DLo Beatz, a name making waves in the music industry, has been crafting captivating beats and collaborating with top artists. With a dynamic approach to music production and an impressive portfolio that includes notable tracks with artists like A Boogie wit Da Hoodie and Pop Smoke, DLo Beatz has quickly become a force to be reckoned with. In this exclusive Studio Talks interview, we dive deep into his creative process, his inspirations, and what lies ahead for this rising star in the music world.
How did you first get interested in music and in music production?
I’ve been listening to music since I was young, mostly because of my parents. My mom signed me up for my school’s talent show, where I ended up singing in front of the whole school. That experience sparked my love and passion for music. My dad was also an artist, so he used to take me to the studio with him early on. I also had a cousin who was into rapping, and my dad suggested that I become his producer. That really got me interested. My dad’s best friend was making beats, and he taught me how to do it. From then on, my love for music grew, and I’ve been doing it ever since.
What were your early music influences? What music did you listen to?
Being Latino, I grew up listening to a lot of reggaeton and Latin music, which was always playing in the house. As I mentioned earlier, my dad was an artist who made Latin music. I also listened to a lot of hip-hop. I’d say that both hip-hop and reggaeton were major influences on me.
When you first started, what was your primary method of promotion?
I primarily used Instagram to promote myself. I would post beats on Instagram regularly and also used YouTube to upload beats. Social media was a big part of my strategy—I posted beats every day on Instagram and YouTube, trying to connect with people and get my music out there.
How were you finding artists for your beats initially? Did you already know some artists beforehand, or were you reaching out through DMs?
I was mainly reaching out through DMs. Initially, I started locally, collaborating with artists from my town. However, I relied heavily on Instagram, where I would DM people, connect with different producers, and try to work with as many people as possible in the beginning.
Can you describe your creative process when producing? Where do you get your inspiration from?
My creative process varies. Sometimes, when I’m working at home, I start from scratch—creating my own samples and building an entire beat. Other times, when I’m collaborating, I’ll be at a friend’s studio, where we work on melodies, make beats, and go through samples together. The process is always different, depending on the situation.
How does your typical day usually look like?
Lately, I haven’t been making as many beats as I should because I’ve been more focused on creating full songs. I’m currently working with different artists and spending a lot of time in the studio making records. A typical day for me includes going to the gym, spending time with my family, and then heading to the studio to get my work done.
You have multiple songs with A Boogie wit Da Hoodie. How did you first meet, and how has your relationship evolved over time?
Back when I was in high school, A Boogie was really starting to blow up, and I was a huge fan of his music. I was doing everything I could to connect with him, including DM-ing people on Instagram. One person I reached out to was Don Q, a close collaborator of his, who’s on the same label. I sent Don Q some beats, and he eventually responded and used one of them.
A Boogie is from Highbridge in the Bronx, which isn’t too far from where I’m from. I would go over there, hoping to find a way to connect with him. One day, I ended up going to the studio with Don Q, where I met my manager, who was a close friend of A Boogie. A Boogie recorded almost his entire first album at my manager’s house in the Bronx. From there, we built our relationship.
Are you still working closely with him?
Yes, we still have a lot of music in the works that I hope will be released soon. We continue to collaborate and exchange beats. Recently, I’ve been focused on building relationships with other artists I’m working with, so I haven’t been in touch with A Boogie as much. However, I’m still sending him beats and staying involved.
One song you collaborated on with A Boogie wit Da Hoodie is 24 Hours featuring Lil Durk. Can you share the backstory behind making this track?
I made the beat for 24 Hours with my friend JoeFromYO, who’s like a brother to me. One day, he played me a beat he had worked on with our friend Chuck Taylor, who was also involved in the project. They had a different idea for it, but when I heard it, I thought we should try flipping it into something new. So, we went outside, came back to the studio, and started reworking the beat.
We played the revamped beat for A Boogie the same night or the following day. It was the last beat we played him out of a whole bunch, and he immediately responded, saying, “You guys are holding onto the fire stuff.” That’s when the idea for 24 Hours came together. A few months later, A Boogie added Lil Durk to the track, which was a dream come true for me, especially since I had been a fan of Lil Durk for years. The whole record turned out amazing.
How does your typical day usually look like?
Lately, I haven’t been making as many beats as I should because I’ve been more focused on creating full songs. I’m currently working with different artists and spending a lot of time in the studio making records. A typical day for me includes going to the gym, spending time with my family, and then heading to the studio to get my work done.
You have multiple songs with A Boogie wit Da Hoodie. How did you first meet, and how has your relationship evolved over time?
Back when I was in high school, A Boogie was really starting to blow up, and I was a huge fan of his music. I was doing everything I could to connect with him, including DM-ing people on Instagram. One person I reached out to was Don Q, a close collaborator of his, who’s on the same label. I sent Don Q some beats, and he eventually responded and used one of them.
A Boogie is from Highbridge in the Bronx, which isn’t too far from where I’m from. I would go over there, hoping to find a way to connect with him. One day, I ended up going to the studio with Don Q, where I met my manager, who was a close friend of A Boogie. A Boogie recorded almost his entire first album at my manager’s house in the Bronx. From there, we built our relationship.
Are you still working closely with him?
Yes, we still have a lot of music in the works that I hope will be released soon. We continue to collaborate and exchange beats. Recently, I’ve been focused on building relationships with other artists I’m working with, so I haven’t been in touch with A Boogie as much. However, I’m still sending him beats and staying involved.
One song you collaborated on with A Boogie wit Da Hoodie is 24 Hours featuring Lil Durk. Can you share the backstory behind making this track?
I made the beat for 24 Hours with my friend JoeFromYO, who’s like a brother to me. One day, he played me a beat he had worked on with our friend Chuck Taylor, who was also involved in the project. They had a different idea for it, but when I heard it, I thought we should try flipping it into something new. So, we went outside, came back to the studio, and started reworking the beat.
We played the revamped beat for A Boogie the same night or the following day. It was the last beat we played him out of a whole bunch, and he immediately responded, saying, “You guys are holding onto the fire stuff.” That’s when the idea for 24 Hours came together. A few months later, A Boogie added Lil Durk to the track, which was a dream come true for me, especially since I had been a fan of Lil Durk for years. The whole record turned out amazing.
How does your typical day usually look like?
Lately, I haven’t been making as many beats as I should because I’ve been more focused on creating full songs. I’m currently working with different artists and spending a lot of time in the studio making records. A typical day for me includes going to the gym, spending time with my family, and then heading to the studio to get my work done.
You have multiple songs with A Boogie wit Da Hoodie. How did you first meet, and how has your relationship evolved over time?
Back when I was in high school, A Boogie was really starting to blow up, and I was a huge fan of his music. I was doing everything I could to connect with him, including DM-ing people on Instagram. One person I reached out to was Don Q, a close collaborator of his, who’s on the same label. I sent Don Q some beats, and he eventually responded and used one of them.
A Boogie is from Highbridge in the Bronx, which isn’t too far from where I’m from. I would go over there, hoping to find a way to connect with him. One day, I ended up going to the studio with Don Q, where I met my manager, who was a close friend of A Boogie. A Boogie recorded almost his entire first album at my manager’s house in the Bronx. From there, we built our relationship.
Are you still working closely with him?
Yes, we still have a lot of music in the works that I hope will be released soon. We continue to collaborate and exchange beats. Recently, I’ve been focused on building relationships with other artists I’m working with, so I haven’t been in touch with A Boogie as much. However, I’m still sending him beats and staying involved.
One song you collaborated on with A Boogie wit Da Hoodie is 24 Hours featuring Lil Durk. Can you share the backstory behind making this track?
I made the beat for 24 Hours with my friend JoeFromYO, who’s like a brother to me. One day, he played me a beat he had worked on with our friend Chuck Taylor, who was also involved in the project. They had a different idea for it, but when I heard it, I thought we should try flipping it into something new. So, we went outside, came back to the studio, and started reworking the beat.
We played the revamped beat for A Boogie the same night or the following day. It was the last beat we played him out of a whole bunch, and he immediately responded, saying, “You guys are holding onto the fire stuff.” That’s when the idea for 24 Hours came together. A few months later, A Boogie added Lil Durk to the track, which was a dream come true for me, especially since I had been a fan of Lil Durk for years. The whole record turned out amazing.
Do you have a production of yours that you value highly for its artistic quality? Or what is your favorite song of yours?
I would say 24 Hours is one of my favorites. It’s particularly special because we did some post-production work on it. Rogét Chahayed, a well-known producer, added his touch, taking the song to another level. The track was already great, but his contribution elevated it even further. We really invested a lot of time and effort into perfecting it, and it paid off—it eventually became a platinum record.
Do you have some artists in mind with whom you would like to collaborate with in the future?
One of my favorite artists right now is Rauw Alejandro; he’s a fantastic Latin artist and is at the top of my list. I’d also love to collaborate with big names like Drake and Travis Scott.
What advice would you give to young producers who are just starting out?
My advice would be to learn as much as you can at the beginning. I spent a lot of time on YouTube, soaking up every bit of knowledge I could. If possible, learning to play an instrument, like the guitar or piano, can be very beneficial. Dedicate as much time as you can to perfecting your craft and striving to be the best you can be. Networking is also crucial—try to travel, visit different cities, and collaborate with a variety of people. All these efforts can contribute to a young producer’s growth and success.
Can you share some upcoming projects of yours?
Currently, I’m working on new music with a female artist named Lenexx, who’s Dominican and from Queens, New York. We have a lot of new music in the works. I’m also collaborating with Fresy Franklin from Puerto Rico, who has written number-one songs before. We’re working on an EP together. Lately, I’ve been focusing on collaborating with up-and-coming artists.
What are your long-term goals as a producer?
My long-term goal is to establish my own label where I can sign producers, artists, and writers, and help them reach their full potential. I aim to achieve the highest level possible, which includes collaborating with artists, executive producing projects, and moving beyond just chasing placements. Ultimately, I envision myself not only creating more projects but also guiding and mentoring the next generation to become superstars.
Can you share a project of yours?
Sure! Towards the end of 2022, I was working a lot with Bassyy. He sent me a melody that immediately reminded me of something from 2016. Inspired by that, I started adding drums to it along with JoeFromYO. We kept the drum pattern simple, using a kick and a percussion loop. Here’s a glimpse of how the melody and drums came together.
Where do you usually get the samples?
I typically find samples online by searching for drum kits and other sound packs. Additionally, people like my friend JoeFromYO often send me drum kits, sounds, and percussion loops. At the time, I was heavily using percussion loops. For this particular beat, it was quite simple—I used a kick, a percussion loop, and also incorporated a triangle sound.
How do you usually approach the structure of the beat? Do you have some go-to structures or do try to switch it up?
I always aim to switch things up. Over the past couple of years, I’ve been learning how to record vocals and create song references. I might record over a melody or a full beat, then adjust the beat to fit the vocals. This has changed how I approach structuring songs and beats. Typically, I would follow a basic structure with a hook, a verse, a bridge, followed by another hook, verse, and an outro. However, since I started recording myself and others, my approach to structuring songs and beats has evolved significantly.
How long did it take you to create the beat (Solo $exo – Myke Towers)?
It took about an hour to create this beat. Sometimes, I can make a beat in just 15 or 20 minutes. Other times, I might spend an hour or more, depending on how much I like the beat and how much I want to develop it. I focus on different structures and elements to make it unique. It really depends on the beat and how I’m feeling at the time.
Do you usually complete a beat in one sitting, or do you come up with an initial idea and then refine it later?
It varies. Sometimes I finish a beat in one sitting, but other times I start with an idea and come back to it later with fresh ears. Listening to it after a day or two might give me new ideas for an outro, bridge, or other elements. So, I can complete a beat in one go, or it might take a few days or even weeks. There are beats I revisit after a while, especially if I really like them, and I might make changes to improve them.
Follow DLo Beatz on Instagram: @dlobeatz
