Tre Trax Interview: Producing Saucy Santana, Collab w/ Latto + Sprite

Learn how to make hits because there's a recipe to it. The listener is never listening for that or thinking that. Lotto's a different kind of beast. You're lucky if you get one hit in this shit for him. I got hoes. Don't kill me. I really never heard the song before. Oh, One more time. One more time. spin it, rock. Spin it, boom, boom, boom. Hit me, baby. One more time. They said we wouldn't get him, but we got him. God damn it. Legendary RB singer, songwriter, actor. It's Trey Songz in the building. Trey Trax. God damn it. Trey Songz. Trey Trax. Trey, I thought it was Trey Songz. No, Trey Tracks. Tracks? Bro, we got super producer. Okay. Songwriter Extraordinaire. Okay. I mean, I feel like you do recording engineering, mixing engineering. This dude's involved in role. I mean, he's just involved in way too fucking much. He's got hits with fucking Lotto, Cardi B, T.I., Light Skin Keisha, Saucy Santana.

Holy shit, young Dolph City Girls. I mean, The list goes on. Should I keep going? I think that's good. Alright, okay. I think that's enough. We got Trey Tracks in the motherfucking building. Trey Tracks. Let me say one thing. I was excited when he gave me that intro. And then when he said the songs, I was so hurt. I was like, damn. I built you up to break you down. I said, Damn. Dude, that's crazy. Those types of roasts only happen like so frequently. Where like what you're saying about the guests. It's like, it sounds about right. Sounds almost right. But then he wants to be a singer. I said, I don't really sing, but there was someone where you threw in like model or actress, and then the guests' eyes were like, I don't act or like, did you got the right, and then they're like, oh fuck. You know. So yeah, that that was a good one. Nice one. Thank you. Good job. I mean, you must have made that comparison before tracks and songs. It's kind of like, you know, pretty cool. Of course. I should do a song.

Is Trey Song still making music? I think so. Yeah. Don't count Trey Tracks' songs out just yet. I don't know, man. But yo, so technique. Ooh. That just looked like a fire concept, collaboration. It was with Sprite. Yeah. Um, the funniest thing, it's kind of full circle, and I didn't even realize it. How so? So Pete, right? Okay. Um, and mind you, me and Lotto we're consistently. Like, we're locked in. So it's just one random day in the studio. She's like, hey, you want to do the sprite thing? Like, I got this going on. Like, you can knock out the beat. Sure. Yeah. I've heard of Sprite. This little Sprite thing. It's like so condescending. she was like, she was saying it like that, but she was like, you want to do the Sprite thing? Okay, good. I was like, Boom, no, no, no. So, no, because we just be working on so much stuff. Like, we were locked in the studio. So she's like, You want to do the sprite thing? I'm like, all right, cool. Like, tell me what I gotta do. Oh, you gotta flip this beat for this. And it was don't Sweat the technique.

Now, don't kill me. I really never heard the song before. Oh what? What? Now what? Because I'm I don't I don't know. Like growing up, you're from I'm yeah, let me finish. Let me get to it. Let me get to it. Now, look, growing up, I could only listen to gospel music. Oh. So up until 13, mind you, at age 13, at that, I can now I'm listening to hip hop. I'm not really going back to listening to what it was before. No. I'm not checking in there because you know, that's the when you're young, that's the time you hear that song or hear some stuff like that. So up until 13, I could only listen to gospel and Christian music. I could not listen to anything else. So boom, right? Mind you, my dad was a manager that managed all the old heads back then. So it's a whole weird thing. So now so she says, hey, do it. I'm listening to the song. I'm like, okay, I'm making my version of it. Da-da-da-da. Cooking it up. So then it comes out, Sprite drops it, right? Months later. Sprite drops the um the idea or the just a picture of them together.

So I post it, and I posted on Facebook because all my family's on Facebook. So I posted on Facebook, and my whole family's like, yo, what? That's crazy. Two Long Island legends. I'm like, what are you talking about? Like what are you talking about? Lotto's not from Long Island. Wait. They're like two Long Island legends collabing, Lotto on it too. Oh, this is crazy. I'm like, oh, and then my dad, I talked to my dad, and he's like, Yeah, like, you know, our families know each other. Like, he's from Long Island. Like, wow. I'm like, wow, that's crazy. He being Rakim. Him being Rakim. I was like, just for everyone who hasn't heard the song yet. There's a rapper from New York. His name is Rakim. Yeah. He collaborated with a producer pretty frequently. Yeah, dude. I just saw that one. And yeah. And I mean, Rakim's one of my favorite lyricists of all time. And so, like, it hurts me to say that you hadn't. I was robbed. I you were, bro. Like, I was robbed.

Can you please go on like an Eric B and Rakim? like binge? Yes, dude, I need that out of Trey Tracks because I heard that, you know, flip, and like you killed the flip for sure. I think almost maybe that was a strength, like not having heard it. Like if he knew it, he might. have. Just having fresh ears to it. You might have had to flip it a way to like I gotta do it with respect, or like, you know, you might have overthought it. Man, I came in there. I said, I'm gonna just do my thing and did as much as I could. I bet that was a strength. Not gonna lie. And so what? So Sprite had already picked out this sample that was gonna be flipped. So this was just like you're making this song, Lotto. Like find your find who's gonna do it. with you. Yeah, Because you know, we're celebrating 50 years of hip hop. So it was the point of it was to be a legend and the newcomer. Sure. The new legend. Like, yeah. So combining them, and it was um, you know, even just ones from New York, ones from Atlanta, it's two different sounds, and just seeing how that comes together, like that that's what the purpose of doing it was. How do you feel you, you know? Oh, I feel like we knocked it out of the park.

Okay, for sure. I thought so too. I I I thought it was that perfect blend. Yeah, this is what I love about just sampled music in general. And I don't normally sample for I didn't think you did based on the the songs I know you've done. I was like, this is You're a fan of publishing. Keeping your publishing. I barely collab. Sorry, Henry. Sorry, Henry. Well, maybe he'll make an exception. We'll talk about it after this. And he was like, Yeah, I mean, I could see myself making, you know, y'all are both logic pro users. Maybe we could collab. Like, nah, I'm open to it now. We're kind of a rare breed. I'm just saying, bro. He just fucking closed that door shut so quickly, bro. Yeah, but when you're a logic producer in Atlanta, bro, you run into all these producers using FL, drawing in their drums, drawing in their melodies, literally, and you just want to vibe on some shit and play some shit out, and not go from program to program. Bro, stop selling it, bro. He's not he's not collabing with you at this point. We already talked about it. We don't, it's in the works. It's done, bro. It's in the works. Um, okay, but Trace Songs and Henry.

Yeah, Trey. what if we made a beat for Trey Songs? Oh now we're cooking, folks. Now we're cooking. Um, so did you get to meet Rakim by any chance? No, I didn't get to go to the video shoot. I had to dance. Okay, but Lotto was in the video. they had a conversation. There's like a video of them having an actual like conversation and everything. So yeah, that was like over like it looked like a diner too. Yeah, yeah, yeah. They they definitely met that. Okay, cool. All right. Yeah. I just like wanted to start with that because I was like, oh shit. All right, so um put it on the floor, uh, Cardi B and uh Lotto. That was four-time nominated BET hip-hop awards recently. So you it looked like I did my research, bro. I was like, I I knew he was associated with this song in some way, it seemed, but not producer. Were you on there as a writer? I mean, I'm the yeah, how does that work? I'm the the vibe in the room. So I curate the vibe, I make sure, you know, just if a beat drop needs to go, or like, you know, just some stuff like it goes like that. That's that's my thing.

That's what I do, and that's what I bring to the table. That's what I'm good at. Yeah. So I'm you know, whether I'm like, hey, you might need to say this better or do this better, just little things that she needs or whatever, just to help. Cause just instead of it just being her ears, then it's also me. Yeah, so you're like that confidant. Yeah, it's a it's being a producer, it's just people these days equate producer with beat maker, but you're a producer in that traditional sense that you're overseeing the song, you're looking at it as a whole, you're rearranging things, you're adding things, you're taking away. Like, because I was even saying this yesterday, like it's like I might be bringing the beat to the table, I might not. I might bring this idea to the table, I might not. I don't even have to to be a producer, you don't have to touch a beat, like you just you know, produce a vision or produce a vibe. Yeah, I just I I just always wondered with you know, because we haven't really had someone on here. I mean, we we've had them on here, but we haven't talked about this topic in general. Is like there's a lot of people credited as writers on that song, for example, right? Yeah, and so just in any popular record, there's gonna be a ton of people that are like credited as writers.

So it is interesting to know like how that really works, you know. You know, there's so many people that are involved, but like not all doing this very like explicit task, It's not necessarily like If you're credited as a songwriter, you're writing the whole song, like doing something like that. No, it's not that. you could tell go Grizz to use a different snare and you're a writer. Don't tell Grizz what snare to use, Henry. Grizz, that snare is trash. No, no, it's not Grizz. I would never do that, Grizz. It's perfect, Grizz. It's just it's just um, you know, just bringing your music talents to the record. That's what it is. And even like even with a bunch of names on the record, you know, there might be a sample, and the sample might have four or five producers, writers, and other artists on it as well, and that has to get uh also on the record. Yeah. That songwriter. So it's it's confusing. So here's a hot take real quick, though. Okay, yeah. The best producers are the ones that create the best possible song, regardless if you made the beat or not. That is true. Can you put your pride aside, maybe lose some pub to make it the best song ever.

I don't know. So No. Put that in there. It uh thanks, Henry. No problem. Um it it didn't take home a BET hip hop award, despite being nominated for four. Do you think there was one category where it should have won and it just got snubbed? Like, I just need to know like what were your, you know, like all bias aside, or do you not give a shit about awards? I really like I mean I do, but like I'm just happy to be here. Like I'm not gonna lie. I mean, four times. I got the like I because I can remember, so for me, it's like I remember like as a kid, and I'm saying literally as a kid, watching the BET Awards, watching the BET Hip Hop Awards, like, yo, one day that's gonna be me. Like, I'm watching it. So I'm just the fact that it got nominated for four. Like, I don't care if it win one. Does it, like, I'm here? Like, I get to say it. Like that's me for now. Next year, if I don't win one, I'm on my Kanye. I'm telling you.

I would, I'm just so ready for those Twitter rants. Okay. Like when he everyone wanted to know what it would be like if I didn't win. Yeah, if he doesn't win next year, folks, he's gonna be on a fucking war path. All right, and I'm here for it. I'm here for it. I guess we'll never know. I guess we'll never know. That's funny, man. so happy belated birthday to Saucy Santana. Yep. Sauciest. Yep. 30 is crazy. We won't. Oh, I was gonna ask how old, but okay. Dirty 30 for saucy. We're uh we're in our 30s, so just ease up a little bit there. Yeah, he looks like a young whippersnapper, so I don't know. I'm 26. I was gonna say 25. So, did y'all get to celebrate or had too much celebrations? I did too, yo, I went crazy for his birthday. I'm not gonna lie, I had to. Clubs every night, drunk every night. So, just like it was a birthday week, you'd say the whole birthday week. Literally, he had a ball, he enjoyed it from top to bottom. That's all that matters.

What's his favorite club? Does he have a go-to? What is his favorite club. He has his favorite, like pregame spot. Or is that which is crew on Edgewood? Oh, okay. Yep. Um, his favorite club. I don't know where to say his favorite club is because it jumps from time to time. Like, yeah, uh, he'll like spend some time here and then go to another spot, and that's his spot. But like, you know, our cool spot, probably hangout spot, is like sovereign suites. That's where I know I'll catch him. Like, well, I'm just outing him. Damn, that's crazy. Now that the groupies are gonna run up on him now. I was taking notes, I was like, all right, crew, he's pre-gaming. So what, like, you know, we'll pull up with a flash driver. Not 9 p.m. to like, you know, 12 or something. Nah, for sure. Um, so you know, we'll get more into kind of like your journey with Saucy Santana because like, you know, y'all been locked in, you and Lotto have been locked in. But you were most recently at the Georgia State Producer Day with DJ Mark B and Fuck You Mean Records. I just love that record.

name. Fuck you. Yeah, that record label name. You know where it comes from, right? The tag? Fuck you mean you don't know DJ Mark B. Well, I knew that, but where does that come from? That was just his tag forever. Ever. Okay. Literally his tag forever since we were in college, like that's what he's known as. Because I knew that that's where the the label name came from, but I didn't know where that do we know where that came from? KP on the beat, did it? And just did mean you know, just mad someone didn't know who Mark B was. Fuck you mean, and then and then Gunna stole it and made a hit song. So there you go. Fuck you mean. Yeah. Does Mark B get owed some publishing in this sense? That's terrible. Um, so so you know, what was the format of because I saw some snippets, it looked like y'all were like cooking up live. It was you, OG Parker, Mark B, but like a bunch of college kids, like it was so dope. What were y'all doing? Um, it's dope. Well, one, because like I mean, me and Parker dropped out like of Georgia State, right? Everyone's dropped.

My brother who has brought we all out alike. Two stop selling him on a collab, bro. I'm just saying. Don't do it, Trey. Trying to date you by this it might be that. First, he wants to collab, and then you know. Look, it's hard to find a logic producer. bro. It's hard to find someone that we get along with, you know. Okay. Okay, bro. Like, continue, man. He's off, bro. Yeah, no, we dropped out. I'm just saying, I dropped out of Georgia State too. We definitely dropped out. Everyone dropped out, man. Um, and then just being able, like, Mark B called me probably like a week ago He was like, hey, bro, what you doing uh for homecoming? I'm like, shit, I'm gonna be around. He's like, all right, we're gonna do this producer day. Like, you know, those people like whatever they ask for, they get like so. He was like, Yo, we doing this producer day. I'm like, alright, bet. just let me know the details. I'm down. So they sent the details the other day, and then showed up yesterday, and it just the turnout was crazy. I It looked packed. Yo, I walked upstairs and I wasn't expecting, I didn't know what to expect for real. I was just like I probably would have expected like a few guys to be honest. I was just like, I didn't really know what to expect.

So I walked up the elevator, came in, and it was like a whole hallway full of people. So I'm like, Dude. I'm trying to find, I'm thinking classes is still going on because I see students in the classroom to the right, to the left. Yeah, you're like, these guys are going to calculus. 101. Yeah, so I'm thinking they're going to class. And I start to walk through, and they're like, oh my god, you're finally here. Some student. I'm like, yeah, what's up? And they're like, huh, I'm duh-da-da. We're all waiting on you. I'm like, huh? Were you late? Were you? late? No, I was on time. I'm always on time. They were early. They were ready for Trey Tracks and Parker. They're like, yeah, we're we're waiting on you. I'm like, okay. So I walked to the bank. I'm like, Dos, like, this is crazy. Like, what this is insane. He's like, yo, we didn't expect it, but this shit fire, like, this is what it is. So they uh I'm gonna tell you who was late. Parker was late on his ass. Parker was late. He just he's outing everyone. He's outing Saucy Santana's favorite spots. Parker's tardiness. I mean, like, what else are we gonna do? No, but those are my brothers, so I can joke with him. Fair enough.

Um, so yeah, so they started off with my interview, and Mark, you know, me and Mark B was just talking about back and forth. He was asking me questions. Um, students got to ask me questions, and then I broke down a beat that I had made earlier that day, and um just showing them how I did it and why and why is this is this and what I did here and whatever. And then um Parker came, Mark B asked him his questions and everything. We did a question and answers whole spiel, and then we made a beat together, me and Mark B and Parker, and then um I had some students come up and freestyle while we were making the beats. Oh, shit, that was hard. That was hard. That was fun. One dude was going off. We made a beat in 15 minutes, yeah. We really made it in 10 minutes, but how do you do that as a logic producer with FL Studio Producers? You're the perk and hi-hat producer in that situation. Oh hey, move this here, yeah. Do this, add a roll, yeah. That's it. Yeah, but um Did you find it like comfortable explaining? Like, had you really had you done a lot of beat breakdowns and like stuff like this, or was this kind of like out of your comfort zone a little bit?

It wasn't necessarily out of my comfort zone because like I'm a DJ and I've been in front of 18,000 people, 25,000 people before. So like I just know how to talk to people. So I know how to be like, and especially I do this shit. So it's like you can't go wrong when you really do this. Like, all right, I make beats, I do this every day. I'm gonna show you how I do it every day, and I know how to talk in front of people. And so that's just what it was. Yeah. Just because some producers, man, I mean, even if they do it every day, the actual technical stuff to be talking, like to talk it through. I mean, like we, you know, like there were some points, like so. Some questions uh students would ask a question where they're like, hey, um, what do you use for your 808 VST and how do you get it to sound like this, that, and the third? And me and Parker would look at each other like, bro, I'm not gonna lie, we don't really like pay attention to that. We just kind of like use what we got, and we don't use VSTs, but that's what it is. Don't overthink it. Don't you know we don't ever overthink, we just make it happen. That's all it is.

So, no. That's that. I think they need to hear that, man. Because like sometimes even us like overthinking like the content where it's like there has to be this like perfect recipe and like super technical, like layout and whatever. This is the thing the listener is never listening for that or thinking that. No, and that's what matters most. When when we're making music, the person that matters most is the is the um, you know, the fans that listen to the music. Like, of course, the artist is next, but the fans really matter because they gotta hear what they want to hear, what they're paying for. So they're not sitting here listening to damn. I wonder if he used Omnisphere. Like what? Like what he distorted that 808 a little too much. Oh my god, this shit is panning from left to right. This is crazy. No, like they're not it's the song as a whole. Yeah, it's the song as a whole. So as long as you get the job done, that's all that matters. And I think the longer you do take in a VST or sound designing, not to take anything away, not to take anything away from those people that deep dive and create crazy shit. Cause shout out to them.

But you do start to lose some of that big picture when you're so dialed into one little part. Or even like, for instance, right? Like, even like songs right now, or I'll use walk for an example, and I'll use another song for example. Walk was made with seven sounds. Yes, gotta do with Santana. Big as fuck, right? Area codes. you know, with Cali, listen to the song. There's I got hoes. That's it. Like, there's not much to songs right now. Like, the more simple, or even listen to Pharrell's production, like it's not that crazy a production, but the beat is what matters, the groove is what matters, and just certain instruments. There's nothing there that doesn't have to be there. Yeah, it's the it's perfectly like sculpted down. I think you mentioned uh Max Martin in your producer grind interview. Yes. Like three sections that kind of just go from boom, boom, boom. That's it. That's the recipe. That's it. And you want to know what I attribute. This is me not being the producer here. So, like, y'all check me here, and everyone out there, check me in the comments if I'm wilding. But okay, yeah, yeah, he's getting ready.

Jesus. Um, I think producers are oftentimes not working with artists. Yes. So when they're making beats, they're by themselves in their bedroom, and they're making beats, and they want to fill that space with something because they're not with an artist who's actually recording on it. So that's the feedback I hear at least. That's what I said yesterday that there's and me and Verse were talking about this before, but there's a lost art of developing and record producers, artist development and record producers, where it's like, you know, we're in a space right now where I say the artists are being the producers because they get the beat set in their email, and then they gotta figure out how to take it and just make a vision. When it's the producer's job to make the vision of what the song is, because the song starts with you. Yes. That's that's it. The song starts with you, and you know where it's going. So you're supposed to take it to from A to B. So whether it's, and that's what I do, like whether it's I gotta bring hookahs to the studio, I gotta light candles, I gotta bring waters, make sure when the artist walks in, everything's ready to go, liquor's there, you know, the right people are in the room.

I set the vibe, I set the tone because I need this record to go from start to finish exactly how it's supposed to be to be what it is. Like, you know what I mean? So that's what I feel like is missing from producers today. And I guess we can say, like, that's kind of, you know, for beat makers, you know, make the beat, send it off, cool. And don't get me wrong, the world still does need beat makers because I'm not listening to a commercial that's just talking. You know what I mean? For Sure. But this influx of music that doesn't have the artist producing the record or a record producer, where it's just a beat gets sent to the email. Yeah, they rap on top of the beat. And it just isn't. And they call it a day. That shit is trash. Can we all agree? We can agree, man. That is not maybe you get like a lucky one, but for the most part. The world needs more record producers. Yes. Amen. No, and I mean, I I think like, you know, I met Henry because my friend wanted to record at his studio. Like it was literally just, hey, my homie wants to record music. Does anyone know a studio he can record at? And I got referred here.

Right. And that's something I will say about, you know, what you do as well, is that that vibe setting, right? It's like, dude, I mean, having papers for them, having freaking extra weed for them, having candles lit, having the lighting that you've spent more on lights. Oh, I know this artist doesn't like blue lights. Let me make sure the colors are. I had presets for every artist's favorite colors. I got this vibe. Yes. Like I knew you drink tequila. What did we have in the freezer? Literally, like, and then even down to that. So another point on top of the vibe is also, and this is what I said yesterday in the um the producer day thing, is that you have to be more of a friend. As a producer, that's the that's where you get a plus up. Like, that's where you get one up on everybody else. Because, like, for instance, Santana is my friend. I could call him about anything, but we also gonna make songs and hits. But he knows that I'm there for anything he needs. We'll go out to the club, we'll go party, he'll call me with his problems or whatever he gotta do. Cool, Lotto, we always outside.

I'm at Thanksgiving. Like, that's my friend. You know what I mean? So that makes the difference as a you know, a producer, as a producer trying to work their way in with artists, like that's my dog. So I know I'm gonna always make music with them. You know what I mean? Instead of damn, I want to get this beat to Megan. I I'm not, I don't know her yet. Eventually, I hope we could be friends to make music, but I know her and Jew are locked in because they're homies. So that that's you know, that's the difference between each producer. Bro, this is just relationship building 101. Like, listen the fuck up. A lot of people miss that part. You can't just go to work and work with someone and then leave and expect that you're gonna be like top of mind for them the next time that they like have something going on. Like, no, you know, you might've showed up and done a great job, and like they're not gonna like speak negatively about you or anything, right? But like this is relationship building one-on-one. This is the same shit that I like we have roles, right? The reason why we have fire fucking content is this dude right here.

The reason I'm just gonna be honest, the reason why we have relationships in the fucking industry is because of me right here. Yeah, right. That's because I'm checking on people when I don't need anything. I'm fucking wishing them happy birthday. Yeah, I'm asking, like, yo, saw you were in New York. Like, how'd the trip go? Like, saw you were meeting with this label, how'd that go? Saw you on this festival, like how was your show? Whatever. Like, that shit goes a long fucking way, man. People don't really realize that they just kind of like, I'm gonna just one off and just you know, my work don't speak for itself. No, your work doesn't all the time speak for itself. You got the most fire beats. I could walk in and play a beat with four sounds on it. I promise you, Santana gonna be like, all right, Trey, what else you got for me? Yep. Because everyone's good, bro. Yeah. Everyone's like everyone, there's a all there's a podcast out there that's just as good as ours. It doesn't fucking okay. Thank you. I like I like where you're I like where you're going, but like there's someone who's got just as fire beats as you. Sure. There's someone who can set a vibe like you, maybe, right?

But well, but you're going, no, but I'm saying, but I'm saying, you know, going that like extra mile, man, and really taking it to that. That's a separation. And especially art, man, especially art. Yeah. Art is personal as fuck. So like that's that and that's the that's what I'm trying to get at is that listen, artists to do what they have to do, they have to be vulnerable as fuck. And they a lot of artists can't be vulnerable about around everybody. They can't, hey, let me just try to sing this note in front of everybody in the room. So if they're comfortable with you being there, it makes a whole big difference. You know what I mean? Yeah, like some artists not might not be able to sing and or never tried to sing, and they're just like, hey, let me try this, but you're in a room, they don't feel comfortable doing it in front of you. Now being close to them, it makes a whole difference where you're you know, coaching them on rather rather than a random person coaching them on, it's like, I don't even know you, like you might you know be coaching me on and make fun of me later. Like it's like being comfortable enough to experiment. I think I think the best art happens when you're comfortable enough to experiment. And and if you're just working with someone for the first time, a lot of times you you kind of, you know, you want to make a good impression.

You might stick to what you know, what you're good at, and you're probably not like breaking any ground with that person. until you get to know them. that's what builds the trust. Trust. Yeah, I I don't know if it's like an entitlement thing where people just think they're entitled to some degree of respect and comfort, right? I I don't know what it is, really, but I I do agree that the majority of people, and this is what sets the like like super producers and the like you know, superstar artists, like this is what sets them apart is understanding like that level of relationship building that it takes. Learning how to work people, like, and that that's really the main basis of it. Learn how learn people. And doesn't and like, doesn't saying it that way like sound like don't take this as like you gotta work people in the fact that like try to use them. No, no, no. Exactly. But it is like human skills, like interpersonal skills. Like these are real things that you need to learn. Like one of the things that I really take pride on that I can do is give construction construct what is it uh constructive feedback? Constructive criticism.

Yeah, sorry. Yeah, yeah, constructive criticism, right? And I was taught that in high school. That was one of the main things my music theory teacher taught me is like you need to give criticism properly, point out the good, and then follow up with the change. So it's like, I like how you did this, but but let's see if we try this, if that would be better. And that's like one of the things, like when we say, you know, you gotta learn how to work with people and learn people, that's one of the things that makes it better, you know. That's a plus. For sure, especially because in your role as the producer, once again, there's tons of superstar artists and even you know, just general artists that do want to be involved in the production of the record and help take it from A to B, like you said. But generally speaking, the producer that is supposed to be your job. Oh, for sure. That is that's why you're called producer because you are producing this song, like you are making it what it is alongside the artist, right? But so I you know, I I think that this is something I've tried to work with you better on, to be honest, is like we we have very different roles, right? Like, he's not trying to tell me how to do my job, I don't want to tell him how to do the content job, but I have an opinion on things, just like he might have an opinion on how we're going about certain, you know, things business wise, right?

So I've tried to do that with you, where it's like, dude, you're doing such a good job. So I do need to like point out like if I have an opinion on something, I need to be like saying, like, okay, this is fire as fuck. Because sometimes I don't say it's fire as fuck, I just know it's fire as fuck, and he knows it's fire as fuck. But you need to say it. You have to say it. My teacher made sure you did. You have to have to say it. Yeah. If I'm working on a clip for like two hours, bust my ass. I feel so good about it. And I send it to Ben. He's like, hey, I think the title text could be better. I'm just like, oh my fucking god, dude. No, but like, come on, I need to, I need to, I do owe it to myself to suggest improvements. But I think to your point, you have to like just you can't just in your own brain acknowledge, like, oh man, like all the rest of that shit was fucking A1. Yeah. But like let me point out. There's one little part. Like That's gonna fuck somebody up. Like, I'm trying my best. Like, no. Like, that's like you hearing a whole verse, like being recorded by you know, Sazi or something, and then being like, that one part, like, if you try this versus being like, yo, I love the way you did. You snapped on this part that you went crazy here. Yeah, hey, wait, let's try this on this one part real quick.

Just try it for me. All right, I'll do it. Yeah, it's a whole different reaction. It is, I love the flow, I love the lyrics. Try the like the tone you could amp up. maybe just a little more bite. Yeah, and it and it's nothing, it's literally just the approach of do like the result that you're trying to achieve by saying what it is that you think could be done better. Yeah, that needs to be said. Because to your point, like we had a clip go crazy viral. Probably one of our first like super viral clips. Which one? The the uh yes men are ruining music. Oh, yeah. So basically, we had this clip with this artist, Beja Rodriguez, who's, yeah. Yeah. yeah, she's super dope. Um, she talked about how like yes men essentially, like people that are just constantly saying, like, yo, this is fire, yo, that's hard, yo, that's hard, oh shit, that's dope, that's dope, whatever. Toxic. And never saying anything valuable. Like nothing is just always good all the time. Like, get the fuck out of here. Like, even Drake has people around him who are like weighing in with constructive criticism, constructive feedback. Well, okay. Sorry. Oh my God. Stop doing that.

Jesus. But yeah, I mean, it's it's exactly that of like, don't be that, but also to your point, like know how to deliver the message, you know. Like it has to be delivered in the right way. That's all it is. Or else it's it's just, it's gonna, it's A, gonna go in one ear or out the other. Literally. And then they're also gonna not trust you. And then also, even to your point, like as far as the yes man, if you're not a yes man all the time, they might respect you more. Yeah. And it might not be at first, though, probably, right? They might be like a little they might be like, oh damn, he hating, he hating. Or eventually it might be like, you know what? He might be right. Let me try that. Because there's been times where I've had like people be like, yo, like, nah, I don't like that. I don't like that. Take that out, take that out. Like, da-da-da. But when it came out, like, and um, they'll be like, oh no, I like how you did that. And I just, you know, it's like just trust people. And at the same time with me, like, I might be like, hey, I don't fuck with that, da-da-da.

But when it came out, man, you was right about that. I trust it. So let me ask you this like whether it's Lotto or Saucy Santana or any of your regular, you know, artist collaborators, like you're clearly speaking your mind and giving the constructive, you know, criticism that we're talking about. How often does it come to a point where it's like agree to disagree? It's like Lotto's gonna do well, you know what I mean? Like, like, how do you take it when it's like they're just disagreeing and maybe you don't see eye to eye? Like, how do you resolve that type of conflict? Would you say it's also I don't I don't want to say the artist is always right, but it's like you gotta pick your battles. I'm not gonna sit here and fight you on this when we have so much more work to do. Like, I'm gonna say how I feel. And I don't go back and forth. Like, that's my biggest thing about anything. It's not necessarily with them. I'm just saying, period in life. Just in just relationships in general. Yeah, I don't go back and forth. Like, I say how I feel, you say how you feel, we come up with a compromise. If we don't, that's it.

And in a healthy creative relationship, I would like to think they would they'll at least try what you're saying. Right? Like, let's try it. Yeah, and then let's give it a couple listens. There's been times with Santana, like where we haven't seen eye to eye on a record, and it just, you know what? If that is your record at the end of the day, and that's another thing that people need to understand. It's the artists have the full face of the record. So if they take any blowback, it's not nobody's gonna be like, well, damn, I've had that before, where they're like, oh, somebody needs to switch out Trey's Beats, but tweet Twitter is crazy. Twitter is going on. Twitter does not play like, but for most of the point, like most of the time, it's like I actually have had this. I thought about it. I was like, wait a second. it's rare though. Wait a second. Yeah, but most of the time it's the artist that, oh my god, this song sucks. Let's blame the artist. Like, yeah, nobody, like the AR doesn't really get blamed, the producer doesn't get blamed, None of the songwriters. Like, it's really, but we feel it. Yeah, we'd be mad when we see that, but it's the artist's face at the end of the day. The artist chose to put it out on their price.

They could easily, the producer can easily go work with another artist. Like, you know what I mean? Yeah, there was there was the thing they forget. Yo, who was it on here? Backwoods. Do you know Backwoods? Yeah, I just met him. All right, so you know, he's obviously catching some momentum, he's got some good motion, you know, super dope producer. Go check out his interview on the one more time podcast fire episode. We'll put the link right here. He said something exactly like this, right? He said, Producers are like cats. They got nine lives, or like they can basically like an artist, like, bro. If you make. You can be met with somebody else, because you start the sound. Yeah. I have the sound with Santana, I have a different sound with Lotto. Yeah. I have a different sound with Anne Marie, I have a different sound with a number of different artists. Like, that's what they forget with an artist. It's like you got a real slim window. Yeah. And mind you, think about how many artists really like really can live in this shit, bro. Oh, they pop off maybe one hit. You're lucky if you get one hit in this shit for real.

Yeah. Think about it. One hit in this shit. Matter of fact, what's the what's the saying? It's like 140,000 songs are released a day on Spotify, right? So, and 60,000 of those songs are released by major labels, right? And there's only what is it? A top 200 on Spotify and a top 100 on Spotify. I mean on Billboard. Yeah. To be in that window, and that's what we consider successful artists. You know how hard that shit is? Right. Yeah. Oh, you're fucked. It's fucking crazy. Yeah. Like the odds are astronomically against you, bro. Just imagine being able to do it over and over and over. So, like I said, like it always is heavy on the artist than it is everybody else. For sure. Well, so you just actually gave me a perfect segue. So, Henry, there was some quote that you wanted us to bring up. It was basically about like Yeah, I was like, okay, because I don't know where it is in here. So I don't want to butcher it. I don't want to butcher it.

I don't want to butcher it. I don't want you to either. Okay, thank you. It was uh in your Producer Grind interview. Obviously, I watched that. I loved it That would be so good. Um you said that you create, you make beats for artists, but you don't necessarily take time to develop your own sound. And I thought that was interesting, because um some producers are the opposite, you know, and it got me just kind of wondering about like the pros and cons of each. Cause I think versatility is important, but I also think there's a lot of successful producers who have kind of like broken ground by having a style. And artists can go to them knowing like kind of what they're gonna get. You know, maybe it's molded toward the artist a little bit, but it I it it just kind of got me wondering like, do you think that that's a good way to do it? Everybody has their own lane, you know. I can't speak on anybody else's lane, what that looks for them. I know I mean lane and vision, let me say that because my vision that I'm going for, I want to be the Quincy Jones of this shit. I don't want to settle for, oh, I had my own sound and ran for 10 years, 12 years, even 20 years.

No, I want to do Frank Sinatra, Michael Jackson, we are the world, and keep running and have longevity in all of it. You know what I mean? Frank between Michael is completely different. You know what I mean? Like that that's insane. So that's what I want to go for. That's why I never said, oh, this is my specific sound where I'm only sticking this BPM range and this, I'm sticking to a four count. And you know what I mean? I'm not doing that. No, it's not happening for me because I want across the board of genres and just dabble in literally everything, whether it's pop, hip hop, RB, country, like it doesn't matter, Latin, like I'm I'm there. Like that's what I want to do. And so that's good for them. You know, you everybody got their own lane. I'm not gonna speak on anybody else's lane. Like that if that's what you want to do, cool. I just know for me, this is that's what works, and that's what I want to do. Cool. Yeah, I just thought it was a cool like mindset shift as opposed to some people that do want like it's almost that that concept of just like, do you want the artist to adapt to you, or are you gonna adapt to the artist and like build a world that's very specific and like unique to them? And it sounds like you've kind of taken that approach where it's like, let's build lotto to be fucking Lotto.

And like, yeah, Trey Chax is a part of Lotto. And let me be clear about Lotto, like Lotto's a different kind of beast. How so, How so? That's a Fucking monster. Let me tell you. That girl has been rapping her ass off, and she's a student of the game, right? She's a real student of the game, and she really loves this shit. She has a passion for this shit. So it's not like anybody made her, right? No, it's a bad choice of the city. No, no, but I'm saying, like, she knows what her sound is. So it's also so it's just like, and any of us producers that are around her are just adding into what she can hear. Cause she'll tell you, like, I don't really like this. This ain't the flow. I need something more like this. You know what I mean? Like, she's very much on it. Uh when there's our other artists that are like, Yeah, I don't know really what to do. Like, can you help me? And you develop the sound. You get different artists, you know what I mean? And you gotta that's why I say you gotta like be particular to each artist instead of, you know, oh, this is just the beast that I make. That's it.

Do you want to be like one of the producers who has a big brand, like a Metro Boomin who could go on a tour himself? Yeah, no, I definitely I definitely want to start touring on my own, hopefully soon, honestly, because I've already been doing tours and shows. Like, yeah, we just did the Lizzo 's tour, we did Lotto's tour. I've been touring since I want to say 2017. But to be a producer, touring. Oh, yeah. For sure. You gotta be that guy. I'm definitely gonna produce her album soon, hopefully. Like, I'm I'm working too. The track season? Yeah, definitely. Definitely, you know, even down to the producer label, like my own imprint working on that now. So um that's all I'm definitely working towards. I'm not, like I said, I'm not in this shit just to be here, made my couple hits and just gone away. Like, no, I'm trying to be a household name till I'm like eighties, where it's like Clive Davis in this bitch type shit. What what's the most um out of the ordinary artist that you have produced? Because it sounds like you know, Frank Sinatra, to your point, is very different than Michael Jackson, right? So, like, is there an artist yet that you've worked with that is kind of left field from from the like hip-hop world?

Yeah, from like the hip hop or RB world, Trinidad? Trinidad's different. Um, did a whole lot of Trinidad Cardona. Um, who else? Um I had this uh Israeli artist um named Adi. I worked on her stuff. It was definitely different. Um I've been working, like honestly, I've been working with other artists. It's just not a lot of that stuff has come to the forefront. Yeah. So it's not been like as big as my hip-hop stuff, but I've definitely been in those rooms and just been working on stuff like that. So cool. So, you know, let me ask you this. And don't come at me as if I'm general as if I'm throwing saucy Santana into this bucket. But a lot of the artists that you work with are female. Yeah. You've been pretty successful working with women artists. Like, let's just, let's just call it what it is. well they're running shit right now. I mean, that that too. So like, you know, do you think there's a reason Throw Santana in there? We have these conversations.

Okay. Um, so it's like I saw this lane before anybody else saw this lane. Damn. Like, I was like, yo, nobody's making the the because I'm a DJ. DJ. So I'm like, I'm DJing, I'm like, yo, all this trap shit is coming out. And every and every girl would get mad when I'm playing, I'm playing the house parties like probably like 2015, 2016. Every girl would get mad when I'm playing a whole trap set. Because it they can't dance to it. Yeah. So my whole thing is I want to make music to make people move. We don't have like music that makes people move anymore. So that was my whole thing walking into it with the girls because it's like, okay, now we can make regular songs, not necessarily just specific twerk songs, but regular songs that girls can vibe to in parties. So I'm I'm seeing this, you know, ahead of it becoming, you know, this year everybody's like, oh, the girls are running shit. Like, no, you guys just had to see it before they've been running shit. You had to pay attention. That's what it is. Damn. Yeah. Now we realized it. And that was all a response to like real life.

Yeah, watching these girls get mad at me for DJing and playing trap shit for like 30, 40 minutes. He's like, I've had enough. I've had enough, God damn it. I literally watched it happen. The DJs really figured shit out before anyone. Oh, for sure. They're there. We we just talked to Mr. Hankey about uh about this exact thing of like how much of a leg up on the uh you know competition you have as a producer if you have DJ experience. Yeah, and and mind you, I started producing and DJing at the same time when I was like 12, 13. So God, that's crazy. It was like, I was so jealous. Nine years later, yeah. I got into it. Yeah, I'm leveling up from both, like one by one by one. Like, this is all right, now I'm doing clubs. All right, but now I just produced for so and so now I'm touring. Now I just did this. You know, it's going up at the same time, so I'm just feeding off of both. I'm, I don't know. I I would say, yeah, producing is I'm in my bag right now, but soon it might be DJing where I'm doing my own tour, you know. Yeah, on the Lizzo tour, were you DJing for who?

Santana. Okay, so she was opening, or he was open, excuse me. He was opening. I opened a couple shows actually by myself, which was insane. I don't know how that happened, but did they did they like throw that on you last minute? Were they like, yeah. Oh, oh Trey, by the way, like our opening DJ. Are you having to like dance? Got talk on the mic and show? Oh, yeah, I'm playing. I'm trying to fucking turn up. I'm in there playing uh Harry Styles having a ball. Yeah, because it's a Lizzo crowd. You gotta adapt. Dude, I saw some clip. I think that's probably one of the shows you had to do that. Yeah, yeah, yeah. Yeah, there was like 20,000 people in there, and you're just like, Yeah, by yourself. I'm like, I'm used to it. I know, but I was like, what artist is about to come like I was like, this is just me. Is this a Trey Tracks show? I was like, what the fuck? Why are so many people in this venue? 20K, baby. Yeah, Oh Man, that's fire. Um, so you know, just just to speak a little bit more on Saucy Santana because, like, obviously, you know, you've been a very integral part of you know, his come up, blow up, like the records that have gone crazy for him have oftentimes been Trey tracks produced, right? Um, so I mean, he's a fucking polarizing character in the music scene.

I mean, he he was something that you know the music scene, obviously, in addition to like Lil Nas X or something, right? It's like he was something that the scene hasn't witnessed before. Not a lot of gay rappers, and and it's not just you know, sexual orientation, flamboyancy, maybe the it's the image, it's the like just no fucks given attitude. It's the whole thing, it's not about just being you know, sexually oriented. Yeah, it's not just I'm a gay rapper, like that that you know, whatever. Uh the whole package of just saucy Santana is fucking nuts, and it's it's you know, once again, people are gonna have opinions. So, like, there's a lot of people that rocked with him and they supported him. Uh there's a fucking lot of people that weren't exactly thrilled to see trust me. I had a yeah, like how did that impact Trey Tracks being in the vortex of Saucy? So it was hard in the beginning for me, very, very hard. I even had a songwriter call me for over an hour and tell me how I'm destroying the music industry. Whoa.

And that was insane because this was like this is when me and Santana really started like getting the ball rolling. And I'm he called me and said that. I'm just like, that's insane. Cause I'm feeling good. And mind you, this is after this the project just dropped. I'm like, I'm feeling good about it. I'm like, yo, I'm seeing the responses all over here. Everybody's loving it. And he calls me and says that for an hour, just breaking it down how this is wrong, how it's gonna fuck up everything. I'm just like how like what was like he just on some dickhead shit, bro. Like it we don't have to get into detail, but yeah, he just tell me that I'm wrong for pushing this image and and pushing it in the industry. And honestly, like outside of that, like there's been people that just didn't necessarily want to work with Santana in the beginning. I was always open to him because like I mean, I don't care. Like you you or you, I'm me. And he was cool as fuck when we met. Like when I tell you, like, he dapped me up, was excited to meet me, like, just cool as fuck to be here, wasn't a dick. He eventually became a fucking dick.

But that's what viral songs do to you. No, like people get comfortable. That's the funny thing about it. Success does. If we're nice to each other, we look at each other like why are you being weird? Right? Or like some something's up. Yeah, something's going on. Like why you're being so nice, Trey. Yeah, exactly. What's going on? Like, we're looking at each other, uh so with him, he's just always cool. And that was in the beginning, and then after that, we just built a crazy brotherhood to where it's like about anything. I just crashed my car. Hey, this just happened. Like, hey, I need your help with this, whatever. It doesn't matter. Like, that's my brother all the way down. So that with the whole like, you know, people not loving him. It's like, I don't care because one, there's always gonna be people that's gonna love you somewhere. There's other people like you in this world. It doesn't matter. Two, he's cool to me. So that's it. Boom. Had you ever met anyone with like his energy and just like I don't know, man. No, he's one of a kind. Dude, he has to be, right? He's

crazy. Because I've heard you say in other interviews, like that's not uh like online shtick. Like, this is Oh, no. In real. He's really like that. If I were calling him right now. I swear to God, it would be insane. It would be he let's do it. Yeah, let's do it. Yo, fucking y'all got to see, that's tight. They got the location on. Oh, God, that's bro. He's probably a crew. He's in the club right now. He's probably at a crew in the club. He's outside of clubs. Oh wow, yeah. But I mean, so yeah, I I definitely heard you say that where it was like, no, this dude is just he's exactly what you're getting public image wise. Yeah. No, 100%. He's not playing a character, cutting it like it's no, all right, cut and it's going off. Like, no, what he is, but at the same time, let me say this as well. He's also a human. So, you know, there's some days where he's on 10, and there's some days where he's on zero, and a lot of people don't understand that. They kind of like just think he's always on 10. It's like, bro, I be going through shit just like y'all. Yes, that's my personality, that's how I am, period. But some days I don't want to be bothered, and a lot of people don't kind of get that part too. for sure.

Yeah, so we had uh Sean Kelly on here, who's uh a uh you know, video director, he's like Larry June's childhood friend. Like they started the you know, free minded together back in the day, and he talked about Lotto. Um, he was shooting a video, and Lotto, I think, was a featured artist, maybe on the video. I can't exactly remember the story, but basically, he alluded to like Lotto's work ethic from just an early on. Like, this is like when she like she was still mulatto, of course, and this was like early, early, early mulatto. I think all my friends are fucking crazy. Yeah, like she's like the way we work, and like that's just how we are wired, and that's why I think we all like click is because we just wired to just get it done. Like, let's do this. Like, and there's no like, yeah, we have our off days where we chilling, but for the most part, it's like if you up, I'm up. Let's go, let's get to it. Like, I think she was the feature artist on the song, and the main artist, they were having trouble like getting them in place for scenes, and she's there, like, you guys need me for anything else. Like, what are we doing?

Literally, she was there until like 6 a.m. at a video shoot. Yeah, she wasn't you know in a scene until like the last one. That girl is an inspiration, yeah. Even just to me, like seeing my sister work like that is just crazy because it's like I ain't got no excuses. Like, yeah, and it's knowing like where things were before to now, like, and mind you, I've said this before. Like, I remember her recording in the back of some shop type shit. Like that's when we was recording, but to see where it came now it's kind of like a whole different, like it's just a bigger respect where it's like, damn, bro, like nobody has any excuses. Yeah, it's crazy. I was just talking to Henry about I was listening to uh a song Too Fast with uh J Rock, Anderson Pac, and Lotto's on it. Yep. And I was like, oh my god, Lotto is just on every fucking record right now. Like it's just it's insane, right? Like, you know, Peaches and Eggplants remix. There's about probably like seven remixes dropped this month. This year. Yeah, we did boom, um, Freaky Tales, yeah, don't play with it, uh, the Larry Rock, DeVito, uh Unavailable, um, the Chanel

Janelle Monet just dropped. Okay. Seven. Seven. That's just a shit ton of shit, hard. It just doesn't stop. Yeah. And so, you know, we did a uh a uh female rapper draft. This is like months and months and months and months ago at this point. It I don't know, borderline could be like a year ago. I don't even know. You remember where she went? Which like number in the draft? I don't know, but I picked her. So, like, shout out to me because I had the fucking vision, just like Trey Trax did. I had the vision to know where Lotto was going. Okay. He picked like Doja Cat in the same round as me. And I was like, Well, I was like, yo, Lotto, I I I basically prefaced it with this rapper's at the top of the fucking charts right now. Cause she had just had like her biggest record. I can't even remember like what her first yeah, exactly. Big energy. That was on the radio. It was going nuts.

I was like, she's at the top of the charts right now. Like, you know, I'm picking Lotto like for my you know X round pick, right? And the comment section being like top of what charts, like fucking Lotto, like what the fuck is this? That pick has aged so well. Like, oh my god, like because think about it, right? So to the point, right? What charts, right? Yeah. Not only like I just named a bunch of female features that she did, yeah, but also male features. You just said um, yeah, J-Rock and uh Anderson Paak. Two two guys on one record, like you know what I mean. Like, she's killing it all around. Yes, exactly. And and the nudie, yeah, you know, Peaches and Eggplants one, exactly. I mean, dude, she just it's been awesome to see. I'm not gonna lie. Trust me. Think about how I feel. Because I think she's barred the fuck up, too. But it's also like this girl can spit. Oh yeah, for sure. For sure. Dude, She is saying something. That's why I said she's a different monster. And her delivery, dude. Like the delivery.

And like I said, she's a student of the game. She she really pays attention to every single detail. Even if it hey, nudge that to the right. Wow. Even like by a small of that. Hey, nudge it to the right. Nudge it to the left. No, still nudge. Come on, keep nudging. Oh, she's engineering. She's the shit. bro. She's tapped in. Damn. She's she's really locked in that deep. Who does she credit as some of her like favorite rappers or like Gucci? Yeah, female Gucci. Oh man. Sure. I saw uh shout out Ray Daniels in the Gods show. Uh I saw him and his uh co-host and Dina Marto, who we're about to have on the podcast, and then Juju McClain who we've also had on the podcast. They were debating T.I., Gucci, or Jeezy, who has been the like ultimate trap rapper. Who would you say? See, and now now I'm biased because I I lived in New York, and again, you know, I couldn't listen. But just from my standpoint now, well, from growing up, I would say Gucci. To be honest.

Yeah. That's just how that was Juju's. Like TI only hit me, by the way. T.I. only hit me when he hit mainstream. When I was in New York, I only heard of T.I. when he was like mainstream. Oh, yeah, this guy has a TI placement and he didn't even pick him. Gucci didn't tap you for a record, did he? No, no, no, no. Then why do you want to redo your answer? I'm kind of doing what he's doing with Gucci. TI, yeah, T.I. was actually the first like rapper I really listened to. My cousin played T.I. like Top Back way early on, picking me up from like summer camp and shit. But Top Back is like not his most trappiest. No, it's more mainstream. So that's the first song I heard. Yeah. Back up in New York. So you know. what I mean? He also made the trap music album, which is hard to like, not gonna take that away from him. But yeah, for me though, Gucci, I just listened to way more Gucci, bro. And he's always been that guy for me. Just the mixtape run that he went on is just unbeatable, bro. The sound, like coming up, the story was just Zaytoven. I mean, DJ Byrne won one more time alumni is is unbeatable to me. But all three, man, you can't take I don't think Atlanta is Atlanta without all three of them, though.

Yeah, for sure. Yeah, I just still I think it's the mainstream versus maybe Atlanta side of it, right? It's like outside of Atlanta, I don't think anyone's picking Gucci. I don't think anyone is picking Gucci. Over T.I. and Jeezy. Like I just don't. that's what I'm saying. I don't think so, man. T I and Jeezy went way more mainstream. I know. That's what I'm saying. So if we talking trap, yeah, it's like mixed tapes and grimy shit. That's Gucci. I know, but still, like, you know, that that's where they get thrown in. But yo, Henry. Just real quick, female rapper draft. You took Missy, I took Nikki. You took Kim, I took Lauryn Hill. You took Baby Tate, I took Doja Cat, and then you went Lotto. Yeah. So I love Baby Tate. We should do, we should do a redraft though, maybe. And see, like, because now I don't know. Yeah. Shit's changed since then. That was a while back. Trey Trax. Who's your starting five of uh female rappers? Have you had female rappers? Um gotta have Lotto. Come on, bro. I mean, can I say all five? Lotto. Sorry, yeah, I just jumped the gun.

I know, bro. No, I'm saying all five lotto? No, I'm playing. I was like, that's a ride or die producer. That's my dog. Nah, for sure. But yes, starting five, female rappers, Trey Trax. Who I'm gonna say. I mean, we'll put Lotto at one. Oh, wow. You did it. Start at five. I'm I'm kind of just I don't know, I'm biased. I'm very biased. I'm just fucking with what's going on right now. That's fine. You know what I mean? I'm really drawing a blank. Ever since 13, yeah, you've never been able to look backwards, huh? That's what I got. Any music that came out before he was 13, he's never heard it. I don't know. what's going on. Unless he has to make a song for Sprite, he's not listening to it, bro. He's not listening to it. Yeah, unless Sprite is behind it. All right, he's gonna really gonna pick all Lotto. That's acceptable. Nah, I'm fucking with sexy right now.

Okay. I am fucking with sexy right now. She's she's doing her damn thing. She is. I actually, I mean, is there a Trey Trax sexy red record in the works? Because I don't want one. There needs to be, bro. For sure. Like I do fuck with the city girls. Okay, yeah. I I look at I look at the impact that they've had. Like I look at when with artists, I like looking at their impact. So like you did the Shisha record, right? Yeah, I did Shisha. Yeah. So I that's why I fuck with City Girls. Um, or just even like what they brought to the culture, like they just came out swinging. Like you know what I mean? Like they disrupted, man. 100% missy's on the list. I'm not even doing the order, but that's fine. Yeah. Yeah. Missy's 100% on the list. That goat, like for real. Good. Like and who's my last? Let me think. So yeah, we got Lotto City Girls, we got sexy red, we got Missy Elliott. Ooh, this is You can put Cardi on there for sure. And Cardi. I like how Cardi, because I was I know Bodak Yellow word for word. for word. So yeah, I mean I definitely think she's hard as fuck.

I think to your point, like all of them were disruptors, man. Like they changed the game. Yeah. That's what I Like whether you like them, actually. Yeah, that's what I like. Yeah, like you know, whether you listen to their music regularly or not, like that is what it is. But you can't deny the just game changer like aspect of all those artists, you know? Period. For sure. Well, Trey Trax, we could talk to you all night, but Henry Actually, before we do that, I wanted to, real quick, just ask about two songs. You've never done this, by the way. I just want to because you talk a lot, so I don't wanna ask you a couple questions. Gotcha. It's true. It's true. Uh-huh. the Madonna record, just real quick. Like, did you have any part of that? How did that happen? Yeah. The remix? Or it's remake? I mean, because obviously she did Material Girl. Um, but yeah, just because you know, Material Girl with Santana and you know, Madonna did the material girl, they just put it together as a collab, and you know, I recorded the first Material Girl and everything. Um, did he make that song? And then they were like, oh shit, like they both have That was like a mashup. yeah.

I believe it's kind of like a mashup. But do you think you did that like with her in mind? Like maybe that was planned. You didn't hear the original, like beginning of Material Girl. The beginning of the original beginning of Material Girl has Madonna's Material Girl playing, and nobody knows that. Santana had me put it in. I said we couldn't do this because you know we'd have to clear it. But in the beginning, it says we and we are living in a material world. I swear to God. Okay. So, like, do you think his plan though was to like reach out to her, maybe? Or was it just it just kind of happened worked out that way? I swear to god. Literally, that's exactly how we started it off. This is how I started off. I swear to God, literally, that's exactly how we started it off. But I don't think his nobody plans for that. Madonna's out of here. Like, when I heard Madonna was gonna get, I remember when they called me, like, hey, bro, like we finna get Madonna on this record. Like, it's insane. Man, whatever. Like, what?

the fuck? Because they called me and said you need to make a version for both of them to get on, like have them both in mind. I'm just like, how do you even do that? Like, because it's a new beat. How? Like, man, I but when it actually happened, and I was like, oh, so this is real. So I got a song with Madonna. Like, that's kind of crazy. Bro, This is one time where you've actually done better research than thank God. Like because I saw the Santana one. But I didn't put two. I didn't know I didn't see the I didn't put two and two. Yeah, so wow. Dreams and Nightmares comes on, and you know, when he says, I did shit with Mariah, I'm always I did shit with Madonna, like that's me and Santana's thing. Like that's crazy. That's insane. I got Madonna, and then I have Cardi, and then I have T.I. I mean, yeah, that's right. Like, you could retire now if you need. That's what somebody said the other week. And I'm like, hey, hold on. You hear the thing about leaving an imprint. Like, yeah, come on, he's in the long game. He's like, I want impact, man. I mean, I'm like, that's impact. Jesus Christ. And then before this last section, just juice was like a huge song for me, bro. Fucking child Lil Don.

You don't know about juice? Do you know juice? Of course. And I know that you were fucking like at a lunch table making this beat or something. If you want to call at least this note this line now, come on, man. He's just talked about juice like before, so I didn't necessarily, you know, How did that. You didn't say how you didn't say how it happened, though. Just a real quick, like real quick, like I woke up. No, so basically, I was, you know, making beats and everything, and I would just go on Twitter and I would type in send beats too and put at gmail.com because that's how everybody wanted beats. And I would make I had a notebook full of like 300 down the line of emails. Database. Every day I would literally send out emails. Boom, boom, boom. Everybody get four or five beats every fucking day. Yeah. And then out of nowhere, it's Thanksgiving, and I'm laying in my bed. I wake up at like 6 a.m. and I just checked Twitter for my name, just Trey Trax. I always check in, nothing comes up. I check it this time. I see a SoundCloud link, Juiced by Lil Donald, produced by Trey Trax. Hard. Like, what the fuck is this? Like, I've listened to it.

I'm like, somebody stole my beat. So I immediately tell my dad, like, yo, somebody stole me. Something like, you know, I'm checking it the whole time I'm on my ride to Thanksgiving dinner, like just looking for it. I end up instead of like, you know, getting hype, which a lot of producers do when they get um, you know, their first beat taken or whatever they think is taken or whatever. I was just like, let me calm down and reach out. I reached out, he was like, he started fucking with me. I'm like, all right, cool, cool, cool. Next thing I know, shit. Juiced is juice. So it was so it was Lil Donald that tweeted it. Yeah. Okay. So like you just were like, hey, man. Like he's like, I made this beat, like, oh, that's cool. Like, yeah, that's fire. Like, we're finna go look crazy. Send me some more shit. I'm like, all right, cool. So now we locked in, and I'm I didn't even ask for no money up front or whatever until like probably like six, seven months later, they it was it was a whole thing. That that was my first, and I'm gonna be honest, that was my first fucked up deal. Not because of Lil Donald at all. It's not because of him, but because of some business shit, and I was young and I didn't know what was going on. Yeah, it was a great introduction to the industry.

Hey, Trey, we're gonna get you an entire eight and a half point, eight and a half percent of publishing. You're gonna be set for life. Man, I was like, probably not even. He was like, eight and a half would have been fucking gold. Shout out to Jason. Yeah. Okay, well, yeah, thank you for going through that. Just a couple of personal things that I wanted to talk about. I love that. This is the rapid fire rampage, it's the final segment of our podcast. It's broken down into three sections. I'll explain them as we go. The first part is the short answer segment. Are you buckled up? Here we go. Oh, he can't hear the sound effect. I know I know. It's okay. Trey, if a producer makes a beat in the forest and no one is around to hear it, does it make a sound? Yes. I hate you so much. And we're off. And we're off. We're off. We're off and running. Trey, give up and coming producers your top three tips for success.

Um be cool as fuck. Okay. Interpersonal. Yeah, that's what I'm saying. Okay, well, to bring your word back. It's a little more, you know, educational version of that. Don't overthink these beats. Keep them simple. Yes. And learn how to make hits because there's a recipe to it. Love that. Trey, give us one specific production secret tip, trick, something that you just kind of added to your arsenal recently, like something dope that we can steal from you, basically. I double my hi-hats in a way where it's like if I do one hi-hat on 16th, I do the only one on eights. Oh, yeah, of course. So it sounds like one hi-hat with two different velocities. Yeah, or No, no, yeah, not even two different velocities, it's like one's like uh probably like a couple pitches down or whatever. But I also flang flanger or whatever. Yeah, flang, yeah, flanger. The 16th one. Oh, of course. It's like it's weird. Yeah.

The flanger. Flanger on the 16th, and then leave the eight. Okay, so you're gonna. Yeah, I'm gonna try it. Absolutely. For sure. Let me see what it sounds like. Yeah. For sure. Trey, we're gonna need your phone for this one. If you can pull that out. Mm-hmm. I'm going to pull up the gram. Yeah. Do you know where I'm going? We know where we're we know where you're going. Yeah, we know where you're going, Henry. Trey, what do and no lying? The videos on your IG Explorer look like right now. Bad bitches and bulldogs. I got a I got an English bulldog, and I'm just upset. I'm not lying, bro. Like, I'm really obsessed with Bulldogs. Wait, you just got one? Uh no, that's not mine. No, but no, I'm saying I got one. Oh, you just got one. No, yeah, his uh he's three years old, matter of fact. Okay, but so you're already on Quincy, actually. Oh, Shut up. this guy really wants to be Quincy. But he's already on bull on uh Bulldog Talk or Gram, Bulldog Gram or whatever. The algorithm works fast.

It's Crazy. Anyway, moving on. This is called ideal audio. You're gonna put your AR hat on, Trey. You're gonna create the perfect song. I modified it a little bit. Any artists, producers, engineers, writers, alive or dead, whoever you want to use, just tell us who you're gonna enlist to make this perfect song. Okay. And I'm gonna hit the Jeopardy music, even though you can't hear it. Okay. I can hear it. In my head. Yeah, it's going. I got some shit. Okay, because I got some shit. Share it. I'm trying to think of the songwriter, though. You don't have to have a writer, but okay. I want to hear like a Stevie Wonder with Kanye. Ooh. Like out of here. Oh. Are you on there at all? Yeah, produced by Trey Trax. No. Oh. See, that's a great producer. See? I don't want to be a part of that. Y'all do your thing. That's a great producer. Let me listen. He literally kicked himself out of the record. Hell no.

I don't want to be in a room. No. It's selfless, folks. They both produce and they're the artists. It's just that too. All for the love of the record. Love it. Maybe Dave Pensado on the mix or something like that. I mean, you know. Yeah. Might be Ali. Yeah, no, actually. If you want to be more modern sound. Yeah. Too May, of course. Okay, moving on. Trey, you can only use three plugins for the rest of your life. What are they? Can I go arcade? You can. Does that count? You gotta pay that monthly fee, but yeah. So you can go arcade. Um, I use Electra X. Electra X. Yep, and I use my yeah, uh my EXS24 sampler, because that's where I put all my drums in. Stock plug-in. Yeah, I'm very stocky. Shout out Logic. Me too. And logic stock plugins are amazing. I made just all the stock plugins. What's that? I made just all stock? All stock? All stocks. Alchemy?

Or was that even before Alchemy? That was before Alchemy. Alchemy wasn't even a part of that yeah. Alchemy was not even around. What'd you make the sounds out of? Just a bell? literally like bells. It was like low bells. Yeah, literally all bells and stocks uh uh drums and 808s. I like that snare too. Yeah, that that rim. I swear to God. Yeah, it was all stocks. Part one. Part one. No. Henry's like, damn. I'm nerd out over here. Yeah. Logic producer. We got like similar hats right now. I'm just saying. Bro, ease off, bro. I'm just saying. It's not happening. Okay, part two is the this or that. Uh Trey, I'm gonna give you two choices. You just gotta pick one. Easy as that. Here we go. Rampage! Start with drums or start with melodies? Melodies. Keys or strings. Strings. Snares or claps. Claps. DJing or engineering? DJ. And I already know the answer to this one. I just want to get it one more time. Logic or FL Studio.

Logic, for sure. You're so happy about that. New York or Atlanta. Next question. Okay, we got a stump One stumper. Should we make it, Mansur? We'll let it go. He's our friend now. Yeah. Robots or dinosaurs? Robots. Industry or in the streets? In the streets. Lose a thumb or have a permanent cold. Got you. That's a fight, isn't it? I hate your industry or in the streets, man. You love it. It's so lame. You love to hate it. I fucking hate it. And finally, go back to rapping or leave the music industry. You want a 16? No. There's probably a reason why you quit. No, I was fine, man. Can't sleep. Alright. I was fine. So the rapping.

Yeah. Oh, God. Part two. Part two. He said producer album, really. He meant like producer turn. Yeah, some study digital shit. Hey, well, shout out to Sonny. He's doing his thing. Hell yeah. But like Jacob wanted out too. Jacob rapping too. Jacob, yep. Yeah. Pierre. Pierre. Also. You know. I think all producers want to rap secretly. Well, yeah. I think the producers are just failed rappers. Okay. That's crazy. That is crazy. Well, I'll think about if I mean that. But we are moving on to the final part. This is the word association, last part of the last segment. I'm gonna say one word, just give me the first word right back off the top of your head. No thinking. Here we go. Rap! Starting with hip hop. Oh, I can't say that word. Were you saying bitches? I think you start to say bitches, right? Never started to say that. I was gonna say rap. Okay, no, you weren't, but we'll move on.

What were you gonna say? Started with a B, I'm pretty sure. So uh moving on. Bigot. Pillow. Sleep. Stage. Surf. Mayonnaise. Pickles. X. Sandwich. Are you still on the mayonnaise pickles thing? Yeah, Turkey. I'm going to hold shit together right now. He's hungry, folks. Um got an X sandwich. Okay. Video game. I said logic. I don't know why. More FL Studios, the video game. But yeah, no, like Megan Beats is looking video game. Contract. Fucked. Purple. Green. Podcast. Here. Gas. Lean. Fraud. You said the first word. Fake ass motherfucker.

That's why I'm offended. Like, Bro. If you had taken some time to make it sound like a joke. I'm locked in. I'm locked in. Yo, if you didn't know already, the collab is not happening, bro. I'm just locked in I couldn't think of nothing else. That's what he thinks of you, bro. Thank you. He also said me for podcast. So. Oh, he said here. And we're all here. So you're just happening to, you know, you're part of that. Just a few more here. Uh huh. Yep. Moving right along. Ben, this is not your segment. Shut the fuck up. Lil. Dirt. Dragon. Tails. Saucy. Santana. Let's go. It's Jack season, bro. Man, this has been Trey Shacks. Really appreciate you coming on. I could have gone that way. Yeah. No. Fire for real. Fire energy, fire story, fire production. Yes. We need the producer album. Yes. Uh, more hits on the way. This dude, I mean, you know, we might catch him producing some heavy metal, even though Barry Hefner says it's down 4,000%. That was pretty funny.

Pretty funny cross. I was like, okay. Trolling everyone who says hip hop is down. For sure, for sure. But as always, please like, comment, and subscribe. Give us a review on your podcast platform. But only five stars. If you're not gonna give us five stars, then don't even bother. Just don't fucking do it. Follow Trey Tracks on Instagram, T-R-E-T-R-A-X. Until next week.