Exclusive Interview
Feb 11, 2025
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
TnTXD – “I’ve been making around a thousand beats a year since 2017”
In this exclusive Studio Talks interview, we sit down with producer TnTXD, the mastermind behind hits with Rod Wave, Polo G, Lil Tjay, and YoungBoy Never Broke Again. From his early days of building his producer brand to shaping chart-topping tracks, TnTXD opens up about his creative process, the strategies that propelled his success, and his approach to working with some of today’s biggest artists. Conducted by Rudy Manager via video call on January 26, 2025, this interview is packed with valuable insights from one of the top producers in the game.
How did you first get into music, and what led you to transition into music production?
I think I was around 13. My brother used to rap, and I saw him using programs like GarageBand, Cool Edit Pro, and a little bit of FL Studio. I was familiar with it, but I wasn’t really into music then. It was always kind of in the back of my mind, but I was more focused on sports.
When sports didn’t really work out, I was just kind of bored. I didn’t have much going on. I tried to join the Army, but that didn’t work out either. I was in between jobs and remembered I was familiar with FL Studio. At the time, I was living with my granddad and I started making beats. It wasn’t serious at first, but then I sold my first beat for $40. That showed me, okay, you can actually do something with this.
I was talking to my dad, and he said, “You like music so much. You don’t really have the equipment, but you could go to school for it.” So I decided to go to Full Sail University. Once I got the equipment and started engineering, that’s when I really started taking it seriously.
Who were your main inspirations and producers you looked up to when you started?
It’s crazy—I started on SoundClick and looked up to Johnny Juliano, SuperStar O, and Vybez. That was the sound for me—I used to love it. I tried to recreate it. They had this happy, melodic vibe, and that’s what really drew me in. That’s why my sound now is kind of melodic too.
When you started out, did you build your platform on YouTube right away, or did you take time to gain confidence? What was that process like?
Nah, I didn’t even know I was that trash. I didn’t really need confidence. When you start doing something, you’re like, "Man, I’m ready to share it," you feel me? At the time, I didn’t realize my beats weren’t that good. I just got to it right away. I started posting on SoundClick and even made it to the top. But it got to the point where I’d come home from work and have to send beats off manually. Then I got introduced to YouTube, which really took things to the next level.
With thousands of beats on your YouTube channel, what’s your work ethic like? How many beats do you make each month?
I wouldn’t break it down by month, but I definitely make over a thousand beats a year. On average, it’s more than a thousand a year. Some months I might produce less, but I still hit that number every year. I’ve been making beats for so long now that the process is like muscle memory—I don’t even have to think about it.
That’s crazy! How long have you been making over a thousand beats a year?
I’ve been making around a thousand beats a year since 2017. That’s about eight years now—every single year. You’re never sure if those beats will get placed, but you keep sending them to labels and keep working. At this point, making beats feels like second nature to me.
What’s your secret to a great-sounding beat? Do you have any special techniques to make it stand out?
For me, it’s the bounce. It’s the groove you give the artist. When I make a beat, I’m always thinking about a unique bounce to create. Anybody can do what everyone else is doing, but I always ask myself, “What hasn’t been done yet?” and try to do that.
It’s also about putting in the hours—learning my mix, getting my levels right, and figuring out how to not overdo it. One thing I’ve learned recently is that less is more, in most cases.
Do you prefer working at home or in the studio?
At home, constantly. I love it. I made all my hits at the crib. I’ve made some in the studio, but I love working from home. I have the perfect setup, and it’s just so comfortable. I wake up and get right to work. Sometimes I switch it up and enjoy the studio vibe, but most of the time, I prefer working from home.
What’s most important for producers to keep in mind when working with artists in the studio?
The most important thing is to read the room. Understand that every artist is different, and you have to treat it like a job. When you’re building that relationship, it’s cool to do what you do, but when you first walk in there, act professional. Treat yourself like a pro, understand what the artist wants, and don’t try to do too much.
Pay attention to how the session is going and adjust accordingly. Some artists may not want much input—they might just want to hear beats, and that’s fine. Others, however, may want your input and ideas. It’s all about reading the room and figuring out what the artist needs at that moment.
Above all, understand that it’s a business. As much as you may want the artist to be your best friend or build a close connection, at the end of the day, it’s still a business.
One of the major placements you had was a song called “Great Gatsby” on Rod Wave’s album. Can you share the story of how you made this track?
Me and my boy TrillGotJuice—he came down from North Carolina and was just chilling at the crib. He’s my guy. He stayed with me for about a month. We were locked in, cooking up every day. We’d wake up and make 10 to 15 beats daily.
That beat was just one of those where we thought, “Alright, let’s knock out 10 beats today.” We’d go back and forth—he’d be in one room, I’d be in another, cranking them out. We didn’t think much about that beat at the time. Honestly, it was just another beat.
I’d be lying if I said we thought, “This is the one.” It was more like, “Alright, we made it. Let’s move on to the next one.” We were focused on the grind, seeing how many beats we could make in an hour. That beat came from that mindset—just working and staying consistent. We never imagined it would turn into something big.
When making beats, do you ever feel like, "This is the one," or does that come later?
That’s the thing—I try not to do that anymore. I’ve made so many beats I thought were crazy, and I’d be like, “Man, this is the one.” But the ones I don’t even think about end up being the ones that hit.
I had to realize that I make beats that sound good to me, but I’m not the artist. The beats I think are too simple are the ones artists love. And the ones I think are crazy sometimes just don’t connect with the artist the same way.
So now, I don’t tell myself, “This is the one” anymore. I just say, “Alright, that’s hard. Let’s keep it moving and make more.”
What’s your take on AI in music production?
At the end of the day, if you're creative, you're creative. AI can't recreate our human emotion or certain nuances. AI can be useful for speeding up your workflow and getting more beats out, but if you're truly creative, there's nothing to worry about.
AI is just a tool to help you, and if you don't embrace it, you might get left behind—it's here to stay.
Is there any placement of yours that is especially close to your heart for any reason?
The one that’s closest to me is probably “By Your Side” by Rod Wave. It stands out the most and holds the strongest emotional connection for me. I was going through a dark moment in my life, but it became one of my biggest milestones. Looking back, I didn’t fully understand how big it was at the time, but now I really appreciate it more. So yeah, that’s definitely the one I’m most connected to.
What was the process like for producing that song?
It was just another beat, honestly. I’m not gonna lie. Harto Beats sent me the loop, I did the beat, and it was so simple. I probably made it in about 10 or 15 minutes.
When he sent the song back to me, I didn’t think it was a hit. I just listened to it and thought, "This is hard." But I didn’t think it was going to be a top 10 radio song. I don’t like to lie about these stories and say I knew it would be huge. It was just a hard beat. Sometimes, it takes the artist getting on the beat for me to truly hear the vision.
What advice would you give to up-and-coming producers trying to build their brand and start working with artists?
Content is key. You need to understand that, in today’s world, content is one of the most important things. Don’t always aim for the home run. Find artists who may not have a huge following but have the talent you believe in. Work with them and keep getting your tag and beats out there.
It’s great to dream of working with the big names like Lil Baby or Rod Wave, but trying to hit home runs all the time isn’t realistic. Take smaller steps, get those “bass hits,” and make the layups. Every layup adds up. I took a thousand layups, and eventually, one turned into a home run. I got placements with artists who weren’t the most popular at the time, but that led me to bigger placements with artists people love today.
Don’t give up. I’m not saying you always have to work with others, but understand there are people grinding every single day. They wake up with no excuses and work towards their goals. You have to wake up every day and get better. Whether it's reaching out to artists, perfecting your craft, or making content, you can't afford to stop.
Every day you wake up and don’t get better, someone else is working harder. You have to be hungry and fully committed. You can’t have one foot in, one foot out. If you want it, you have to be all in. Being a producer is tough. You have to make people love you because, at the end of the day, they don’t need your beats—they want them. You have to make them feel like they need your production.
It’s more than just making beats. It’s about building your brand, networking, reaching out to people, and being genuine in your interactions. It’s a long process, but the key is to keep working and never give up. When it gets tough, just keep grinding.
What are your personal and career goals for this year?
I want to sign more producers and create more content for myself. I need to take my own advice and focus on doing more content. I want to land another top 10 radio song and a top 10 Billboard hit. My goal is to push through my deal.
On the personal side, it’s about finding that balance. I’ve put in countless hours of sacrifice throughout my career, and now I’m focused on reaching a point where I can balance both work and personal life. That’s my main focus this year.
As for the music, I’ve got many goals and projects lined up that I’m about to dive into.
Follow TnTXD on Instagram: @tntxd_
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