Then, you know, the other more-traditional role of the producer in, like, the kind of Quincy Jones sense is kind of part arranger. So you're coming up with, like, these - you hear these songs that are quite bare-bones, and you dream up what's the band doing? What's the rhythm section doing? What's the guitars, strings, pianos - that sort of thing. It's almost like a little toolbox.

Then, you know, the other more-traditional role of the producer in, like, the kind of Quincy Jones sense is kind of part arranger. So you're coming up with, like, these - you hear these songs that are quite bare-bones, and you dream up what's the band doing? What's the rhythm section doing? What's the guitars, strings, pianos - that sort of thing. It's almost like a little toolbox.

I think, you know, for me, whatever I need to slot into to make that music the best it can be or help the artists, or whoever I'm working with, achieve whatever vision they have in their head for a song.

The cologne you pick should make you feel good when you go out with it. I think confidence comes across more than any other of our attributes.

You have to put these hooks in it, you know? You've got to make sure you got all that ear candy in it to get it through the gate.

You know, like, there's songs like "Valerie" and "Bang Bang Bang" that I was so proud of. And, you know, the level of success that they had - if they were little cult hits meant that, you know, I could sellout Webster Hall or Williamsburg Musical Hall or the El Rey theater in LA. Like, that was having made it to me. So the thought of having a number one song in my own career, like, never even registered.

So sometimes if I'm working with a rapper, like Ghostface Killah or Nas, producing usually means, in hip-hop, that you make the music. You make the beat, and you give it to them. And they write the rhymes.