Exclusive Interview
Aug 19, 2025
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
Synco – Producer Behind Polo G’s “RAPSTAR” and Lil Wayne
In this exclusive Studio Talks interview, Bay Area producer Synco reflects on his journey to working with some of the biggest names in hip-hop, including Polo G, Lil Wayne, BigXthaPlug, Blueface, and more. Known for his versatile sound and sharp musical instincts, Synco shares the stories behind key moments in his career—like producing Polo G’s chart-topping hit “RAPSTAR” and contributing to Lil Wayne’s latest album. We talk creative process, navigating the industry, the evolving role of AI in music, and what it really takes to level up as a producer today. This interview was conducted by Rudy Manager via video call on June 20, 2025.
“If you’re not having fun with music, there’s no reason to be doing it”
- Synco
How did you first get interested in music, and how did that lead to music production?
It started with a lot of my friends wanting to rap. That was probably my first real introduction to the idea of making music myself. At first, I wasn’t really making anything—I just liked being around music, being in that environment.
I actually started out doing some engineering. I used FL Studio, just because that’s the program I had access to. But over time, I realized FL Studio was more of a production tool than a recording one, and that’s when I started getting into making beats. It was towards the end of high school—so around 2017.
At first, I didn’t take it seriously—I was just messing around and having fun. But honestly, that was my favorite time making music, because it felt the most pure. These days, it’s more goal-oriented, which can be stressful at times.
What was your process for improving back then? Were you self-taught, or did you learn with others or have any mentors?
I’m all self-taught. Shout out to YouTube. I wasn’t very good back then, to be honest—and I still feel like I’m not quite where I want to be creatively. It’s a constant process of improving.
I didn’t have a mentor early on. Now, through working in the industry, I’ve met people who help me out and give me pointers. Back then, it was just me and YouTube—watching tutorials and trying things out. And honestly, that still proves helpful even now. I always try to figure things out myself before asking others for help.
Aside from tutorials, who did you look up to?
All the big producers in the rap space—London on da Track, Southside, Metro Boomin, Mustard, Pharrell, Timbaland—all the ones everyone looks up to.
But I was also really inspired by some of the more underground stuff. Like MexikoDro and that whole wave. Everyone that was part of the SoundCloud scene back then was super influential to me. That’s the kind of stuff I was listening to back in the day.
What’s your creative process like when you open your DAW and start working on an idea from scratch?
It’s always different. I try to switch it up just to keep things interesting. Sometimes I’ll start with a melody I make from scratch. Other times, I’ll begin with drums, pull up a loop, or use something someone sent me—like a rough idea or a half-finished beat they want me to finish.
It really just depends. Sometimes I’ll try sampling something. I make a conscious effort to start differently every time so I don’t get bored or hit beat block. The process definitely varies, but those are some of the main ways I usually start.
Do you have a creative routine? Do you listen to music first to get inspired, or do you treat it more like a 9-to-5 job?
Not really, to be honest. I definitely work more at night—I think I’m just more creative during those hours for whatever reason. I usually lock in around 7 or 8 PM and go until around 5 in the morning. It’s not the most ideal schedule, but that’s just how it ends up working for me.
As far as getting inspired or warming up, I like to drive around and listen to music. Whether it’s new stuff or older music I’ve always loved. During the day, I try to get outside. I’m not in the house too much. I’ll go for a walk with my headphones.
Do you work a lot from your home studio, or do you prefer doing sessions with artists in person?
I like both, honestly. There’s definitely a comfort that comes with working from the home studio—you can relax, chill out, and just be creative. You can make mistakes, try out ideas that might not sound great at first, and either scrap them or figure out how to make them work.
Going to the studio is great too, though. It feels like work in the best way. You never know who you’re going to meet, and there’s a certain pressure to get something done—which can actually be motivating. I like that feeling of locking in and saying, “Alright, it’s time to make something happen.”
It’s really a balance. These days, I’m probably in the home studio more often, but I still hit the studio a lot too. It just depends on how I’m feeling and who I’m linking up with.
Do you have any tips for producers who aren’t used to working with artists in person at the studio?
First off, don’t do too much. Go in with a clear goal of getting the job done, but at the same time, make sure you’re present. Be sociable, try to connect, and maybe ask the artist what they’ve got going on—musically or just in general.
Speaking from experience, I dealt with a lot of social anxiety early on. I’ve always had it in my life, but it really hit when I started getting into music, because suddenly you have to talk to everybody. My advice is: power through it. Be confident in what you bring to the table—both as a person and as a musician.
Go in there, handle your business, and feel good about what you’re doing. Just make sure you’re present—but don’t overdo it. There are definitely people who come into a studio, do way too much, and they don’t get invited back. So it’s all about balance.
What are some of your favorite VSTs, hardware synths, or studio gear that you use in your day-to-day work?
I’m into the analog sound, but I don’t actually own any analog synths. I use the digital versions of a lot of that—like all the Arturia stuff. I also use Serum, Omnisphere with the expansions, and Roland Cloud.
For processing, I really like Effect Rack. I’m a big fan of Infiltrator and Portal too.
Kontakt is another go-to, especially when I want something that sounds more “live” or just really high-quality. And Nexus—I feel like Nexus is making a bit of a comeback. It wasn’t as popular for a while, but I still mess with it.
That’s a good chunk of what I use regularly. I’m probably forgetting a few.
Can you share how you produced “RAPSTAR” for Polo G?
I actually met my boy Einer Bankz on Clubhouse—that’s how it all started. I tapped in with him on some production since we’re both from the Bay. Shout out to him—he was super open and gave me the opportunity right away.
The very first time we talked, he was like, “Yo, do you want to give this a try?” And I was like, “Yeah, for sure.” I made the beat that same night. I spent about three hours on it, going back and forth with different ideas. I sent it over, and all he did was “like” the message—didn’t say anything else. So I was like, alright, whatever...
Then, two months later, he hit me back like, “Yeah, you got one.” That was wild. He’s my bro now—we’ve built a real relationship since. That’s my dog.
There’s not much more to it, honestly. It was just like, “Try this out,” and I didn’t expect anything to come from it. Definitely the best surprise ever.
Did you know when you made the beat that it was something special, or did that realization come later?
Nah, I didn’t think it was special at all at first. Honestly, I wasn’t even sure about it. It felt like one of those moments where you know you’ve got an opportunity—and you really don’t want to mess it up. So I was going back and forth a lot.
I ended up making like three different versions of the beat. The first couple had way too much going on, and I wasn’t happy with them. So I started stripping everything back. I downloaded the acoustic acapella off YouTube and started building the beat around that, just trying to be really conscious of how much space the instruments were taking up. I definitely wasn’t all that confident about it. But in the end, it worked out.
What’s your opinion on the use of AI for music producers?
I think AI can be a tool—it just depends on how you use it. If you’re using it to help when you’re stuck on an idea or to spark some new creative inspiration, then maybe, I can see that being useful.
But using AI to make a whole beat for you? I’m not really a fan of that. I get that the technology is evolving, and that’s dope, but there’s definitely a human element that gets lost when you let AI take over the whole process.
So it’s definitely a give and take. I’d say I’m optimistic about where AI lands in the music space over the next few years. Nobody wants AI to take over and stop people from actually making music.
I’ve played around with it—I’ve downloaded Suno and tried it out. It’s interesting. I wouldn’t say I’ve fully integrated it into my workflow, but it’s cool. It’s kind of crazy that a program can just generate full productions like that.
Is there a production of yours that’s especially close to your heart?
Yeah, there is—but it’s not out yet.
In general, any production where I’ve handled the musical elements myself tends to be closer to my heart. That’s really my music—I can hear everything I put into it, especially when all the instrumentation is mine.
I like doing drums too—and I’ve done drums on plenty of records—but when it comes to tracks I’ve done solo, I’m definitely more proud of those. Because I know exactly what went into it.
The Thouxanbanfauni record I did was solo. I also did some solo stuff with YoungBoy Never Broke Again and Quando Rondo. There are a few others too.
What advice would you give to upcoming producers who want to elevate their game, start working with more established artists, and get placements?
First and foremost—make sure the music is great. Not just good—it has to be great. That means constantly learning—whether it’s picking up instruments, improving your taste, exploring new genres, or pulling from different sonic influences. You’ve really got to focus on quality over everything.
I’d say that’s the biggest thing: focus on making high-quality music. And be self-aware. You have to be honest with yourself about where you’re at sonically. Acknowledge when you’re not quite there yet, and keep working until you are. Ask people you trust for feedback—get second and even third opinions.
Once you’re confident your music is at that level, start networking. Put yourself out there as much as possible. Get in touch with people, collect emails, phone numbers—whatever you can do to get your beats to the people you want to work with. Eventually, it’ll work out.
Let’s say your sound is ready—how would you go about getting placements and sending beats out? Are there any secret tips or strategies?
There’s really no secret to it. A lot of the people I’ve ended up connecting with—it’s been super situational. It’s random stuff—someone just happens to be in the same place as me, or an opportunity comes out of nowhere.
As far as the internet goes, you can definitely brand yourself in a certain way and use that to reach out. Create something people gravitate toward, and build a sound and brand around it. Once you land a few placements, use them to build momentum.
If you’re able to be in places like L.A. or New York, that helps a lot too. I get that not everyone can do that, but being physically present in those hubs can really open doors. A lot of my recent placements came from just being around—being in the right place at the right time, with the music ready. That’s key: when the opportunity comes, you’ve got to be ready to take advantage of it.
Where do you see yourself in five years, both personally and professionally?
Personally, I just want to be happy, healthy, motivated, and working—just in a good space overall.
Musically, I want to be really proficient at all the instruments I’m trying to learn. Right now, I’ve been focused on piano, trying to really get crazy on the keys. After that, I’ll probably pick up guitar, and who knows—maybe even start playing trumpet or something.
Beyond that, I want to take my production to a whole new level. I like where it’s at right now, but I want to reach a point where I truly feel like no one can mess with what I’m doing—like I’m operating in a lane of my own. And I want that across all genres.
Another big goal is to keep building toward having my own sound. I’m still exploring different pockets and styles, but eventually I want to bring it all together into something that feels uniquely me. Hopefully, that’ll be fully in motion by then.
Lil Wayne’s new album recently dropped, and you worked on the track “Hip-Hop” featuring BigXthaPlug and Jay Jones. How did that song come about?
This song is really a testament to patience. That’s something I always tell people: if you set something in motion, you’ve got to be patient, because you never know when it’ll end up coming out.
We originally made that song back in 2022. The first version was done in the studio here in L.A. with BigX. At the time, he had maybe 80,000 followers—he wasn’t that big yet. I pulled up, we made the song, and that was it.
For a while, it just sat. There was talk about it possibly being a single for his last album, but that didn’t end up happening. They were even trying to get a feature on it. Eventually, I figured the record was dead—I thought it was over. And I really liked what he laid down, so I was bummed it might never drop.
Then out of nowhere, it comes out in the best way possible—on a Lil Wayne album. And I’m a huge Wayne fan, so that was surreal. I didn’t even know it was happening until it was already in motion.
It just shows that once you put something out into the world, you’ve got to let it run its course. It’s a blessing to be part of the Carter series—it’s one of the most legendary album series of all time.
Is there anything else you’d like to add?
Keep your head up and keep working—it’s on the way.
Don’t get discouraged by any of this. Try not to—because if you’re not having fun with it, there’s really no reason to be doing it. That’s what I’ll say.
Follow Synco on Instagram: @prodsynco
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