Busy Works Beats Talks Music Production: His Journey, Insights, and Favorite Gear
Busy Works Beats has been a pillar in the online music production community for years, educating hundreds of thousands of producers on music theory, beat-making, and the business behind the industry. We had the opportunity to sit down with him and discuss his journey, insights, and advice for aspiring producers. Enjoy this interview!
Can you share a bit about how you first connected with music and your journey into music production?
"My mom sang in the church choir and always had smooth jazz playing on the radio." She also had a collection of Michael Jackson CDs, and I used to put on Beat It, Remember the Time, Rock With You, Billie Jean, and Thriller on repeat. Looking back, I was surrounded by incredible musicianship from an early age. Funny enough, as a kid, I would actually turn off the hip-hop station and switch to smooth jazz.
Even though I always respected music, I didn’t really get into playing it. "Yeah, I tried saxophone in fourth grade, but I never practiced," and my mom got me a miniature drum set when I was around six, but I never followed a structured musical path. I avoided joining the school band because I felt like I had started too late and was intimidated by it.
It wasn’t until high school that things changed. A friend introduced me to FL Studio, and that’s when I fell in love with making beats. I used to freestyle over Call of Duty lobbies all day, just rhyming over beats while kids in the lobby screamed at me. "I had the volume turned down—I just wanted to express my gift."
Later, I went to college for pre-med, graduated, and then finally found time to focus on music again. This time, I went all in—and that’s when my life changed.
Favorite Gear for Music Creation
Next up, I asked BusyWorksBeats to share some of his favorite gear and software he uses to create music - this is what he had to say!
Top 10 Virtual Instruments (VSTis)
OsTIrus (The Usual Suspects) – This VST brings the Access Virus TI sounds back to life. I own the real access Virus TI, but since Mac stopped supporting its software, I could never use it properly. The Usual Suspects found a way to recreate the software, allowing me to finally sound design like before. After spending over $2,000 on my Virus TI just for it to sit unused for years, this was a huge win.
Keyscape [JD-800 Crystal Rhodes] (Spectrasonics) – I mainly use Keyscape for tutorials since people like seeing plugins in action, but it’s also one of the cleanest pianos I’ve heard—right next to my Korg Kronos, the true king. Spectrasonics has mastered sound quality, and I usually load Keyscape within Omnisphere for more control over effects and modulation.
Rhodes V8 Pro (Rhodes) – Rhodes, the original company, developed this VST, and it perfectly captures that classic “Soul Sound.” Whether you want soft, buttery chords or aggressive vintage tones, this is a must for R&B, Soul, and Jazz.
Retro Synth (Logic Pro X) – The cleanest synth sound I’ve ever heard in a DAW. It proves that an “analog” sound can be authentically recreated in a digital environment. Logic Pro X easily has the best stock sounds, no debate.
Serum (Xfer Records) – The Swiss Army knife of synths. What most people don’t know is that Serum also has an FX plugin, which is insane for modulating melodies and vocals with LFOs and time-based effects. However, I don’t always love its tone, which is why I reach for other synths depending on the sound I need.
Massive (Original, not Massive X) (Native Instruments) – The original Massive still holds up. I rediscovered it on my old PC and was blown away by how full and vibrant it sounds—no wonder so many EDM DJs swore by it. The only downside? The interface.
Serato Sample – The ultimate time-saver for chopping, time-stretching, and pitch-adjusting samples. It also has the best stem extraction algorithm—FL Studio has a good one, but Serato Sample is way more optimized for longer samples.
Vir2 - Acou6tics (Kontakt Library) – Hands down the best guitar Kontakt library I’ve used. It’s smooth, realistic, and incredibly playable. Once you understand key switches, it becomes a game-changer. My only complaint? It’s overpriced—it should be at least $100-$200 cheaper.
UVI Sonic Pass – Every UVI retro synth library is absolute fire. I wish they marketed it better because I used to think their libraries were crazy expensive—turns out, all you need is the Sonic Pass subscription. Load them in Falcon (their version of Kontakt, but more complex) and dive into some of the best analog synth emulations out there. My favorites? Kroma (Arp Rhodes Chroma), PX Memories (Moog Memorymoog), and PX P10 (Sequential Prophet 10).
Roland Cloud – If you want that classic keyboard workstation sound in your DAW, this is it. But you’ll need a powerful computer (Mac M1/M2/M3/M4 or equivalent PC) because these plugins demand serious CPU power. My go-to Roland plugins: JD-800, JV-1080, XV-5080, and Zenology. Zenology simplifies browsing through Roland sounds, but their new plugin, Galaxias, takes it a step further.
My Own Plugins (Hercules/Hypnos) – I have to mention these! When I design sounds for these plugins, I fall in love with music all over again. The process of creating and transforming sounds keeps me inspired—so they deserve a spot on this list.
Top Effects Plugins
Gold Clip (Schwabe Digital) – Adds density to mixes, making digital synths sound analog and weak drums hit harder.
SSL Fusion Stereo Image (Solid State Logic) – Surprisingly close to the real SSL Fusion hardware, which I used to have in my outboard chain.
MD4 HD - Hi-Res Multiband Dynamics (TC Electronic) – Found this through MixBusTV, and it’s one of the few compressors that actually feels analog.
Spectre (Wavesfactory) – More than just an EQ—this adds harmonic content where there was none. I originally thought it was just a fancy tone EQ, but it’s much deeper than that.
FabFilter Pro-Q 3 (FabFilter) – The ultimate utility EQ: dynamic processing, mid/side, sidechain, advanced frequency analysis—it does everything.
FabFilter Pro-L 2 (FabFilter) – If you want that polished, loud, flat-line mix, this is the go-to limiter.
Universal Audio Plugins – If you want to learn classic gear, start here. The UAD 1176 Rev A (Blueface) is essential for vocals, and their tape machines are incredible for drums and mix bus processing.
Auto-Tune (Antares) – Because I can’t sing like Chris Brown!
Metric Halo Channel Strip (Metric Halo) – Their EQ just works. The frequency targeting is on point, and even small moves make a huge difference.
Valhalla Vintage Verb – My go-to reverb—simple and sounds great every time.
Weiss DS1-MK3 – Another plugin that feels truly analog. Another MixBusTV find that I can’t live without.
Favorite Analog Gear
Recording Setup
GIK Acoustics Portable Isolation Booths (x2) – Recommended by MixBusTV. I combine two of these in a half-square shape for an open vocal booth.
GIK Acoustics Acoustic Panels – I use one as a “roof” for my isolation booths and have more around the room.
Microphone & Preamp Chain
Neumann U87 – A very animated mic. When paired with the right preamp, it shines.
Avalon 737 – My go-to preamp for the U87. Bought both used, and they sound amazing together.
Audio Interface & Monitoring
Universal Audio Apollo x8 – This interface is like Apple in the audio world—next level. Sometimes, in FL Studio, my beat feels “loose,” and then I realize I’m using the system’s default audio driver. Switching to the Apollo x8 snaps everything into place. It’s subtle but noticeable.
Audio-Technica MX-20 – Affordable, durable, and great for tracking. No need to overspend.
Outboard Gear
Wes Audio MIMAS – A solid 500-series compressor for vocals, emulating the 1176 FET compressor.
Rupert Neve Designs Portico 542 – I finally understand why people rave about Neve gear. The Red Silk button is magic.
Wes Audio Dione – An SSL-style mix bus compressor that also adds harmonic distortion for color.
SSL Fusion – Love the Vintage Drive feature and stereo imaging.
Solid State Logic 611EQ 500 Series Parametric Equalizer – A set-it-and-forget-it EQ for vocals
Building a Personal Brand
Throughout your career, you’ve built a strong personal brand. How important has this been to your success in music? Any advice for upcoming producers on branding?
In the age of AI, your personal brand is your greatest defense against being replaced by an algorithm. AI has already surpassed human intelligence in many ways, automating tasks once thought impossible. But what keeps you relevant? Your brand.
Think about it—how do people know this interview wasn’t generated by AI? Because they recognize Busy Works Beats. They’ve seen him share knowledge, engage with his audience, and genuinely help people time and time again. They know he’s real. Even Metro Boomin gave him a shoutout. That’s the power of branding.
The reality is that anything that doesn’t require human judgment—curation, taste, or personality—will eventually be optimized by AI. That’s what technology does.
Take an ice cream shop, for example. If 90% of customers choose vanilla, a smart shop owner will prioritize vanilla—placing it front and center, offering special deals, and promoting it throughout the week. Now, introduce AI into the mix. The moment a customer walks in, AI updates the menu based on their preferences. Augmented reality displays a tailored selection, facial recognition highlights their favorite flavors, and dynamic pricing adjusts to maximize sales. Even the clerk, who looks and sounds human, customizes recommendations in the customer’s native language. No cashiers, no waiting in line—just an optimized, seamless experience. If this sounds futuristic, look up Amazon Go stores. This technology exists today.
So, what sets you apart in a world where everything is automated? Your brand.
Your brand is your reputation—it’s what people associate with you. Want to stand out? Choose two words you want to be known for and reinforce them in your content, marketing, and messaging. Do this consistently for a decade. That’s how you build a lasting presence in an AI-driven world.
How should producers create content?
1. Set a Measurable Target
Success in content creation starts with clear goals. Let’s say I want to hit 6 million views in a month on YouTube—I need to break that down into numbers:
Total Views (Lifetime): 201,221,404
Total Videos Created: 6,617
Average Views per Video: 201,221,404 ÷ 6,617 = 30,410 views per video
Now, to reach 6 million views in 30 days:
Videos Needed: 6,000,000 ÷ 30,410 = 197 videos
Videos Per Day: 197 ÷ 30 = 7 videos per day
That means if I’m not putting out at least 7 videos daily, I can’t realistically expect to reach my goal. Content strategy needs to be backed by numbers, not just hope.
2. Understand the Difference Between Content & Product
A big mistake I see producers make is treating type beats as content. While some do get traffic, simply uploading beats to YouTube is like putting a product on a shelf and hoping someone walks in to buy it—it’s passive.
Content, on the other hand, demonstrates and promotes your product. Its purpose is to build an audience, create demand, and lead people toward your beats, courses, or services.
If you’re just dropping beats with no storytelling, no unique angle, and no brand identity, you’re getting lost in the noise. The internet rewards contrast—study your favorite creators, break down what makes their content engaging, and apply those insights to your own work.
3. Start Now—Perfection is a Myth
You don’t need an expensive camera or perfect editing. Some of my most viral videos were shot on my phone, looking at my computer screen—blurry and all. Quality helps, but consistency and value are what matter most.
Think about it—
You don’t have money for big ad campaigns.
No major label artist is posting your beats.
No big company is featuring you in their email list.
So where will your traffic come from? Your content is your best marketing tool. If you’re not creating, you’re invisible.
What skills beyond music production should producers learn to build a business and sustain a career in music?
To successfully build a career in music, producers need to develop a range of skills beyond just making beats. Here’s a list of essential skills I had to acquire to run my Music Production Education business:
Technical & Creative Skills
Proficiency in Mac/PC operating systems
Music Production & Theory
Mixing & Mastering
Beat Making & Arrangement
Sound Design
DAWs: FL Studio, Ableton, Logic Pro X, Pro Tools, etc.
Signal Flow for Audio & Virtual Mixing Software
Plugin Development
Graphic Design (Photoshop, Thumbnail Design)
Video Editing & Lighting
Live Streaming (OBS)
Coding (Python)
AI Systems & Solutions
Business & Marketing
Copywriting
Marketing & Conversion Strategies
Advertising
Website Design
Email Service Providers & Automations
Product Development
Project Management & Delegation
Community Administration & Growth (Discord)
Networking & Collaborative Negotiations
Leadership & Communication
Public Speaking
Leadership & Empathy
Customer Support Infrastructure
Collaborative Negotiations
These are just the skills I can consciously list—there are countless sub-skills within each of these categories. Interestingly, music itself only makes up about 30% of this list. In reality, the non-music skills are often more crucial in day-to-day operations when building a sustainable business in music.
What’s one of the most valuable lessons you’ve learned throughout your career?
Take ownership and build things yourself. If you look at the top entrepreneurs in the world—Mark Zuckerberg understands coding and can communicate in that language, Elon Musk isn’t just a visionary but actually knows how to build rockets, and Jensen Huang of NVIDIA has deep technical expertise in his field.
The key lesson here is that mastering your craft is essential. When you truly understand your industry and skill set, you naturally attract a strong team to support you. And if you delegate wisely, you can eventually create a business that runs efficiently on its own.
You don’t want to be the person who outsources everything, only to find yourself helpless if key team members leave. Having foundational knowledge ensures you’re never in the dark about your own business.
Also, be mindful of costs. There’s no reason to overspend—most modern business models today are designed to be low-cost and scalable.
Talk about your courses. You’ve educated over a million producers—how important do you think education is for music producers?
Education is crucial, but only for those who are truly open to learning. A lot of producers think they’re at a 6/10 skill level when, in reality, they’re closer to a 2/10. I can’t help those who overestimate their abilities—but I can help those who recognize they have room to grow and are willing to put in the work.
For those producers, my courses at BusyWorksBeats.com/premium provide the tools and knowledge to level up their skills and take their music to the next level.
