Exclusive Interview
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
Synco - Producer Behind Records for Polo G, Lil Wayne and Fetty Wap on New Music and What’s Next
The Studio Talks team linked with Synco in LA on April 21 at Bankroll Got It Studios in Burbank for a quick conversation about where he’s at creatively and what he’s been building. Synco is a talented producer with records alongside artists like Polo G, Lil Wayne, Fetty Wap, and many more. In this interview, we spoke with Synco about his upcoming records with Fetty Wap and Swae Lee, his perspective on the current state of rap music, the advice he’d give to new producers, and what he has planned for the rest of the year.
“Don’t think of yourself only as a producer. Think of yourself as an artist.”
- Synco
It’s been almost a year since we last spoke, so how has this time been for you? How are you feeling these days, and what have you been up to lately?
I’m feeling good. I’ve gotten a lot of good work done over the past year, and even before then. I feel like I’m in a good headspace now to create. I’ve been really focused on getting in here every day and making something happen. It doesn’t necessarily have to be something huge or major, but every day, I’m looking forward to being creative, pushing boundaries, and doing something new.
I’ve been finding new sounds and new people to work with, while also looking for new ways to make myself useful creatively. Whatever comes with it, I think I’m just waking up excited every day to do this. That’s definitely the most important thing I’m focused on right now: staying excited about it, really wanting to come here every day, lock in, and do my thing.
What does a typical day look like for you, and how do you usually structure your schedule?
Most days, honestly, it’s just waking up, having breakfast, and maybe going outside to take a walk. I’ll live a little bit, and then I’ll come back and either work at home or come to the studio, like where we’re at right now. Then I’ll just lock in with people I know and people I mess with.
I spend all day making beats. I don’t really do too much else. It’s pretty much just work. Sometimes I’ll take days off and go hang out or go out for a bit, but for the most part, my days are really centered around making music and staying locked in.
When you’re making music, do you prefer the studio or working from home? What does your creative process usually look like?
I definitely enjoy working at home more sometimes, because obviously it’s more private. I feel like I have more freedom to create without feeling like I’m being judged by others. Not that I care all that much, but at the same time, it can be hard to be truly free creatively when you’ve got people looking over your shoulder while you’re trying things and maybe messing up a little bit along the way. It doesn’t always sound good until it sounds good.
I do prefer being at home sometimes, but I’ve also been coming to the studio a lot more lately. As I find more people I enjoy collaborating with, and people I enjoy just kicking it with in the studio, it makes the creation process feel more seamless sometimes. You don’t have as much time to sit there and overthink things or do too much to the beat, because there are other people there to make up for my shortcomings.
I like doing both. I think it’s good to have a balance, because I don’t really like to do too much of either one. If I don’t have time to create on my own, I’ll start feeling like I want to go back home and just work on stuff. But if I’m in the house too much, I’ll feel like I want to go to the studio.
Recently, you’ve had a couple of records coming out with Swae Lee and Fetty Wap. How did those two records come together?
With Fetty Wap, it’s “RAPSTAR.” I don’t really know how it got to the point where he wanted to remix “RAPSTAR” and put it out as a single, but that was dope, and I was really happy to have that happen. I grew up listening to Fetty Wap in high school, and he was running everything during those years. I was in high school around 2015 and 2016, so he had all the hits at that time.
For him to not only hop on one of my beats, but also spin back on one of the biggest songs Einer and I have had in our careers and breathe new life into that record was really sick. Then with Swae Lee, my manager put me in touch with him probably two or three years ago. We’ve been chopping it up since then, and we’ve been sending stuff back and forth the whole time.
We have tons of songs. I don’t know how many, to be honest. It might be in the 50s, 60s, or 70s at this point. I have no idea, because he’s told me about so many recently. Swae is just constantly cooking. He’s really running through songs and doing so much music. I like sending stuff to him because he can really do any genre. If I want to make a pop beat, a trap beat, Afrobeats, or whatever else, I know I can send it all to Swae and he’ll probably do something with all of it. That’s why he’s one of my favorite artists to work with. We’ve got more on the way.
What’s your opinion on the current state of rap music, and where do you see it evolving over the next few months and years?
I think rap music is obviously in kind of a weird place, but it’s not a bad place. It’s definitely in a transitionary period. Maybe it’s not as mainstream or as popular as it was back in the 2010s and early 2020s, but I think there’s a lot of exciting stuff coming too.
For the artists who maybe aren’t doing as well as they used to, I think it’s just a matter of finding new avenues for the same sound they already have. They can expand in their own way and still figure out new ways to do it. I don’t think rap is in a bad place necessarily. I think there are creative humps that certain artists need to get over, and some of those artists are bigger names in the industry. But it’s not a lost battle. It’s just a matter of having the right people around, the right creatives, the right producers, and the right team.
I also think artists being open to creative feedback is going to be a huge part of hip-hop continuing to succeed going forward. That means being more open to hearing advice from producers. Producers used to direct the whole sound, and they still do in certain situations, but you’ll come across artists where you can tell that’s not really happening. They’re kind of just doing their own thing, and that’s good too, but I think it’s always good to have second and third opinions. It’s coming together, though, and I’m excited to see where things go over the next few years.
What advice or words of encouragement would you give to producers who are just getting into the game in 2026?
When you’re practicing, don’t think of yourself only as a producer. Think of yourself as an artist in the sense that what you’re working on should be treated like your own art. That doesn’t mean you have to put yourself out there like an artist, but when it comes to the work, don’t treat it like it’s just a job you have to do. I think a lot of producers fall into this thing where it feels like manual labor. They’re just making beats and cranking them out. They don’t even care about the beats. You shouldn’t be too precious with them, obviously, because that can lead to its own set of issues, but this is your art, so treat it as such.
I also think you should practice everything. Practice playing instruments. Practice your technical skills when it comes to sound design and learning how to process sounds. Practice songwriting too. You can do your own toplines, and no one has to hear them. I’ve done a bunch of my own that are really terrible, but it helps me get better at understanding how to construct songs and how to construct beats that support good songwriting.
It also teaches you how to dial back on adding too many sounds at once and how to keep space open for the artist. The beats shouldn’t just have space. They should encourage good songwriting and creativity. I think those are all good things to focus on.
What are your plans for the rest of the year, both personally and professionally?
Personally, I’m just trying to eat healthier, get back in the gym, and maybe fix my sleep schedule a little bit. Health is wealth, and we’re all getting older, so those are my personal goals for this year.
Musically, I just want to keep turning up, keep the pressure on, and not take breaks. I mean, it’s good to take breaks, and it’s okay to do that, but personally, I’m not going to take any breaks because I feel like I’m in the best place creatively right now. I don’t want to lose that. That’s what I’m focused on: just continuing to work and keeping it fun.
Follow Synco on Instagram: @prodsynco
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