Exclusive Interview
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
Daniel East – Toronto Producer Behind Records for Drake, 21 Savage, Future & Young Thug
We met up with Daniel East in Los Angeles on April 20 for a follow up interview, almost two years after our first conversation. Daniel is a successful music producer working predominantly out of Toronto, Canada, with credits for major artists like Drake, 21 Savage, Future, Young Thug, Summer Walker, and more. He happened to be in LA at the same time as the Studio Talks team, so it only felt right to arrange a short meeting and continue the conversation. In this interview, Daniel reflects on how his work on Drake and 21 Savage’s “Hours In Silence” came together, shares advice for new producers, and speaks on what’s next for him.
“Music theory, sound selection, and arrangement. Those are what can take a producer from trying to break through to being the person everybody wants to go to.”
- Daniel East
It’s been almost two years since our first interview. What has changed for you since then, and what have you been up to?
More recently, building infrastructure has really been the most important thing for me over these last two years, especially after my record with Drake, “Hours In Silence.” Shortly after that, I met the management team I’ve been working with, and that has brought amazing results for me.
Before that, I was operating my entire career without that kind of direction and teamwork. I went from having no managers to having two who really have my back and are looking out for my best interests. So far, we’ve been able to make a lot of interesting things happen together, and I’m looking forward to showing you what’s coming later this year.

I want to go back a little bit and ask you about “Hours In Silence,” your song with Drake and 21 Savage. From your perspective, how did it all come together?
The roots of “Hours In Silence” came from me working on sample packs in the middle of COVID. When everything shut down, it put everybody on an even playing field. Everyone was at home in their rooms making music like they were kids again. For me, that was a space I kind of thrived in. During a really hard time, I tried to focus on myself, my spirit, my physical health, my mindset, and especially my musicianship.
I spent about six months learning music theory, scales, and the number system because I wanted to really understand what it took to make the best samples in the world. At that time, my main focus was becoming the best composer I could possibly be, not only for myself but also for my peers. Around January 2020, I made the original idea for “Hours In Silence.” It was a sample called “Starlight,” and it eventually ended up on Inversions Vol. 3, a sample pack from my company, Eastline Libraries.
I remember making that sample and thinking, “Man, this sounds like something Drake would hop on.” But that’s a thought you can have with a lot of ideas. At the time, I didn’t really have a way to make something like that happen, so the best route was to put it through my sample packs. A couple of years later, I got hit up by someone from Drake’s team at OVO. They let me know that a sample had been used, but they were very specific about what they could say at the time. All I really knew was that I had some involvement with a record connected to an OVO artist. I didn’t even assume it was Drake. I was just excited because Toronto has always felt like a home away from home for me, and it felt like a new opportunity was opening up.
This was around August 2022, shortly after I turned 25. That whole summer, and that year in general, were life changing for me. A few weeks after that first conversation, I was having the most normal day possible. I had just come home from the gym, and I was by myself when I got a call. At the very end of the call, he said, “So you know that record we were talking about? It’s a Drake record, and it’s going to be on his collaborative album with 21 Savage.” In that moment, I was just sitting with the feeling of, “Oh wow, this is really happening.” Eventually, the paperwork and everything came through, and it became what it became.
From a creative standpoint, my contribution was the initial sample on the first beat of “Hours In Silence.” That’s what I contributed to the record. I also have to shout out Mcevoy and nyan. Mcevoy is from Vancouver, and nyan is from Brooklyn. Those guys are really the masterminds behind “Hours in Silence.” They made the beat what it is and put it in the right space for someone like Drake to use it. To this day, me, Mcevoy, and nyan are still working on amazing music together, so we’ll see what comes in the future.
When the album dropped, Drake had a radio show through OVO Sound Radio and Sound 42, and I remember feeling excited but nervous. That night, I had my mother and my brother with me, two of the people closest to my heart and two people who supported my journey from the very beginning, when I started producing in 2008. It was a life changing moment. Even now, I can’t help but smile thinking about it.
To see the song on DSPs, go to the liner notes, and see Daniel East next to Noah “40” Shebib was an incredible feeling. 40 is my favorite producer. He’s like my inadvertent mentor. I’ve never even spoken to him, but I spent years studying and admiring the music that came from that camp. To be able to reach that level and be part of it was a blessing.
What is your creative process like when you’re working on a new idea from scratch?
I think it can vary depending on the scenario. That’s especially true now because I don’t just operate as a composer anymore. Over these last two years, I’ve really been able to transition into being a full producer and even a songwriter, becoming everything I knew I could be as a creative.
Usually, the situation calls for what role I’m going to occupy. Sometimes it takes reading the room and noticing who I’m working with that day, whether it’s certain producers or a certain artist, and asking myself what mode I can bring that would best serve the situation. Then sometimes I’m solo, and that’s where I do a lot of my experimenting because, at that point, anything can really happen.
One of my favorite ways to create these days is by going back to the past and listening to a lot of music. The lane that opened up for me with AI, specifically with how I use it in my workflow, is stem splitting. That’s mostly what I use. I haven’t gotten too deep into the generative audio space, but stem splitting has been a creative tool that really changed the game for me. Now I can go back to records I loved as a kid and do things I couldn’t do before, because maybe the drums were too loud or I wanted the vocals out. Now I can actually do those things.
One of my favorite ways to cook samples is by doing these halfway reinterpretations, where I’ll sample a soul record or a ‘90s R&B record, separate out the vocals, and build new ideas around it. Maybe I’ll build a beat out of it, or maybe I’ll send the sample to the homies. If I’m not doing that, then I’m usually cooking from scratch or working in collaboration.

What advice would you give to the new generation of music producers looking to get into the game and work with established artists?
I think a lot of times, when we get asked this question as creatives, it can lead to a lot of cliché answers. People will say, “Just keep working hard, keep grinding, be willing to pay your dues, put in your hours.” All of those things are absolutely true, and I say that with full conviction. But to be more specific for a new producer, or even an artist who wants to understand production better and communicate with producers and engineers more clearly, I would say start with YouTube.
Go on YouTube and look up tutorials. Look up interviews. The information is there. I’m a self-taught producer, and eventually I started learning from my peers once I met them earlier in my career. But we were all doing the same thing. There wasn’t an exact guideline. Now, with content creation, there are so many great production channels, from Splitmind to Internet Money, along with producers who are killing it with tutorials right now. I can look up a tutorial for anything these days, and I still do.
If I’m still doing that after what I’ve been able to accomplish in my career, I don’t see why anyone else shouldn’t. Don’t close yourself off from learning and information, because that’s key for this journey. Learning is what’s going to make you better.
Secondly, I’d say learn the number system. Learn music theory, but the number system in particular. I’m not going to act like you need to learn sheet music or memorize every single chord. Instead of memorizing individual chords, memorize chord formulas. That unlocks your ability to move across the keyboard and play what’s in your head freely, without limitations or blockage.
I literally took six months out of my life at one point to learn those things. I wouldn’t have made the “Hours In Silence” sample without learning some of what I picked up along the way and blending that with feeling and intention. Even though that progression was simple, a 6-5-4 chord progression, I still needed that foundation to get there.
Learn the back end of music, because the greats really do respect that. Even the guys who don’t know music theory like that usually have excellent pitch, and they understand when something is in key or out of key in a tasteful way. Train your ear and be able to recognize that. Once you have that foundation, the sky’s the limit, because from there it really comes down to sound selection and arrangement.
To me, those are the three things: music theory, sound selection, and arrangement. Those are what can take a producer from trying to break through to being the person everybody wants to go to.

Can you share some of your plans for this year, both personally and professionally?
Personally, I feel like when COVID happened, it almost put life on pause for three years. Even though I kept going with music, I really focused inward, worked on my spirit, and thought about what type of person I want to be in this industry. What type of friend am I going to be? What type of peer can I be? Those are things I really sat with, because being in this industry has come with a lot of ups and downs, and I’ve seen a lot of different sides of it.
The blessing in that is it gave me a lot of good information on how I actually want to do this. So this year, I’m continuing to refine that process. On a personal level, I’m looking to keep traveling and going to places where I’m welcomed and well received. Shout out to Los Angeles. I’ve been very well received in this city, and I’m looking to keep coming out here throughout the year so I can put myself in the best position to make amazing music with amazing people.
Outside of that, Toronto is definitely on my mind too. I also want to travel and see Europe. I’ve got France on my mind in particular, and the UK as well. I really want to go out there and immerse myself in the culture, especially with the UK connection to Toronto.
On a music level, I’m looking to continue doing things that feel familiar to people, but also keep expanding. I’ve got some really amazing sample packs on the way, and I’ve got sound kits coming too. So shout out to the producers. I haven’t forgotten about you guys. Eastline Libraries 2026 is up, and we’ve got a lot on the way. Collaboration sample packs are coming too, which is going to be a first for us. We’re working on the lineup for our first summer drop this year, so I’m incredibly excited for that.
Outside of Eastline Libraries, it’s just Daniel East doing anything and everything I need to do to put myself in a position to give you guys great music. These new releases are about to come out, and I can’t wait to see what happens after.
Follow Daniel East on Instagram: @danieleast
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