In this exclusive Studio Talks interview, we sit down with Grammy-nominated producer ZenTachi, whose innovative sound has fueled collaborations with some of the biggest names in the industry, including Kanye West, Travis Scott, and Roddy Ricch. Known for his versatility and creative approach, ZenTachi shares insights into his journey, the inspirations behind his craft, and the philosophy that drives his unique production style. Dive in as we explore the mind of one of today’s most influential music producers. Explore the creative world of a music producer shaping today’s sound. The interview was conducted by Andrej Aroch via a video call on October 27, 2024.
Can you share what first sparked your interest in music?
I used to focus on art and painting, and my interest in music actually started after that. I made these things called Color Me Tees, which were t-shirts you could color on and then wash, and the colors would wash off. We thought it was like the super invention of the 2000s! My dad would take me to a place called Eastern Market in DC to sell them, and even now, some people still come up to me, saying they remember buying one. That was really my first step into art.
From there, I moved into music after we moved from DC to Atlanta. My family was very into music, but I hadn’t really connected with it yet. I had an interest in art, especially with my love for film. My sister was making music too, so I was constantly around studios. I didn’t have to search for a studio—it was always, “Hey, we’re going to the studio,” and I’d tag along, drawing. I was about 10 or 11 then and didn’t quite feel part of it yet. But when we got to Atlanta, I started spending more time in the studio with my sister, who was very driven with her music. It was actually pretty fun.
One of my mentors now, Mr. Pope, had this massive studio with speakers built into the walls—just the whole setup. It would knock your brain out. It was great! I first started making music as background tracks for my YouTube videos since I was making Minecraft and other popular content as a kid. I wanted to use my own music to avoid copyright strikes from using tracks I liked. I remember vividly, in 2017, right when I started middle school. Since I was homeschooled before, I wasn’t used to being around other kids. I was exposed to a ton of music I’d never heard, since back in DC, I mainly listened to classical music and some pop music. I didn’t even know who artists like Drake or Lil Baby were.
So in 2017, I heard Future, Drake, and Young Thug for the first time. I' was like, Yo, what? This is crazy! That’s when I first got interested in production. I started researching who made what beats and learned about Metro Boomin and others. It was a great time because I got to watch the rise of so many influences while still seeing them objectively, like a whole new world to explore.
My school had a showcase, which was actually my first music project. They assigned us to create one piece of music, and at first, I didn’t want to do it since I was focused on my YouTube channel—I even had my YouTube name on my hoodie! But there was someone in my class I wanted to impress, so I decided to make something hard. That weekend, I spent two days straight learning FL Studio. I wouldn’t say I mastered it, but I was constantly tinkering, watching tutorials—even back before YouTube tutorials were everywhere. I recreated beats and ended up with a few things that were at least listenable!
So you mentioned starting with music production for a school project. What made you stick with it and pursue it more seriously?
Actually, I didn’t stick with it right away. I finished the project, exported it, took it to class, and people liked it—they thought it was a nice tune. That little bit of social validation, that “Hey, this isn’t bad,” made me want to keep going.
At the time, I was already making YouTube videos, but not many people were watching, and I was pretty self-conscious about it. Music became a way for me to express myself anonymously. I love creating, but with videos, there were always things that held me back, like worrying about how I looked or being frustrated with editing issues. Sometimes, I couldn’t make the video I really wanted.
With music, though, it was different. I could just think of something and lay it down in FL Studio, or whatever I was using.
Can you recall any early projects or placements, maybe with some of your first artists?
I remember my first beat sale—it was for $100, and I was so hyped. I had the cash in hand, and I was just like, “Look, I’ve made money from this!” That sale was about two years after I first started. I’d begun making beats in middle school just for fun, and then a year or two later, I connected with one of my former mentors, J. Wise. This was when we were living in the Metropolitan Lofts in Atlanta. If you knew what that area looked like in 2018 or 2019, it wasn’t exactly full of houses—more like a warehouse setup. But the great thing was that we were surrounded by studios, including one right across the street, so there was music around all the time.
One day, my dad introduced me to J. Wise. They were just hanging out, and my dad was like, “Hey, you should bring my son in here, show him a few things.” My dad’s been making music for over 20 or 30 years—longer than most people I know. But sometimes you need to step outside your family circle to see its worth. That’s when I sold my first beat, and after that, I realized, “Wait, I could actually make money from this, maybe even get rich!”
From then on, I made beats every day. Since I lived next door, I’d make beats all day, and when night came and studio sessions started, I’d head over and be like, “Yo, I’ve got beats, check this out!” People there would be like, “This kid’s just 13, and he’s already got talent!”
So when you’re starting a new beat from scratch, do you have a set approach or routine?
I almost always start with an image or feeling in mind rather than a strict routine. I do have workflows, but they’re fluid and depend on the vibe I’m going for. I’m a bit of a perfectionist, which isn’t always great. We need to stop romanticizing perfection because it often does more harm than good. Instead, I aim for quality. By quality, I mean, “How does this make me feel?” Quality isn’t necessarily about sounding radio-ready; it’s about creating a feeling, moving you, making you want to dance, or evoking something real.
I usually pull inspiration from things that make me feel something, like pieces of music or even movies. For example, I might watch a film with an emotional score, and instead of traditional strings, they’re using breathy, vocal effects. That’ll inspire me to bring something like that into my music. Lately, I’ve been experimenting with vocal effects and manipulation, even playing around with sound design by using unexpected sounds. I might start with something familiar like strings or piano but then twist it into something unrecognizable—something that doesn’t sound real, and layer some chords over it. Trying out new things like that keeps the process fresh without overwhelming me with the pressure for everything to sound “perfect” right away.
Most of the time, I don’t think, “I’m going to make a beat.” I approach it as practice, which helps take away the pressure to finish something or make it perfect. That way, I can explore new sounds without worrying if it’ll work out or if others will like it. If you start thinking too much about how it’ll be received, you’ll hold yourself back.
So, I don’t necessarily start with a melody or drums. I start with an image, then I pick sounds that fit it—even if they’re random. I might look for crow sounds if I picture myself in a desert being surrounded by them. I’m all about field recordings and creating that specific vibe. Keeping it fun is key, because if you lose that, music starts to feel like a chore.
You’ve got a credit on Travis Scott’s latest album, Utopia, where you produced “God’s Country.” Can you share the backstory behind that track?
“God’s Country” was honestly just a beat I made around a Dez Wright’s sample, and the funny thing is it took me only about five minutes to put together. It’s always surprising when people ask about it because, in my mind, I’m thinking, “Why is there so much interest in this beat?” But I get it—it made it onto the album, so there’s curiosity around it. Having that track as a placement taught me a lot, too. I realized that we often overthink what “quality” is supposed to be.
Some producers have incredibly intricate drum patterns or a super-tight mix, but they also had to go through trial and error. Most of the time, some of their best work doesn’t even get used. With each placement I’ve had, I’ve learned that creating a “sound” isn’t always about hitting an exact standard. Sometimes it’s about developing something you vibe with and sending it out to see where it lands. If one beat ends up on Utopia and another on a different album, it shows you what appeals to different artists.
A lot of times, we think there’s a set industry standard, but there isn’t as much as people imagine—besides the standard you set for yourself. Of course, we’re not in an era where we’re directly competing with legends like Michael Jackson or Paul McCartney for those top chart spots. Today, a lot of the music that resonates with people is about creating an atmosphere.
Most of my placements came from just making music consistently. And it’s often the simplest beats that get picked up. Even though those beats are minimal, they work because they fit the vibe the artist is after. It’s about finding that core sound. If anything extra is needed—like intro effects or little finishing touches—that’s where people like Mike Dean come in. And honestly, it’s sometimes better to leave room for artists and their team to add those layers afterward. If a beat is too complicated right out of the gate, they might not feel they have the creative space to work with it.
So, that’s really my approach: create a solid background, let the artist bring their own additions, and let the track develop from there.
So when you’re starting a new beat from scratch, do you have a set approach or routine?
I almost always start with an image or feeling in mind rather than a strict routine. I do have workflows, but they’re fluid and depend on the vibe I’m going for. I’m a bit of a perfectionist, which isn’t always great. We need to stop romanticizing perfection because it often does more harm than good. Instead, I aim for quality. By quality, I mean, “How does this make me feel?” Quality isn’t necessarily about sounding radio-ready; it’s about creating a feeling, moving you, making you want to dance, or evoking something real.
I usually pull inspiration from things that make me feel something, like pieces of music or even movies. For example, I might watch a film with an emotional score, and instead of traditional strings, they’re using breathy, vocal effects. That’ll inspire me to bring something like that into my music. Lately, I’ve been experimenting with vocal effects and manipulation, even playing around with sound design by using unexpected sounds. I might start with something familiar like strings or piano but then twist it into something unrecognizable—something that doesn’t sound real, and layer some chords over it. Trying out new things like that keeps the process fresh without overwhelming me with the pressure for everything to sound “perfect” right away.
Most of the time, I don’t think, “I’m going to make a beat.” I approach it as practice, which helps take away the pressure to finish something or make it perfect. That way, I can explore new sounds without worrying if it’ll work out or if others will like it. If you start thinking too much about how it’ll be received, you’ll hold yourself back.
So, I don’t necessarily start with a melody or drums. I start with an image, then I pick sounds that fit it—even if they’re random. I might look for crow sounds if I picture myself in a desert being surrounded by them. I’m all about field recordings and creating that specific vibe. Keeping it fun is key, because if you lose that, music starts to feel like a chore.
You’ve got a credit on Travis Scott’s latest album, Utopia, where you produced “God’s Country.” Can you share the backstory behind that track?
“God’s Country” was honestly just a beat I made around a Dez Wright’s sample, and the funny thing is it took me only about five minutes to put together. It’s always surprising when people ask about it because, in my mind, I’m thinking, “Why is there so much interest in this beat?” But I get it—it made it onto the album, so there’s curiosity around it. Having that track as a placement taught me a lot, too. I realized that we often overthink what “quality” is supposed to be.
Some producers have incredibly intricate drum patterns or a super-tight mix, but they also had to go through trial and error. Most of the time, some of their best work doesn’t even get used. With each placement I’ve had, I’ve learned that creating a “sound” isn’t always about hitting an exact standard. Sometimes it’s about developing something you vibe with and sending it out to see where it lands. If one beat ends up on Utopia and another on a different album, it shows you what appeals to different artists.
A lot of times, we think there’s a set industry standard, but there isn’t as much as people imagine—besides the standard you set for yourself. Of course, we’re not in an era where we’re directly competing with legends like Michael Jackson or Paul McCartney for those top chart spots. Today, a lot of the music that resonates with people is about creating an atmosphere.
Most of my placements came from just making music consistently. And it’s often the simplest beats that get picked up. Even though those beats are minimal, they work because they fit the vibe the artist is after. It’s about finding that core sound. If anything extra is needed—like intro effects or little finishing touches—that’s where people like Mike Dean come in. And honestly, it’s sometimes better to leave room for artists and their team to add those layers afterward. If a beat is too complicated right out of the gate, they might not feel they have the creative space to work with it.
So, that’s really my approach: create a solid background, let the artist bring their own additions, and let the track develop from there.
So when you’re starting a new beat from scratch, do you have a set approach or routine?
I almost always start with an image or feeling in mind rather than a strict routine. I do have workflows, but they’re fluid and depend on the vibe I’m going for. I’m a bit of a perfectionist, which isn’t always great. We need to stop romanticizing perfection because it often does more harm than good. Instead, I aim for quality. By quality, I mean, “How does this make me feel?” Quality isn’t necessarily about sounding radio-ready; it’s about creating a feeling, moving you, making you want to dance, or evoking something real.
I usually pull inspiration from things that make me feel something, like pieces of music or even movies. For example, I might watch a film with an emotional score, and instead of traditional strings, they’re using breathy, vocal effects. That’ll inspire me to bring something like that into my music. Lately, I’ve been experimenting with vocal effects and manipulation, even playing around with sound design by using unexpected sounds. I might start with something familiar like strings or piano but then twist it into something unrecognizable—something that doesn’t sound real, and layer some chords over it. Trying out new things like that keeps the process fresh without overwhelming me with the pressure for everything to sound “perfect” right away.
Most of the time, I don’t think, “I’m going to make a beat.” I approach it as practice, which helps take away the pressure to finish something or make it perfect. That way, I can explore new sounds without worrying if it’ll work out or if others will like it. If you start thinking too much about how it’ll be received, you’ll hold yourself back.
So, I don’t necessarily start with a melody or drums. I start with an image, then I pick sounds that fit it—even if they’re random. I might look for crow sounds if I picture myself in a desert being surrounded by them. I’m all about field recordings and creating that specific vibe. Keeping it fun is key, because if you lose that, music starts to feel like a chore.
You’ve got a credit on Travis Scott’s latest album, Utopia, where you produced “God’s Country.” Can you share the backstory behind that track?
“God’s Country” was honestly just a beat I made around a Dez Wright’s sample, and the funny thing is it took me only about five minutes to put together. It’s always surprising when people ask about it because, in my mind, I’m thinking, “Why is there so much interest in this beat?” But I get it—it made it onto the album, so there’s curiosity around it. Having that track as a placement taught me a lot, too. I realized that we often overthink what “quality” is supposed to be.
Some producers have incredibly intricate drum patterns or a super-tight mix, but they also had to go through trial and error. Most of the time, some of their best work doesn’t even get used. With each placement I’ve had, I’ve learned that creating a “sound” isn’t always about hitting an exact standard. Sometimes it’s about developing something you vibe with and sending it out to see where it lands. If one beat ends up on Utopia and another on a different album, it shows you what appeals to different artists.
A lot of times, we think there’s a set industry standard, but there isn’t as much as people imagine—besides the standard you set for yourself. Of course, we’re not in an era where we’re directly competing with legends like Michael Jackson or Paul McCartney for those top chart spots. Today, a lot of the music that resonates with people is about creating an atmosphere.
Most of my placements came from just making music consistently. And it’s often the simplest beats that get picked up. Even though those beats are minimal, they work because they fit the vibe the artist is after. It’s about finding that core sound. If anything extra is needed—like intro effects or little finishing touches—that’s where people like Mike Dean come in. And honestly, it’s sometimes better to leave room for artists and their team to add those layers afterward. If a beat is too complicated right out of the gate, they might not feel they have the creative space to work with it.
So, that’s really my approach: create a solid background, let the artist bring their own additions, and let the track develop from there.
What advice would you give to new or up-and-coming producers trying to break into the industry and start working with artists?
I’d say the best thing you can do starting out is to work directly with artists, or better yet, join a band, build up an artist, or even be the artist yourself for a while. Learning how artists think will help you produce music that connects on a deeper level. When you vibe with an artist, especially one you’re passionate about, you’re not only building chemistry but also learning to cater your sound to support their vocals. That process is a big part of what elevates you from a “beat-maker” to a producer in the truest sense.
It’s also a way to balance your creative voice. When you have an artist you’re creating for, it gives you a purpose beyond just making beats—it brings your production to life and gives it direction. Working with artists can push you to add depth and message to your production, which goes beyond the beats. You start getting ideas for lyrics and get pulled into songwriting, which influences how you approach your music. It’s a full-circle process.
One of the biggest things I notice is how much talent there is in certain music scenes—especially in the UK. There's so much depth in the electronic and underground scenes over there, from garage to dubstep to art-pop. I just wish I’d see more producers really pushing those sounds forward and creating groups that could vibe off each other. Some of the most powerful music has come from bands or groups where people had real chemistry. And that chemistry builds emotion, which is what people really connect with.
What are your long-term plans as a producer? Where do you see yourself heading?
In the long term, I’m focused on building a solid audience, not just for my music, but across media. I've realized media is a full package—music, film, and animation—all working together with a shared aesthetic. My goal is to bring that to life, whether by creating content, getting comfortable on camera, or connecting with people.
Additionally, I’m diving deeper into songwriting, which has been huge for me. Songwriting is central to the creative process because it’s how you deliver a message. Lyrics can take these abstract ideas and bring them back to the human experience, which I love. I think of it as a musical diary with entries that reflect every part of me, even the outlandish aspects, and the lyrics ground it all. And yeah—getting rich, you know!
Follow ZenTachi on Instagram: @zen_tachi
