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Exclusive Interview

Nov 15, 2024

Produced by: Andrej Aroch

Edited by: Rudy Manager & Andrej Aroch

TM88 - “Start small and don’t feel pressured to jump into big projects right away.”

In this exclusive interview with Studio Talks, we sit down with super-producer TM88, the Atlanta legend behind some of hip-hop’s most iconic beats and a true architect of the trap sound. Known for his Diamond-certified hit XO Tour Llif3 with Lil Uzi Vert, TM88 has become one of the most influential producers in hip-hop, shaping the genre with his innovative style and dark, layered production. With countless chart-topping hits and collaborations with artists like Future, Drake, and Young Thug, TM88 continues to redefine the sound of modern rap while building a new wave of talent through his label, Crash Dummy. In this conversation, he shares insights on his creative process, his journey through the music industry, and his vision for the future of hip-hop production. The interview was conducted by Andrej Aroch via a video call with TM88 on October 29, 2024.


Can you share how you first got interested in music and, from there, how you got into music production?

I’d say I got into music before I even knew I was into it, if that makes sense. As a kid, I was constantly watching movies, TV shows, and commercials—just taking in all these different artists and hearing the beats. The beats really moved me. Of course, I loved the songs—the hooks and choruses were great—but it was the beats that really hit me. Hearing all these sounds was just like, “Man, this is crazy!” Take, for example, someone like Dr. Dre. He might sample three or four different records, mix them together, add his own drums on top. I thought that was so cool.

The music videos from the '90s, too—they were like stories. Watching them, I always thought, “One day, I want to try something like that.” Initially, though, I actually went into sports first. That experience taught me the value of working as a team, which, was something I’d end up needing later in music production, working with others.

I think around 2008 was when I really started making beats, thanks to my cousin. One morning, I called him and asked what he was up to. He said he was just chilling, so I went over to his place. When I got to his room, he was working on beats, and I was like, “Man, what is that?” Everyone around us was rapping at the time, and I tried rapping, too. But I noticed it was kind of oversaturated in our neighborhood, so I figured I’d try something different, something that could help everyone else achieve their goals, too. That’s when I thought, “Why not try making beats?” 

What steps did you take to improve when you first started producing? Did you have any mentors or were you self-taught?

I didn’t really have any mentors in producing, though I wanted a few. However, I did meet an engineer early on who ended up helping me a lot. His name was Dale Ramsey. I was planning to look into an internship at PatchWerk Recording Studios as a way to sneak into the industry, maybe get in front of some artists and share my beats.

Actually, I think I met Dale through my mom. When I went to talk with him, he invited me to work at his home studio. Walking in, I was amazed—I saw plaques from records he’d worked on, like for the Backstreet Boys, NSYNC, and even movie soundtracks. I was like, “You were involved in all of this?” and he said, “Yes. I engineered all these records. I can teach you more here than you’d probably learn at Patchwork.”

Dale ended up being my first real mentor in music. Shout-out to Dale Ramsey—he’s probably in his late 70s or 80s now, but he’s still rocking, still engineering, and still going strong.

Can you tell us more about the early days with 808Mafia? How did it all start, and what impact did being part of 808Mafia have on your career?

808Mafia was a wild ride! It all started when Southside, Waka Flocka Flame, and Slim Dunkin, gave me my first real shot. Once we started, we never looked back. Southside and I decided to team up and make 808Mafia official—it was like, “Why not do this thing together?” From there, it just took off. It kind of turned into a producer version of Wu-Tang Clan. I don’t think the internet had seen anything quite like it before. We came in with this energy, almost like we were rebelling. It wasn’t anything too crazy; it was more like, “We’re going to do it our way. If you don’t like it, that’s fine—we’ll find people who do.”

At the beginning, it was me, Southside, and maybe four or five others. Bebop was there too, though I’m not sure if he’s still making music these days. Then there was my boy Slugg, he wasn’t making beats, but he was there all the time. Later on, Tre Pounds, then DY, Fuse, and Tarentino came. Eventually, it grew into something massive. Suddenly, all of us were getting records with major artists—rappers, R&B singers, even some pop artists early on. The industry needed 808Mafia just like we needed the industry at that time.

Being part of 808Mafia taught me a lot. We went through ups and downs together in dealing with the industry itself. We faced challenges with placements, and there were times when we thought a track might hit number one but didn’t, or when a project didn’t come together as we’d hoped. When that happened, we just had to keep going and keep making more music. 808Mafia taught me resilience—no matter what, you keep pushing forward.

When you start working on a beat from scratch, do you have a set formula in mind?

It really just depends on how I’m feeling. Sometimes, I’ll click on a sound, and it might give me a vibe—like, “I want to make something with a '70s feel,” or maybe some hardcore trap. I’m a producer who goes off feeling, so I let the sound guide me. Sometimes I start with the drums; other times, I start with the melody. It all just depends on the mood.

One of your biggest placements is with Lil Uzi Vert on his hit track, “XO Tour Llif3.” Could you share the backstory of how that track came together? And did you have any idea it would be such a big hit while you were producing it?

I didn’t know it would be that big, but I felt something special while making that beat pack. I think I was going through a tough time, too—I’d just lost some equipment at the airport. There was a situation that went down there, not involving me, but still a lot of chaos. So, I had to work with what I had. I found my old laptop in my room, bought a Beats Pill speaker at the airport, and had an AUX cord. My laptop screen was broken, so I hooked it up to my TV with an HDMI cord and went from there. I ended up making around 10 or 11 beats, sending about seven of them to Uzi. That’s when we ended up with “XO Tour Llif3.”

When Uzi got back from Hawaii—or wherever he was—he invited me to the studio. He played me the song, and I remember thinking, “Wow, this is crazy.” But my mindset was, “While we’re here, we need to make more songs—let’s do something else.”

About a month later, I woke up and saw he’d dropped the Luv Is Rage 2 project, and “XO Tour Llif3” was on there. The rest is history. The track ended up going Diamond, and I think it’s the biggest record for both of us.

Do you have a song or project that holds a special place in your heart for any particular reason?

It has to be 'Way 2 Sexy' by Drake, featuring Young Thug and Future, hands down. It was my first number one, and I made it with people I genuinely mess with. I think it might have even been Future’s first number one too—don’t quote me on that, but I think it was. For both of us to hit number one at the same time, after being in the game for so long, was just incredible.

After that, I’d say “XO Tour Llif3,” since it went Diamond. Then, DJ Khaled’s “Beautiful”—because SZA is on it. It was my first song with her, and hopefully, there will be plenty more. It was a super dope project.

You’ve launched a record label, Crash Dummy. What were your main goals for the label when you first started, and how do you see it evolving over the next few years?

My vision was inspired by what we started with 808 Mafia. I wanted to avoid oversaturating but still offer opportunities to new talent. I also felt it was time to step up as the leader of my own team, like a star player in the NBA. I had people wanting to sign, but I didn’t want to bring on too many and oversaturate. With Crash Dummy, the goal was to create opportunities while bringing quality producers back into the industry, back into hip-hop.

With Crash Dummy, we’re aiming to build on what 808 Mafia accomplished and take it further. Right now, we have about 10 or 11 talented producers on the team, all doing amazing work. When we first launched, my first signing was TooDope, who went number one with me on “Way 2 Sexy.” Then the next four producers went on to get Grammy nominations and achieve gold and platinum certifications. Watching them win feels incredible. It’s rewarding to see them succeed not just because of me but because we all work together and support each other.

We’re like a family, motivating each other every day by sending beats, sharing inspiration, and keeping that hunger alive. My vision has always been to create a label that provides opportunities and encourages growth, without overshadowing the individual talents on the team.

People might not always see this side of me, or of producers like Southside, ATL Jacob, Metro Boomin, or Mike Will. You got these guys—they're in the gym every day, and they're working hard.

What advice would you give to new music producers trying to establish themselves and start working with artists?

My advice for new producers is to stay true to yourself. Find something you enjoy and stick with it. It’s essential to develop your own style before you start reaching out to artists. Working with people around you is a great way to refine your sound, as they’ll give you feedback on what they like. This helps you find a balance between their preferences and your creative vision.

Start small; don’t feel pressured to jump into big projects right away. Many big artists already have their go-to producers. Work on your craft, stay in the gym, build your sound, and start small with a few artists. Collaborate with emerging artists—you never know who might blow up. If you work on a project with a lesser-known artist who gains traction, a bigger artist could hear your beats and reach out.

Stay dedicated, keep improving your skills, and be open to collaboration. While I create a lot on my own, I often collaborate with people.

Do you have any upcoming plans, projects, or tracks that you're excited to share?

Absolutely! We recently released a project in collaboration with FL Studio (Image-Line), called the Weird Construction pack, which is available on the FL Cloud. This pack features a variety of melodies and loops; it's packed with some really vibey stuff, including guitars, pianos, and various synths. If you go into FL Studio and search for "Weird Construction" or look up “TM88” or “Crash Dummy,” you’ll find the pack there.

We also have a beat battle coming up with FL Studio and Sessionwire, so make sure to sign up! Just a reminder: you must use the pack to enter the competition!

In terms of new music, we just hit number one on Yeat’s Lyfestyle album. Big shout-out to my boys, Cloud and Akachi! Akachi also worked on Rod Wave's latest album, which recently debuted at number two in hip-hop/rap, just behind Jelly Roll—shout-out to him too for going number one!

There’s a lot more in the pipeline, including new merch and fresh music. Be sure to check out Crash Dummy’s Instagram, Twitter, and YouTube pages for plenty of dope content. We have a variety of videos featuring different artists, cook-up sessions, and promotional material from this summer.

Lastly, we're launching a website soon, so stay tuned for collaborations with your favorite artists. We've got a lot coming your way!

Follow TM88 on Instagram: @tm88

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