Exclusive Interview
Dec 16, 2024
Produced by: Andrej Aroch
Edited by: Rudy Manager & Andrej Aroch
Azul Wynter – “It’s surreal to think that one record was the spark that brought them together for this incredible project”
In this exclusive interview with Studio Talks, we explore the journey and creative process of Azul Wynter, a groundbreaking music producer who has collaborated with some of the biggest names in the industry, including Migos, Post Malone, Justin Bieber, Kanye West, and more. From his early days experimenting with beats to crafting iconic hits for chart-topping artists, Azul shares the experiences, collaborations, and lessons that have defined his career. He also discusses his upcoming projects, approach to working with artists, and vision for the future of music production. The interview was conducted by Andrej Aroch via a video call on November 29, 2024.
How did you first get interested in music? And from that, how did you transition into music production?
I guess I’ll start by saying that a lot of people don’t know I was born into music. My father is Stevie B—he’s a legend with a lot of number-one records. He has hits like “Spring Love,” “In My Eyes,” and “Because I Love You,” and he’s known all over the world. So, I was essentially born into the music industry.
But honestly, I didn’t take music seriously until after high school. Growing up, I wanted to be an athlete so badly that I wanted nothing to do with music. Yet, it was always in my soul and spirit. I grew up being on stage with my dad since I was about seven years old, so I had this constant exposure to what it meant to be an artist. Watching him taught me what it takes to be a creator on that level.
After high school, I decided to really explore music. I picked up a 13-inch MacBook and started making beats—literally cooking up beats in my uncle Jerry’s kitchen in L.A. That’s when I began to take it seriously. Eventually, I moved from Vegas to L.A., where I had the opportunity to be mentored by the Avila Brothers. They’ve worked with icons like Chaka Khan and Usher.
From there, I branched out on my own and got a studio in L.A., which is where I connected with Post Malone. He was the first artist I really helped develop, and that collaboration became my initial entry into the industry.
I also had the privilege of being around Hit-Boy for a while in L.A., during the 2012–2014 period. That experience, combined with further developing my craft and working with artists like Post, helped me build my foundation as a producer.
After some time in L.A., I went back to Vegas and continued growing. Amazing artists started coming to my studio—Baby Keem, an incredible artist from Cape Verde named June Freedom, and others. These experiences solidified my path and made me realize I was meant to do this.
Fast-forward to 2015, when Post and I worked on “Writing on the Wall.” It didn’t come out until 2019, but that track became my first big single and ultimately led to my signing. That moment made everything feel real, like, “Okay, this is serious now. Let’s go.”
Since then, I’ve been fully immersed in the industry. Even during COVID, I kept working with up-and-coming talent, continually developing my skills. Those efforts opened incredible doors for me and brought me to where I am today.
Do you have a specific creative process when you start working on a beat from scratch, or do you change it up every time?
Honestly, it depends on the situation. To me, it’s all about the feeling in the moment. Sometimes, I’ll just open the DAW and start creating without overthinking—just letting the vibe take over. Other times, there might be a specific direction or purpose, depending on the project or the artist I’m working with.
The most important part of my process is feeling and creating freely. I usually just go with my gut, let the ideas flow, and then start subtracting or refining later. It’s about capturing the raw energy first and shaping it afterward. Often, I’ll listen back and realize, “This would be perfect for this artist.”
When I was starting out, I treated it all as experimentation. I wanted to push boundaries and really understand the tools I was working with—figuring out the limits of my DAW and exploring different sounds. That exploration led me to develop a multicultural, multi-genre approach, where I could pivot from a pop record to a rap record seamlessly.
If I’m aiming for something specific, like crafting a beat for a pop artist or making a rap track, I’ll consider the purpose and the potential artist it’s for. But sometimes, it’s just about creating for the sake of creating, with no particular goal in mind.
At the core, my process is simple: open the DAW, feel the vibe, and let the creativity flow. Hopefully, whatever I make will eventually find its home.
When you're working in a studio directly with an artist, what's the most important thing to keep in mind as a producer?
The most important thing is to make sure you’re capturing the artist’s world—really understanding what’s happening in their life and translating that into the music. It’s about creating something that reflects their emotions, experiences, and story. When you’re able to tap into that and create a sound that resonates with them, that’s when the real magic happens.
One of the key elements to achieving this is conversation. If it’s your first time working with an artist, getting to know them is crucial. Sharing stories, talking about what they’re going through, and building that emotional connection helps establish the foundation for the music.
Once that synergy is there, everything starts to click naturally. The music aligns with the artist’s style, story, and vision—whether it’s for a single song or an entire project.
Can you share the backstory of the Vultures 1 and 2 placements and how the collaboration came to be?
It’s such a crazy story. Warner Chappell organized a week-long camp in Vegas, bringing in some of the most talented people in the industry. One night, they asked me to hit the studio with my brother Beam. If you’re not familiar with Beam yet, get familiar—he’s my brother for life. It was me, Beam, Chrishan, and Rissi, and we worked all night, jamming until about 6 or 7 in the morning.
That session had this incredible synergy, and we ended up creating the first version of “Burn.” The vibe was so strong that the first thing we thought was, “Man, if Ye got on this, it would be insane.” A year later, Beam sent the record to Ty Dolla $ign, who was in Tokyo working on his album. Apparently, Ty played the track for Ye, and Ye loved it. He said something like, “Why don’t we just do a whole project together?” That’s how the entire Vultures concept and album came to life.
It’s surreal to think that one record was the spark that brought them together for this incredible project. Being a part of it, especially during a transformative time in Ye’s career, was such an honor. I’ve always dreamed of working with Kanye, so it felt like a full-circle moment.
What is the story behind “Time Moving Slow” for Vultures 2?
I went to Miami to Beam’s house about six or seven months later. That night, it was me, Beam, Nate (Butts), Shraban, Bezi, and a whole crew, once again working until 6 or 7 a.m. Beam is a night owl—he starts sessions around 3 a.m.! Those late-night hours, when your mind is free and you’re not overthinking, are often when the best ideas happen.
During that Miami session, we worked on “Time Moving Slow.” The original track had two beat sections, and Ye ended up choosing the second half for the final cut. At the time, I was deep into exploring house and Afro-house music, and I kept telling Beam, “We’ve got to make a house record!” That’s how “Time Moving Slow” came to life.
I still remember being in the studio while Shraban and Beam were writing Ty’s verses. I had this melody in my head and started mumbling, Time moving slow. I grabbed the mic and recorded the hook right on the spot. I was shocked when I found out they kept my parts! When you send songs to legends like Ye and Ty, you expect things to get changed—beats, verses, hooks—but they kept it as it was. Hearing them sing my parts was such a surreal and humbling moment.
For “Burn” and the other tracks to make the final project felt like a dream. Collaborating with someone I’ve looked up to for so long and seeing my ideas contribute to something so powerful—it was truly incredible.
What advice would you give to up-and-coming music producers who are just now trying to establish themselves in the industry?
My advice is to keep working and developing your sound. Stay open-minded and be willing to experiment—that’s how you discover what makes you unique. Building relationships is equally important as honing your craft. Connect with other producers, songwriters, and creatives in your community. Collaboration is the key to growth, both artistically and professionally.
You never know how a connection might impact your career. Something you create with someone today might resurface months or years later in ways that open doors you didn’t expect. That’s why staying positive and consistent through the ups and downs of the music industry is so critical. It’s not always easy—it can be tough at times—but there’s always light at the end of the tunnel.
Also, make sure to get out of your hometown. Going to places like Los Angeles can often provide opportunities that are harder to find elsewhere. LA has a unique energy and networking opportunities—you can meet peers, industry leaders, and collaborators who could help take your career to the next level. Sometimes, meeting the right person at the right time can lead to creating that one record that changes everything for you.
Most importantly, stay true to yourself. Manifest your goals—visualize where you want to be and actively work toward achieving them. Remember, timing is everything. Trust that God and the universe will guide you along the way.
What music do you usually listen to in your free time?
Man, it really depends. I could be listening to Sada Baby, and then switching to some house or Afro-house records the next. I’m a multicultural kid at heart, and I’ve always had a deep love for all kinds of music. I grew up with freestyle music, but my musical taste is diverse. I might dive into artists like Ivete Sangalo, a legend in Brazil, or explore sounds I’ve never encountered before, and fall in love with them.
For me, music is about exploration. There’s no limit to what I enjoy, and that diversity influences my creativity. It allows me to adapt to working with any artist, no matter the genre—pop, country, rap, or anything else. Having a broad musical palette helps me understand and innovate within different styles, and that’s crucial for being versatile in the studio.
It’s funny because, when I was younger, I wanted to be a rap producer so badly. I was focused on creating beats for rappers, and that was everything to me. But as I’ve grown older, my musical palette has evolved. I’ve become more open-minded, and my interests have expanded to other genres and styles. That’s something I’d tell any aspiring producer: be a sponge. Absorb as much as you can, stay open to new sounds, and don’t box yourself in creatively.
Do you have any upcoming projects or tracks that you're excited to share?
Absolutely! I’ve been curating an Afro-house project over the last few months that I’m incredibly excited about. It will drop next year, and it’s packed with some amazing features. I’ve got Beam, June Freedom, Alice Aera, and a lot of other incredible talent on there. There are also a few surprise features I can’t reveal, but you’ll hear them early next year.
Additionally, I’m working on projects with artists like Vory and DaniLeigh. One of the things I’m especially excited about is a project that’s very close to my heart—I’ve curated and executive-produced an entire Aaliyah album. It’s set to release at the beginning of the year, and it features some legendary collaborations. I want to give a huge shoutout to Barry Hankerson and Blackground Entertainment for trusting me with this project. It’s an honor to contribute to Aaliyah’s legacy.
Next year is shaping up to be a pivotal one for me. Alongside these collaborations, I’m focused on elevating my DJ career. My mission is to not only create these projects but also play them live in front of thousands of people. I can’t wait to bring this vision to life in 2025.
Follow Azul Wynter on Instagram: @azulwynter
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