Talking to Sha Leik, famous for his work with Charles Hamilton.
Hello Sha leik, To start of how long have you been producing for? and where are you based?
I’ve been producing for several years now. I’m based in New York City, and over time I’ve transitioned from being strictly a beat maker to focusing more on full-scale production.
how did you get into producing?
I originally got into producing out of a passion for sound and storytelling. I started making beats for local artists, and that gradually grew into helping shape entire records — from arrangement and direction to vocal production.
who have you produced for? what is the usual cut you should get as a producer?
I’ve worked with a range of independent and up-and-coming artists across R&B and hip-hop. As for compensation, it really depends on the situation. A fair producer cut is typically negotiated between 20–50% of publishing or master points depending on the level of involvement and ownership.
One of the artist you have worked with is Charles Hamilton, how did you get to know Charles?
met Charles back in high school — we had English class together. We used to trade rhymes in the back of the classroom and even call each other after school to go over songs. I remember when he dropped his first album; he valued my feedback on it, which meant a lot. Our school had a small studio that only a few students were allowed to use, and I got in through consistency and work ethic — while Charles was there because of his raw talent. From there, we just kept building and creating together.
Sha Leik production with Das Racist.
What is the best cut for a producer, an upfront fee or points?
Whether it’s better to take an upfront fee or points depends on the artist and the project. For newer artists, an upfront fee helps cover time and resources. But if you believe in the record’s potential, taking points can be more rewarding in the long run.
When it comes to creating, how do you go about making your music?
When creating, I usually start by building a feeling or mood rather than just a beat. I focus on how the sound can bring out the artist’s story. Once the foundation is set, I layer melodies, textures, and transitions that give it a cinematic or emotional flow.
Do you think Ai will effect the industry going forward? how will it effect producers?
I think AI will definitely change the industry — both creatively and technically. It’ll speed up workflows and open new ideas, but human producers will always bring the emotion, intuition, and direction that AI can’t replicate. Artists are looking for more than just beats — they want someone who can guide the sound and vision. That’s the difference between a beat maker and a producer.
Sha Leik production on Charles Hamilton track.
What was your worst experience dealing with another producer if you have one?
I haven’t had any major bad experiences, but I used to dislike when collaborators completely changed the vibe of a beat after we’d agreed on the direction. It’s important to respect the original creative vision.
Any tips for young producers or people who just started?
My advice to new producers: be open-minded and consistent. Invest in your craft, make music every day, and find your niche. Don’t be afraid to collaborate — it’s one of the best ways to grow.
Any tracks you will be releasing soon?
dropped a project in 2024 — my first in ten years — and I’m currently working on another one. The plan is to complete it before the end of 2025 and release it in 2026. I don’t make beats anymore, but I’m still actively producing and developing new material.
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