagram: @1rafmade

What’s one of your favorite songs you’ve had the chance to work on, and how did it come together?

For that one, it’s got to be Lil Uzi Vert’s “On Sight.” It’s not an official release on DSPs, unfortunately. It’s a leak on SoundCloud, but it’s one of my favorites because of the time it came from. I was waking up every day getting a lot of Uzi songs, seeing them come through, and working with my boy xgiannii on them. He was working closely with another producer who was getting him all the songs, so we were really locked in together on that for a little bit.

That beat was one of my favorite beats I’ve made with other people. There were a bunch of producers on it, but everybody did everything perfectly. The loop I made for it was called “Neon Guts,” named after another Uzi song, so it was cool to see them use that one.

What advice would you give to the new generation of producers who want to build their name and start working with artists?

I think new producers really have to work on being consistent and focus on working with other new producers in their own little categories in the underground, while also working with bigger producers. It’s really critical to have Telegram, email, Discord, and different platforms where you can send things out without spamming people. You can’t spam a producer on three platforms at once. You’ve got to have a separate roster of people for each platform.

I think that’s really important for new people because that’s where your work is going to spread, whether you’re sending loops, MIDIs, or ZIPs. It’s also about being open to working with new people, trying new ideas, being receptive to others, and letting songs play out naturally. I wouldn’t say it’s about being unprofessional, but it’s more like being able to say, “Okay, cool, we got this song. I’m just going to let it go and see if it comes out.” I feel like that’s really important for new producers, not pressing the issue when it comes to whether a song comes out.

What are your plans for the near future?

Just to evolve more as a human and get my life together. But on the business side, when it comes to production, I really just want to keep it going with the underground stuff and capitalize on the opportunities these artists have given me to work with them.

I also want to do more major records again. I’ve been trying to get back into the trap side. Like I said earlier, I had a Money Man record come out yesterday, so that’s me stepping back into that space. The underground is doing well, but trap music is still doing really well too. I know a lot of people like to say trap is dead, but it’s not. It’s always going to be there, so I want to be able to do everything again.

Follow RafMade on Instagram: @1rafmade

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