I saw someone label me as a dubstep producer but I'm definitely not a dubstep producer. There's nothing wrong with that, though, because that's major. But it's like a school bus driver being labeled as a NASCAR driver. I would love to be a NASCAR driver, but I drive buses for a living.

I saw someone label me as a dubstep producer but I'm definitely not a dubstep producer. There's nothing wrong with that, though, because that's major. But it's like a school bus driver being labeled as a NASCAR driver. I would love to be a NASCAR driver, but I drive buses for a living.

I'm always blowing the speakers out in studios, like, there's smoke coming out of them. I found out that I'm not built for studio monitors. I record and mix down everything in the headphones and then I bring it to the speakers.

I am an alien. I start a lot of relationships with artists because of what I'm capable of doing with the machine and with beats. Anyone can just listen to a beat, that's boring. But when you actually perform in front of them, it's like: wow. It's undeniable talent. That's my advantage.

I want to produce with people that are going to be on the charts and win Grammys because having regular old street songs is cool, but I did all that already.

What's crazy to me is that people now assume I'm behind [hip-hop] tracks that other people are putting out. They're just sitting on the edge of their chair waiting for me to put out [rap beats]. But it's not going to happen. I've graduated from that.

I'm not stuck strictly doing hip-hop. Songs from the dance/electronic scene are my favorite to make and remix, and I like that world.