Exclusive Interview
Oct 7, 2025
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
Sheffmade - Houston Producer Behind Ye, Polo G, and BigXthaPlug
Sheffmade has quickly carved out a place in today’s rap scene, producing for artists like Ye, BigXthaPlug, Polo G, and SleazyWorld Go. In this interview with Studio Talks, he opens up about his journey from making beats with friends in college to landing major placements, building his sound, and navigating the evolving landscape of music production. We dive into his creative process, the role of persistence, his thoughts on AI in music, and the advice he has for upcoming producers. This interview was conducted via video call by Rudy Manager on September 25th, 2025.
“A closed mouth doesn’t get fed.”
- Sheffmade
How did you first get interested in music, and what eventually led you into music production?
When I was younger, a couple of my buddies and I would go on YouTube to look up beats because we wanted to make songs for fun. We just wanted to rap. I’m a white boy and I can’t really rap, though at the time I wanted to, so we would record for fun. As we kept doing that, I realized that people were actually making these beats and I thought it was really cool. I started exploring different types of beats and discovered styles such as Flint type beats, Memphis type beats, and many others. I got into the details of the different genres and it became a lot of listening and studying. Around that time I found GarageBand on an old beat-up MacBook. I started messing around with loops on there and thought it was the greatest thing. I was listening to artists like Chief Keef, Lil Bibby, and G Herbo, and I told myself, “Yeah, I can make this.” Of course, what I was making wasn’t good at all, but my friends would come over and we would sit around and cook up from scratch, trying to come up with ideas. Since some of my buddies rapped, I would record them in FL Studio and from there we made songs.
If I hadn’t started out like that with my friends, I honestly don’t think I would be doing music at all. I played college football for four years, and even then my teammates would come to my dorm and we would make music all the time. That was back when I wasn’t getting placements. We were just making beats, recording, and hanging out. People from the basketball team, football team, and the baseball team too would come by and we would all make music together. At that stage it was nothing more than a hobby. I never went to school for music and didn’t think of it as a job. I actually went to school for business economics, which is what my degree is in. Looking back, I feel blessed that God led me to music, but without my friends in the beginning, I don’t think I would have had the introduction that set me on this path.
Are your friends still making music?
I think on and off, but not full time. It’s more for enjoyment purposes now.
How was the journey from college to your first major placement? How did you improve, and what did you do during that time?
I’m 26 now and out of college, but during those years I played football. At the time, I was terrible at making beats. I thought I was good, but in reality, I wasn’t. At the time, I was terrible at making beats, though I felt like my beats were hard. I was listening to Metro Boomin albums, a lot of Moneybagg Yo, and other Memphis and down-south trap sounds, since I’m from Houston, Texas. That was the type of music that really drew me in. In college I wasn’t really getting anywhere with music, but making beats with my buddies kept me interested. I would make a beat in 15 minutes, and then we would spend two hours recording a song on it. That made me wonder what else could come from it.
I started reaching out to smaller artists, mostly on SoundCloud. I created a page and would message them on Instagram asking if I could send beats. Back then I wasn’t tailoring anything to their style. I would just send whatever I had at the moment. Over time, I learned that it takes years to develop the ear to create a pack that really fits an artist’s sound. For example, a few years ago I sent a pack to Kevin Gates and thought, “Oh yeah, these are Kevin Gates beats for sure.” Listening back now, those beats sounded more like Juice WRLD or Nick Mira type beats. There’s nothing wrong with that sound, but it clearly wasn’t right for Kevin Gates.
When you first open your DAW, how do you usually start working on an idea from scratch?
I use FL Studio and I’ve been on it since I first started. Everyone has their own preference, but that’s what I feel comfortable with. Some days I don’t know what I’m going to make, so I open my laptop and start clicking around. But usually my ideas come from inspiration I gather throughout the day or week. Whether I’m driving, at the grocery store, or just moving around, I’ll be listening to music on Spotify. What I like to do is make playlists of artists I want to work with or based on certain type beat sounds I want to reference. These playlists might have 20 to 50 songs, and before I start cooking up I’ll go through them.
For example, if I’m about to make two beats, I’ll focus on one of those playlists as inspiration for that session. The next day, I might use a completely different playlist, maybe R&B, trap, or even pop. That way I’m not always starting from nothing, because sometimes when you go completely from scratch you can end up with something random that goes nowhere. Using playlists keeps me focused on a certain sound and helps me hone in on what I want to achieve. It also ties into setting goals, because you have to be clear about who you want to work with and what direction you want to go in, then build playlists around that. For me, that approach has worked really well, even though every producer has their own process.
Who are some of the artists you’ve been listening to in those playlists?
One of the playlists I made focused on BigXthaPlug, before I ever got anything placed with him. I also had 1900Rugrat in there before I did three songs with him. I had playlists that mixed artists like Star Bandz, VonOff1700, and Bloodhound Q50. I would listen to them back to back and then make loops or beats inspired by their songs. After doing that consistently, especially last year, I found myself getting obsessive about creating. There were times I cranked out 25 or 30 loops in a day, and even weeks where I made up to 120. The following week I might take time off, but during those stretches I sent out around 30 loops a week. It was a crazy amount, and I sometimes questioned why people weren’t clicking on them, but with that volume it’s natural not everything will land.
I’ll sometimes create experimental playlists or include different artists like Central Cee, depending on what I want to make. A lot of it is based on opportunities. I separate my listening into two categories: music I enjoy purely for myself, and music I listen to for inspiration to guide the type of beats and loops I create for upcoming opportunities.
What music do you listen to in your free time, purely for enjoyment?
I like listening to the Foo Fighters, Imagine Dragons, and a lot of early 2000s Lady Gaga. I’ve always enjoyed that sound. It blends alternative rock and pop in a way that feels unique, and I think it’s fire. I also love nostalgic songs from that time. For example, “Like A G6” is one I’ve probably played thousands of times this year. That style of music is what I enjoy the most in my free time, and sometimes I try to bring elements of it into the beats I make today. But overall, those three are the ones I go back to most when I’m just listening for enjoyment.
What are your favorite VSTs, and do you also use any hardware synthesizers?
I’ve only used a real synth once, so everything else I do is with one-shots and VSTs. For VSTs, Kontakt is definitely one of my favorites. It’s fire, with so many good banks in there. One I really like in Kontakt is a newer bank called “Freq-2” by Dezert Audio. It has crazy realistic synth sounds. I also really like Xpand!2. It’s one of the cheapest options, but if you’re making brass or glow loops it has some great sounds. Another one I like is ZENOLOGY for darker trap sounds, and ElectraX is fire too. Keyscape is solid.
I was using Arcade for a while, but now Splice is really solid for vocals. The key is to tweak the samples yourself instead of just dropping them in. You can EQ out the lows or highs, add effects like delay, distortion, or reverb, and make the vocals your own. I used Omnisphere a lot in the past but not so much anymore, and Serum is good though I don’t use it every day. Overall, my main go-to VSTs are Kontakt, Xpand!2, ZENOLOGY, ElectraX, and Keyscape. Those are the ones I rely on the most.
You’re selling kits and beats while also running your YouTube channel. What strategies would you recommend for upcoming producers to grow these platforms?
The biggest thing is to start. There’s never a perfect time. You’ll always find yourself thinking about when motivation will hit, how to make the perfect video, or how to post content. You don’t need to know everything from day one. Start uploading and be consistent. People think they can make it happen overnight without building a structure. You need goals and you need discipline, especially on the days you are not motivated. You’re not going to wake up every day excited to work, so you have to be willing to push through those moments and keep showing up.
For growth, I found success by dropping free loop kits. They bring a lot of engagement and help shape your sound and identity. I released kits with 50 or more free loops, and I’ve put out three or four kits on my website. They’re free to download, but not royalty-free by default, and that still led to results for me. I have gotten ten to fifteen songs from those loop kits alone. The reality is most people won’t buy a loop kit unless you’re already very established, so free kits can be a smart way to get attention, show people who you are, and demonstrate what you have to offer. Especially if you are new and do not have placements yet, you have to lead with value and let the work speak for itself.
In your opinion, what makes a great trap beat? What are the key aspects of a strong trap beat?
It’s interesting because everyone has their own opinion of what a trap beat is. There are so many different subgenres and niches now that each producer might describe it differently. For me, a trap beat has hard 808s, a punchy snare, hi-hats, and hi-hat rolls. I grew up on the down south Memphis sound, so that is what I relate trap to the most. When I think of a trap beat, I picture that turnt down south style, like Tay Keith. That is my definition, even though I know other producers might see it differently.
What are your thoughts on AI in music production?
I think as a music producer you have to keep evolving or you’ll get pushed back. I remember in 2020 one of my buddies was on a phone call with a label that was about to sign him. At that point I didn’t have any placements, but I was listening in. They said something that stuck with me: they look for younger producers evolving their sound with what’s current. That made me realize how important it is to always adapt.
With AI, you have tools that can help in areas where you may not have experience. For example, if you don’t know how to make a heavy metal beat or an EDM track in the style of Skrillex, you can use ChatGPT or programs like Udio or Suno. You can reference a Skrillex song, ask ChatGPT to describe how to make something similar, and then use those prompts in one of those programs. It won’t always give you a finished beat or a great track, but it can spark inspiration. Instead of sampling a song you find on YouTube, you might be able to generate something more specific to the niche you are aiming for and then flip it your own way.
I’m not sure about all the rules on clearance, but if you use AI material as a starter you might even transform it so much that it feels like something you made entirely yourself. That’s why I see AI as a positive tool. It is all about perspective. If you only look at it as something that will replace us, you will see it as negative. But if you see it as something to incorporate into your workflow and use to expand what you can do, it becomes a powerful addition to the process.
How do you usually go about finding new artists and producers to work with? Do you follow any specific strategies?
On Spotify, I use the same method I mentioned earlier with my reference playlists. For example, if I’m listening to artists like VonOff1700, 1900Rugrat, or Baby Chief, I’ll make a playlist of their songs. At the bottom of Spotify, you see a section of recommended songs. When I shuffle through those, it will often show me artists I have never heard of before. Sometimes it’s someone with fewer than a thousand monthly listeners, and other times a bigger artist with hundreds of thousands. Whatever the number is, it gives me names to explore. If one catches my ear, I will dive deeper into their page and listen through more of their music. That’s why I recommend Spotify, because its discovery feature is built into the process I’m already using for reference.
There are other platforms too, like TikTok and Instagram, but you usually have to dig much deeper there. SoundCloud research is still an option as well if you are willing to put in the time. Personally, I find Spotify the most efficient because I’m already listening to references and can just refresh the recommendations over and over. Even if I refresh 50 times and only find two new artists I like, I can still go to their page and listen to their music. For me, Spotify is the wave.
What advice would you give to new producers who are just starting out and hoping to get more placements while building a career in music?
The biggest thing is to keep working on your craft consistently. I didn’t get a big placement for two or three years after I started making beats. In the beginning I was not making them because I thought Drake or another big artist was going to use them. I was making beats simply because I loved the process. I would sit for ten hours a day experimenting and asking myself what I could make next. I wasn’t even thinking about tailoring beats to specific artists at that stage. Once you fall in love with it, it opens your mind and helps you grow in ways that prepare you for opportunities down the line.
When it comes to placements, I know this advice gets repeated a lot, but it worked for me. Go on Genius, look up an album, and check out the producers who worked on it. You can click their names and go directly to their Instagram pages. Reach out to them. Even if you think they might not respond, it’s better to shoot your shot than stay silent. A closed mouth doesn’t get fed. A lot of my opportunities would not have happened if I had been too scared to send messages.
If you’re reaching out to someone like me, you need to provide some incentive. I make loops and I make drums, so I am not against using loops from other people, but you need to show me why I should listen. If I click on your page and see work that lines up with the opportunities I’m focusing on, I might respond. I do not care if you have no placements. If you have free loop kits, previews, or samples that clearly show your style and the kind of sound you are developing, I am more likely to take it seriously. If it’s fire, I’ll DM you back. If it still needs work, I’ll probably leave it alone for now. The point is to make sure you are showing something real and valuable, because that is what gets attention.
Do you have a production that feels especially close to your heart?
There are a few that mean a lot to me, but most of my favorites are still unreleased. I can’t share too much about them yet, but I’m really excited for what’s coming.
Do you have a favorite release that’s out right now?
I don’t have a single favorite, but there are a few that stand out. Two are “Lost The Love” and “Rich Off Rap” by BigXthaPlug, because that was the first album I ever got a plaque for. It was my first plaque, and I was grateful to have produced two songs on there. I love working with BigX because he is such a good guy. I’m just a normal producer making beats, and he didn’t have to shout me out in interviews or say my name, but he did. I really respect that. A lot of artists today don’t acknowledge the people they work with, so it means something when someone shows that kind of respect.
Another one I really like is Ye’s “WW3.” That’s an iconic song. I know some people hate on that song, but I think we actually pushed the sound forward with it. The beat was smacking, and it went viral not just for the lyrics but also for the production. So right now, those are probably my top three. And of course, there are unreleased ones I’m really excited about too.
Where do you see yourself one year from now, both personally and career-wise?
On the personal side, I recently quit nicotine a month ago, and that has been a challenge because for some reason I felt like I needed it to cook up. Now I’m focused on my health. I work out every morning, and I just got an Apple Watch to track my steps and aim for seven to ten thousand a day. I’m also in a calorie deficit, following a carnivore-style diet. For lunch I usually eat two ground beef patties, half a cup of cottage cheese, four eggs, and an avocado with some honey. I combine that with intermittent fasting, so I fast for sixteen hours and eat once or twice within a six hour window. My biggest personal goal is to become the best version of myself. I believe everyone’s body is a temple, and if we’re not taking care of it, then it is hard to reach our personal goals or accomplish what we want in other areas of life.
For music, I want to keep pushing myself to be the best I can be. Opportunities in this industry don’t come every day, so when one does, you have to lock in and give it everything. If something big comes up, I’ll sit down for two weeks straight and work with little sleep if I have to, just to make sure I get the most out of it. I would love to earn another plaque. Right now I have one platinum plaque for the BigX album, and while that’s an incredible achievement, I want more. Reaching half a billion streams on Muso would be amazing. Beyond that, I want to discover and build with new artists. I think that part of the culture is overlooked these days. A lot of people only chase what’s already shining instead of locking in early and helping an artist build their sound from the ground up. That is something I want to focus on in the year ahead.
Follow Sheffmade on Instagram: @sheffmade
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