Top 33 Metro Boomin Quotes

You just need the ear. But the ear is something, I guess, that you can’t buy. And I can’t play the piano fluently, but I feel like my ear is my strong point.

When I started making beats in the 7th grade – even through middle school and high school – I admired a lot of Shawty Redd, stuff like that, that real dark, trap sound.

Pac was real, and he put everything into that music with the passion, creativity, and the drive, and I feel like it’s all one in the same with myself.

The main thing about being a producer and not a beatmaker, the difference is the ear.

Makonnen is a good dude. It’s just good energy when he’s around.

I started making beats when I was 13.

I plan on making my mark on the legacy of hip-hop, period, but also in Atlanta production because there’s a lot of history there.

I just think about how much worse something could be, and I’m like, ‘Alright, cool, whatever.’ I’m nonchalant.

Future’s a workaholic. That’s definitely the most hard-working artist I know.

Future’s like an older brother to me, and Thug’s more like a brother my age.

I’m real big on making sure everything is right and taking my time.

Coming up, a lot of people I looked up to had a signature sound, but I came up, and I was always in search of one, trying to find it, trying to create one. I was never really able to have a creative signature sound, you know?

I like my name. If somebody wants to call me Leland, that’s cool.

In high school, for two years, I made all my beats on earbuds. I’d just guess, so the frequencies would be all off.

I stay positive, keep positive energy to myself.

People like Tay Don, Don Cannon, and OJ Da Juiceman – those were the core people that I rock with. And I still rock with them.

There’s always something in Atlanta that’s so far from people’s comfort zone.

I’m glad ‘Honest’ came out right after ‘Karate Chop,’ because I don’t want to be seen as a one-hit wonder.

When I came up, one of my favorite groups and producers was Three 6 Mafia.

Me and Future recorded so many songs that as soon as we did ‘Honest,’ I liked it a lot, but I didn’t see it as a single. But he just kept talking about it after we did it like, ‘Man, this is big. This is big. It’s gonna be a single.’

Two people making a beat is really like one person making a beat. But you have another person’s brain. So what might sound good to you, they could flip it a different way. It’s really a collaborative effort, really.

A lot of rappers are stars, but people like Drake and Lil Wayne, those are superstars.

I wanted to rap, but I needed beats. I couldn’t buy any, so I just made my own.

That’s what helps me in my career: I know how to relate to people, knowing what they want.

Any piece of music or album or anything – I don’t care what genre – in the States, a piece of it came through Atlanta somehow.

When Thug hears a song, he knows how the whole shape of the thing goes. He can nudge the whole frame to the left to make it offbeat and sound how he wants it to sound.

I naturally, when I make beats, aim for a darker tone just because I’ve always preferred those types of feelings.

I just pretty much go to class, do my work, and go to my dorm and make beats. Or I pull up to a session. That’s pretty much my day-to-day.

I grew up in St Louis, just with my mom.

A lot of people are programmed to think, ‘Oh, I want to do this, but I also want this.’ It’s like they want everything. You want your cake, and you want to eat it, too. Even though I guess you’re supposed to eat cake, but I never really get that saying.

I’m always going to be heavy in producing. It’s always going to come first. It never can’t come first.

I’m heavily influenced by a lot of people like Dre, Pharrell, and Kanye. They’re all big-time tastemakers and trendsetters, just for culture, period. So I strive to do that as well.

Ain’t nothing wrong with college, but I just feel like everyone’s paths are different.