It's heavy on MDMA Swang's "Thunder." I was listening to that record for three days straight, like, "What the fuck is this beat?"

It’s like that new offset snare, hitting not where it’s supposed to hit, but that’s exactly where it’s supposed to hit. I don’t know. With the new dance that’s going around Atlanta called The Dab, the kids can Dab to it. It’s a whole bunch of flavors.

Maybe in the older days, producers had to fight to find new samples, new records, new breaks. Now it’s all about new sounds.

Yup, and as a producer, a real producer, you should want to come up with more and more sounds. Because in this day and age, with social media, people catch up so quick. So when we make beats, we making beats five to ten years ahead of these people. We’ll do a hundred pack and then send it out, and by the time those records come out, people is on that swag, but we done made up a whole new swag. So I don’t think they could ever catch up.

By the time it makes it to the club or the radio, y’all are already back in the studio.

We never leave the studio. That’s where people get it misunderstood. If we’re bored, we going to the studio. If it’s nothing to do, we going to the studio. Everybody gonna meet up. We can smoke weed, we can talk about bitches, money, cars, whatever, in the studio. Rappers pulling up, songwriters; we need new records, we need everything. It’s like a video game.

It's cool to see that it's still the same crew of you guys after all this success, making new stuff the same way.

You want to have that whole Polow Da Don, Timbaland shit going on. You know, the money gets passed around in that one circle. We done met each other’s families and shit. You want to make sure people’s family’s is eating. It’s a family thing. Even if we don’t make beats together, we’ll still hang out. Metro, he my little brother. Sonny Digital, DJ Spinz, Southside—that’s my little brother. Fuckin’ Mike Will, Honorable C Note.

You’ve done a couple DJ gigs as well. Is that something you would want to do more of?

I’ve been doing a lot of DJ sets, a bunch of festivals with A-Trak. I went to Paris and did a set there. We been in the mix with doing the whole DJ thing, but I really been focused on the production. And since Drake's album went platinum, I been trying to get it in. Working on Travi$ Scott's album—I’m super excited about his album, too. I want to bring that multimedia art to the DJ side—people not showing visuals on the big screens, people just looking at you the whole time jumping up and playing music. [With A-Trak], I really got to see the other side of the music industry, doing festivals and shows and stuff. What A-Trak and them do is amazing. I salute them.