Exclusive Interview

Jul 9, 2025

Produced by: Rudy Manager

Edited by: Rudy Manager & Andrej Aroch

Daniel Deleyto – “As music producers, we’re not separate from our work—our careers are extensions of who we are”

Multi-platinum producer Daniel Deleyto, known for his work with Pop Smoke and A Boogie Wit da Hoodie, joins Studio Talks to reflect on his creative journey from Vienna to the global stage.

In this exclusive Studio Talks interview, Vienna-based multi-platinum music producer Daniel Deleyto reflects on his creative journey—from discovering music through his father’s record collection to landing major placements with artists like Pop Smoke and A Boogie Wit da Hoodie. Known for his raw, vocal-driven sample work and deeply personal process, Daniel offers thoughtful insights on growth, reinvention, and staying true to his sound. This interview was conducted by Rudy Manager via video call on June 9, 2025.

How did you first get interested in music—and what eventually led you to start producing?

My interest in music started pretty early. My father was a music critic—mainly for classical music and jazz. He was really passionate about it, and I think he always wanted to pass that on to me and my siblings. I played piano for about ten years and also the cello for around eight.

What I really loved was listening to music. My dad had this huge shelf with over five thousand discs—everything from classical and jazz to early pop, like Michael Jackson. Back when we were living in Spain, I used to borrow those discs all the time and just listen to them.

Later on, I got into rock, bands like AC/DC, and then fell deep into hip hop. Artists like 50 Cent, Eminem, and later Travis, Thug, and Future made me curious about who was behind the beats.

At the time, I was in fashion school in Vienna, but I wasn’t really cut out for it. I liked the idea of fashion, but I was not talented on the technical side. Around then, I started playing around in FL Studio. I got hooked and dropped out. Once I found production, it felt like everything just clicked.

Eventually, it just happened naturally. I downloaded FL Studio and started messing around, making music just for fun. I ended up dropping out of fashion and decided to focus on making music.

Did you have any mentors, or what was your process for improving your music?

I didn’t have any direct mentors. I just became obsessed with it. My main inspirations were CuBeatz, Rex Kudo, OZ, Sevn Thomas, and Wondagurl. I was very driven to get better, to make melodies like the ones CuBeatz and the others were creating.

How did you start working on the international projects you’ve been part of?

As much as I was obsessed with making music, I became just as obsessed with the people behind it and everything happened pretty naturally. I’d just be working, making stuff, and hitting people up on Instagram. Whenever someone posted a story saying they needed samples, I’d send some over.

Over time, I connected with other people who were on the same path, sharing ideas, building together, FaceTiming all the time.

When people actually like your music, it motivates you to get better and take it more seriously. That was really it—me at 20, fully obsessed with what I was doing.

Eventually, some of those relationships turned into real opportunities. That’s how I ended up signing with Dez Wright. That was the first big step forward for me. But for a while, it was just showing up every day, staying consistent, and putting myself and my music out there.

Let’s talk about Pop Smoke’s “Aim for the Moon.” Can you share how that track came together from your perspective?

That was during a period where I was making a ton of samples every week, I made a bunch and send them out. That particular one was just part of those. I didn’t make it with anything specific in mind.

Eventually, I heard the sample had been used and was going to be on Pop Smoke’s album. Then the album got delayed for a month or two, so I just waited it out. That’s really how it came about.

I wasn’t even that proud of the original sample—it had vocals that Dez ended up cutting out, thankfully. During that period, I was making around 15-20 samples a week just trying to have enough material to send out.

Let’s talk about Pop Smoke’s “Aim for the Moon.” Can you share how that track came together from your perspective?

Eventually, I heard the sample had been used and was going to be on Pop Smoke’s album. Then the album got delayed for a month or two, so I just waited it out. That’s really how it came about.

Let’s talk about Pop Smoke’s “Aim for the Moon.” Can you share how that track came together from your perspective?

Eventually, I heard the sample had been used and was going to be on Pop Smoke’s album. Then the album got delayed for a month or two, so I just waited it out. That’s really how it came about.

When you open your DAW, how do you usually start an idea from scratch?

Now I usually start ideas with vocals. I’ll just sing something into the microphone, and then I build chords around that. After that, I pretty much flip everything—chop it up, process it, and throw a bunch of effects on it.

I just keep tweaking and adding layers, hoping I end up liking what I hear. Sometimes I’ll take chords from an old sample and build something new around them—record new vocals, flip those again, and keep stacking elements until it feels finished.

Do you use any VSTs or hardware synths in your productions?

I actually don’t use VSTs much. I mainly work with one-shots. VSTs drain my CPU, so instead I use one-shots, especially custom ones from friends or from real synth recordings. I like to process everything heavily anyway, so the original source doesn’t matter as much.

Sometimes I’ll incorporate real instruments. A friend might send me something on the Prophet-5, or I’ll record a guitar or vocal idea. Most of the time, my samples are built around vocals and one-shots, and often just vocals.

Can you share the story behind “Turn Off The Radio” with A Boogie Wit da Hoodie?

I’m friends with one of A Boogie’s producers—his name is JoeFromYO. We’ve been in touch for a while, and honestly, most of the time we just talk.

I think it was about three or four years ago when I started sending him melody packs regularly. This time he actually looped me into the process. It wasn’t just me sending over a sample. I was actually involved in the process, which I really appreciated.

That’s something I like about Joe. He tries to involve the other producers to make the song better as a whole. It’s not just like, “You made the sample, I’ll do the drums, and we’ll send it off.” He asked me to try laying down drums and bring ideas to see what worked best. I heard a few different versions before the song was finalized.

It was a really great experience—just being part of the creative process with such talented people and actually contributing beyond just the sample. I think it was supposed to be released as a single at first, but something didn’t work out and it ended up on the album instead.

Is there a production of yours that feels especially close to your heart?

If I had to pick one, it’d be “Turn Off The Radio.” Not just because of the artist, but because I was creatively involved from start to finish. I like how it sounds, but more than that, it represents the kind of music I want to keep making.

What kind of music are you listening to these days?

Right now, I’m really into European music. There’s a Polish artist named SOBEL—his music is crazy.

I’m also into this underground artist from the U.S. called svn4vr. A friend put me onto him—his music is hard.

I listen to a lot of Spanish music too. There’s a Spanish artist I like named MVRK or D. Valentino. And I’ve been loving Brazilian music for a while as well—there’s a guy named Enzo Cello a friend put me onto.

And of course, Future and Young Thug. I’ve always listened to them. And for RnB, I like guys like Alan Vuong and PnD as of late. Not exactly RnB, but Hunxho is hard.

I like music that feels raw and unfiltered. Not too polished, just honest. A bit of RnB, a bit of experimental, but all of it has a vibe.

Who would be your dream artist to work with?

I think for me, it’s not even just about the artist. It’s more about the sound we could create together. I’d love to have a song with Future or Drake, for example, but there is something that’s shifted for me over time. I’ve moved away from thinking, “I want a song with this specific artist,” and more toward, “I want my sound to be part of what they’re doing.” And I think that would mean the most to me at the moment.

What advice would you give to up-and-coming producers who want to level up and start working with established artists?

Honestly, that’s an interesting question because I feel like I’m starting out again myself. I think the basics are important—you have to know what you’re doing musically. That’s essential. But once you have that foundation, what really matters goes beyond just making music. For me, it became more about myself and what I wanted my life to feel like.

I started to have a clear vision for myself and committed to becoming that version. I became very disciplined in that sense, and once I started figuring myself out more and finding the version of myself that I truly enjoyed being, my music began to follow naturally. It became more honest, and now I’m finding and exploring my sound. That’s how I’m starting to be able to work with people who truly see the vision.

I’ve realized that working on yourself—on your mindset, your life, your values—ends up reflecting in your music and career.

Back then, I really wanted songs with big artists and to go platinum. And I got that. It felt nice, but it didn’t fulfill me in the way I expected and wanted. That’s when I realized something important: as music producers, we’re not separate from our work. Our careers are extensions of who we are. It’s not just about one song or one placement; it’s about your entire life and how your music fits into that. Your music is the way you choose to tell your story.

Right now, I’m making music that’s completely different from what I made five years ago. And that’s because I’ve changed. My reasons for making music have changed. And that’s a good thing.

Where do you see yourself in five years—both personally and professionally?

Probably just doing what I’m doing right now, but on a bigger level and with more freedom. I believe I have an interesting story to tell, and in five years, I want that story to be known.

Outside of music, I’m also really into fashion and fragrances. One of my dreams has always been to create my own perfume line. That’s something I hope to bring to life in the next five years, not just through music, but by bringing something creative to the table in other areas too.

Follow Daniel Deleyto on Instagram: @danieldeleyto