Exclusive Interview
Jan 17, 2026
Produced by: Rudy Manger
Edited by: Rudy Manager & Andrej Aroch
RafMade – Atlanta Producer Behind Destroy Lonely, Lil Uzi Vert & SoFaygo
RafMade is a rising producer based in Atlanta who has been shaping the sound of today’s underground while building an impressive list of collaborations along the way. Working with artists like Lil Uzi Vert, Trippie Redd, Destroy Lonely, and many others, he represents a new generation of producers pushing the culture forward. In this interview conducted by Studio Talks, RafMade breaks down his journey into music production, his creative process, how his key placements came together, and his perspective on the current state of hip hop. This interview was conducted by Rudy Manager via video call on January 12, 2026.
"Stay consistent every day of the week, or take one day off if you need it, and focus on maximizing your efficiency and workflow."
- RafMade
Can you introduce yourself for people that might not be familiar with you or your work?
My name’s RafMade. I’m a producer from Atlanta, Georgia, and I’ve worked with artists like Lil Uzi Vert, Destroy Lonely, Trippie Redd, and Apollo Red.
Can you share the story of how you first got interested in music and how you eventually transitioned into music production?
I first got interested in music from listening to it as a kid. Music was always around me because my whole family does music. My dad’s a musician and my mom’s a musician, so it naturally made me want to create my own music. I started out making EDM, not full EDM, but more French house and Daft Punk inspired stuff. Over time, I transitioned into the rap world because around 2017 and 2018 everything started to merge together.
When did you start making EDM?
I started that around 2015.
What was your process for improving when you first started? Did you have any mentors, watch YouTube tutorials, or attend a music institution?
When I was first starting, I really wasn’t doing much and didn’t take it seriously. I was mostly just dragging and dropping sounds in GarageBand without much intention behind it. About two years later, around 2017, I started watching live streams on Periscope and watching Nick Mira cook up on YouTube, and that’s when I really began learning how to make beats.
When you were making those songs, did you have any idea they would turn out to be such bangers?
No, I didn’t expect that at all. I hadn’t heard most of the songs before the album released, aside from the ones Bakkwoods played for me. I was really just focused on stacking songs for the album, with the goal of landing one or two placements. Finding out I had five on there definitely exceeded my expectations.
How do you like to approach working on music from scratch when you first open your DAW?
I approach it in different ways depending on my headspace at the time. Most of the time, if I’m cooking from scratch, I’ll start with the drum line and then build the melody over it. It’s just easier for me to work that way, especially starting with the 808 instead of trying to figure out all the different keys first. When I’m working with loops, I’ll go through maybe 50 or 60 loops just to find one good one, then I’ll add the drums on top. It really just depends on how I feel like cooking up that day.
Do you have any kind of creative routine, like starting at a certain time of day or listening to music before you get in the zone?
No, it’s different every day. I usually wake up and cook up after I handle my morning stuff for the day. Some days, if I’m not feeling inspired, I’ll spend time on SoundCloud first, finding new artists or producers and building my network. If I’m really not feeling creative, I might do that all day. On other days, when the creativity’s there, I’ll jump straight into making loops, beats, and everything else.
What are some of your favorite VSTs, and do you also use any hardware gear?
I don’t use any hardware myself right now. I’ve had roommates in the past who owned Moogs and Prophets, but I’ve never picked one up myself. When it comes to hardware, I do really like the DX7 whenever I’m around one. As far as software goes, I use Zenology a lot, not as much as I used to, but it’s still in my rotation. I also use Omnisphere, and my favorite VST at the moment is Spire.
How do you see the state of hip hop right now, and where do you see it going over the next few months or even years?
I see hip hop at a turning point right now. It feels stronger than it has been over the past two years. There’s a whole new Atlanta underground coming up, which I’m really happy about because more artists are getting a chance. I see it continuing to build over the next two years and becoming something much bigger, almost like a revitalization of YSL and YVL, along with new cliques like ØWay coming up.
Can you share some underground artists you think will blow up and deserve more attention?
I know Apollo Red is going to blow up for sure. He’s got a sound that’s unlike anyone else. Other artists who are already on the come up are Nine Vicious and 1300SAINT, who are really starting to gain momentum. For smaller artists people might not know yet, there’s someone named Sleepinrelics. He’s very small right now, but I think he has a lot of potential. There’s also Kio Racks, who I discovered recently and who’s from Chicago. I think he could really go up, along with Kels!, who’s also from Chicago.
How was the process of making Destroy Lonely’s “BLOWIN SMOKE?”
For that one, I was working closely with Cxdy since he’s one of Lone’s main producers. He had me sending him a lot of stuff, so I was stacking loop after loop for him and landing several songs through that process. That’s how that record came together. I made the loop, he added the drums, and then passed it along to Lone. We had multiple songs, but that was the one that ended up coming out.
Is there a production of yours that you value the most, and if so, why?
There’s a song with Yung Bans and Highway called “Closer To Myself.” I wasn’t really a fan of the post production they did on it, but the original version, without the lead that comes in at the beginning, is one of my favorite tracks I’ve ever produced. It’s not a big song at all, but there’s just something about it. The beat, what they’re saying, and the way Highway and Bans rap back and forth make it a really good song to me.
What advice would you give to upcoming producers who want to work with established artists and get their career going?
Stay consistent every day of the week, or take one day off if you need it, and focus on maximizing your efficiency and workflow. Whether that means doing MIDIs, then loops, then beats, or making loops from your own MIDIs, the key is making sure your work gets spread to as many people as possible without burning out your sound. You’ve got to protect your craft, but at the same time, you need to work with as many people as you can where the benefit is mutual.
What’s a good way to market yourself in 2026 as a new producer?
Social exposure is really the best way right now because everything is so saturated. There are a lot of big names that sound very similar, almost like back in 2017 when trap producers were coming up and you heard a lot of derivatives of the same sound. Now we’re in a post rage era where everyone has their own version of a similar sound. You’ve got to find your own swag within that. It’s not about copying anyone or chasing what others are doing. It’s about creating your own unique sound through things like drum presets or VST presets, staying in your own lane, and making your own type beats instead of trying to replicate someone else’s style.
What are your plans for this year, both personally and professionally?
This year, I really want to step more into executive producing roles. I want to be involved in more songs and full projects, and help bring up smaller artists. At the same time, I’m still focused on getting placements on bigger albums, even though it’s become a lot harder lately to land major projects. Because of that, I want to focus on both smaller projects and bigger ones at the same time.
Why do you think it’s become more difficult to get on bigger projects?
There are a lot more producers in the underground right now, so the competition is tougher. It really just comes down to who you’re tapped in with.
Is there anything else you’d like to touch on?
Thank you, I appreciate you having me on. I just hope everyone feels more inspired and goes on to create better stuff after reading this.
Follow OG Parker on Instagram: @1rafmade
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