Exclusive Interview
Feb 23, 2026
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
AVB - Rising Producer Behind Records for Bryson Tiller and Queen Naija
Studio Talks sits down with Miami based producer AVB, a rising force in contemporary R&B and hip hop. Working closely alongside super producer Hitmaka and his team, AVB has steadily built an impressive catalog, contributing to records for artists such as Queen Naija, Fabolous, Bryson Tiller, and Tink. In this interview, he opens up about his creative process, early breakthrough moments, the role of AI in music production, and why building with emerging talent may be the best approach for a new producer today. This interview was conducted by Rudy Manager via video call on February 16, 2026.
“It’s completely fine to want to work with the biggest artists, but it’s just as important to build with the people who are at your level right now.”
- AVB
For people who might not be familiar with you or your work, can you introduce yourself?
My name is AVB, but a lot of people call me Vibe. I’ve worked with artists such as Queen Naija, Fabolous, Bryson Tiller, Tink, and many others. I’ve been part of a lot of different projects over the years. I’m currently based in Miami, and I primarily work out of Circle House. That’s where I do most of my work, and overall, I’m a music producer.
How did you first get interested in music, and when did you decide to start producing?
I think I first really fell in love with music around the age of five. I used to listen to artists like Stevie Wonder and Michael Jackson, and I was always amazed by them. I grew up listening to soul music from the 50s through the 90s. That kind of music really shaped my ear early on.
I really got into music when I started playing drums around nine years old. I would play at church and at different gigs, and that’s when music started to feel more real to me. I didn’t get into music production until high school, though. I was introduced to FL Studio around my sophomore year, and that’s really when everything started to take off for me.
What’s the story behind your recent Bryson Tiller placement, “Last Call?”
I worked on a song for Bryson Tiller called “Last Call” on his latest album, Solace & The Vices. I produced it with my guys Hitmaka and AyeYB, along with a few other collaborators. I feel like that record really elevated the sound of the project a bit and brought in that fun summer vibe.
What’s crazy is that we made it late at night. It was actually one of the last demo songs we worked on during that session. Ron E, another songwriter, put a pen to it, and everything just came together naturally. It turned into one of those records that instantly felt special. Bryson ended up hearing it, loved it, and it made the album. That was definitely a big accomplishment for me.
How do you usually approach starting an idea from scratch when you open FL Studio?
For me, it really has to start with a vibe. It depends on how I’m feeling that day or what I’ve been listening to recently. I’m pretty picky when it comes to sounds and ideas, so I don’t just force anything. Usually, I’ll start by going through loops, and if I don’t find anything that inspires me, I’ll mess around with a synth or a drum loop. Sometimes I’ll start with the drums first and then build chords around that. That’s often what sparks the inspiration for me.
A big part of my process is just experimenting and trying new things. There are even days when I’m not making beats at all and I’m just collecting sounds, going through new presets. Anything that helps me find inspiration.
What are your favorite VSTs right now, and are you using any hardware synthesizers as well?
As far as VSTs, lately I’ve really been liking the Bass Station. I also use Omnisphere a lot. Those are definitely some of my go to plugins when I’m building ideas in the box.
But musically, I’ve been more tapped into live instrumentation recently. I love incorporating live elements and having my friends play parts, whether it’s a Juno or a Rhodes. Then I’ll build on top of that. I feel like there’s a completely different feeling when you’re working with analog gear.
Do you have any personal favorite hardware gear?
When it comes to hardware, I really like the Prophet. The Prophet X is fire. I’ve been experimenting with it a lot, and there are so many presets on it that I honestly can’t find in VSTs, at least not at the same quality. It just has a really unique sound. I’m definitely getting more into analog gear and synths in general.
What’s your opinion on AI in music production?
I think it’s powerful, but it can also get tricky. Personally, I like AI because it’s actually made my workflow faster. In the industry right now, everything is about workflow. You have to move quickly while still maintaining quality.
One AI tool I’ve really been liking is song splitting software. Being able to split a track into bass, drums, and other instruments has really elevated the way I sample. In that aspect, I definitely love using AI.
How do you see the current state of the music industry, especially rap and R&B, and where do you see it heading over the next few months or years?
When it comes to the state of music, I feel like rap is in a bit of a weird place right now. It’s evolving, but at the same time, I think people are starting to crave feeling again.
I’ve been really liking a lot of the upcoming R&B acts. We’re definitely getting back to real, feel good music from certain artists. I think the industry just needs to put those kinds of artists on a pedestal and push them to the forefront. Whether it’s Ron E, N3WYRKLA, or someone like Leon Thomas, those are the types of creatives who should be leading right now. People are really loving the music that makes them feel something again.
Can you share the story of how your song “What About Us” for Eric Bellinger came together?
That record came together around 2021 when I was signed to Ayo N Keyz under UCMG. Eric was in the studio one day, and I think they were doing a camp for him. I had sent a pack of beats to my bro Keyz, and that track was one of them. Honestly, I didn’t think much of it. I thought it was a cool beat and just sent it over without any big expectations.
They ended up cutting it, and everything came together from there. I think the project dropped about a month before the Grammy announcements, and Sevyn Streeter was on the song as well. The album ended up getting nominated for a Grammy that year, which was a surreal moment for me. That was actually my first nomination too.
What advice would you give to the new generation of producers who want to work with established artists and build their brand in the music industry?
I’d say it’s completely fine to want to work with the biggest artists like Drake, SZA, and Kendrick Lamar. That ambition is natural. But what I learned, especially in the beginning, is that it’s just as important to build with the people who are at your level right now, because they could become the next Drake or the next Kendrick. It took me some time to really understand that, but I’m glad I did.
Of course, I can go and pitch to major artists, and that’s great. But there’s something special about building with an artist from the ground up. We’ve seen that blueprint work over and over again. Think about producers like Timbaland building with Aaliyah, or Leon Thomas and his team growing together before they ever reached the forefront. They had people around them who helped shape the sound, and it took time. I really believe in sticking with the people who are at your level and growing together. That’s where the real foundation is built.
What are your plans for this year, both personally and professionally?
This year is really about working with more up and coming artists. I feel like the industry is such an open field right now, and there’s a real opportunity for newer artists to get noticed. I’ve been working with some talented people, including one of Hitmaka’s artists, Ron E, and another artist he’s worked with, N3WYRKLA. I really believe artists like that are going to take things to the next level.
I’m genuinely excited about building with up and coming talent. I’m open to working with and creating with artists who are hungry and ready to grow.
Follow AVB on Instagram: @avbofficiall
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