I love being in the studio.

I feel like Rae Sremmurd is just a whole new sound culturally. People don't understand, but they learn to understand. The melody choice is different and everything.

I feel like when I came in the game, I was more focused on like, 'yo how many times can I get on the radio?'

Whoever has a next-level ear needs to be an Eardrummer.

I'm just expanding my sound and making it bigger.

I used to be with Gucci every day. School nights, I was with Gucci going to all the different clubs, going to his video shoots. Just moving around with him is how I met a lot of different artists like 2 Chainz and Shawty Lo and other people I work with now.

Drake is damn near the best with melodies.

Juicy J was always one of my favorites. For one, he was a producer and I just used to love how he came on his verses every time.

God has blessed me with something. One day, I do see myself being like Jimmy Iovine. I'm trying to build an empire.

You can scroll through my iTunes and I've got everything. I've got Ace Hood, Alt-J, Annie Lennox, Arctic Monkeys, Beanie Sigel, the Beatles, Beth Hart, Big Sean, Bob Dylan, Bon Iver, Chief Keef, Coldplay, the Flaming Lips, Mariah Carey, Miley Cyrus, Nicki Minaj, OutKast, Pet Shop Boys, Peter Gabriel, the Smiths, and the list goes on from there.

I wanted to find raw talent and help build it from scratch. I wanted to build from rags to riches. That's the way Ear Drummers did it. We took over the music industry from my mom's basement. That's why my first album is going to be called 'Made It Out the Basement.'

It's important to show the new generation that soundtracks can be just as exciting as traditional albums if put in the hands of the right curator.

Pharrell is a legend.

As far as rapping goes, as long as you are telling the truth and you have a good flow, then you win.

With rapping, that's just another form of expressing your music. Whether you're going to rap, you're going to sing, it's whatever you want.

A lot of times, older people don't get the new generation.

People told me that Miley's '23' wasn't hip-hop. Let me tell you, she went in and owned that track.

With 'HUMBLE.,' I knew that beat was going to capture a moment. It just felt real urgent.

We Can't Stop' was the first song we did. We didn't try to reach and be too 'hood:' It's hip-hop-influenced, but Miley's a pop singer, and she's going to have country in there.

We Can't Stop' has so many different vibes to it. She sounds country; the beat has these live, knocking drums; and then it has these pop melodies. It's a feel-good record.

Me and Miley just clicked. She has good ideas. She's real creative.

When I was still at Interscope, I told them about Rae Sremmurd and we were talking about signing them. I was like, 'This is the hood Backstreet Boys, the black *NSYNC. This is the most ratchet pop is gonna get and this is the most pop hip-hop is gonna get.'

Putting together a hit record is like putting together a puzzle.

I was able to bring Gucci and Rae Sremmurd on a track together. It was crazy because it seemed like it was destined to be.