Exclusive Interview
Jul 22, 2025
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
Dotmidorii – “Know what you want, and do it for yourself”
From experimenting with the FL Studio mobile version to crafting his own sound, Dotmidorii has come a long way. His résumé includes work with iconic artists like Chief Keef, Lil Uzi Vert, and Future. In this Studio Talks interview, Dotmidorii opens up about his creative process, the evolution of his sound, breaks down the iconic Chief Keef record “Love No Thotties,” and offers advice to the next generation. This exclusive interview was conducted by Rudy Manager via video call on June 25th, 2025.
Can you share how you first got interested in music, and how that eventually led you to music production?
I’d say it started back in sixth grade, around middle school for me. I wanted to join the school band and play percussion. I was really excited about playing the drums. But there wasn’t a spot available, so they gave me the trombone instead. I hated it. I really didn’t enjoy it, so I stopped doing anything related to music after that.
Eventually, in high school, my parents got me a guitar. I started playing and thought, “Okay, this is cool.” But, like a typical teenager, I ended up putting it down and forgot about it. Then I graduated in 2012.
After that, I remember watching a video of Lex Luger making a beat on his laptop. I was looking at it like, “What the hell is he doing?” He didn’t have any studio equipment—just a laptop. He was sitting there, smoking a blunt, and making one of the hardest beats I’d ever heard. It was that early trap sound—aggressive, high energy, like Waka Flocka type stuff. I thought it was crazy.
Then I looked up another producer and saw Zaytoven doing something similar, but using a MIDI keyboard. That’s when I knew—I had to do this. I needed a laptop. I had to start producing. I had no idea where to begin, but around late 2012, I downloaded this app on my phone called FL Mobile. I started making beats on my phone. They weren’t great, but it was a start.
From there, it just took off. I kept researching, eventually bought FL Studio, and the rest is history.
How did you improve your music early on? Did you have any mentors, or were you mostly self-taught?
I’m self-taught. We didn’t have nearly the resources back then that we do now. These days, you can watch someone cook up a beat online and learn FL Studio in less than a day. But back then, there were no real tutorials. We had books, and YouTube was around, but it was mostly basic piano stuff—nothing geared toward what I was trying to do. So I had to dig and figure things out on my own.
A lot of it was just learning the software. I’ve always been pretty tech-savvy, so I kept asking myself, “How do I do this? How does this work?” Then I realized I needed to start learning piano. I started watching videos on piano basics, gospel music, and jazz. Jazz helped me a lot, especially the improvisation side of it. That mindset of playing freely and experimenting gave me a lot of creative ideas.
I spent a lot of time doing the work, learning, then going back to analyze my beats. I’d listen to one of my better beats, break it down, and ask myself, “Why is this good? Is it in key?” It was a lot of trial and error. I also worked with other producers. When they’d send me their project, I’d study them to see how they got certain sounds or how they used chords.
I’d do the same with hit records. For example, if I was listening to a Gucci Mane track, I’d study that song day and night. I’d try to figure out what clap they used, how the 808s were placed. I’d recreate the beat 20 times just to get it embedded in my head—like, “This is how it’s done.”
From there, it became a constant learning process. I kept asking myself why certain songs worked and what made them click. Over time, that helped me build my own creative palette. It stopped being about figuring out how to do things and became more about expressing my own ideas. What used to take me three hours to make, I can now knock out in seven to ten minutes. By that point, I’ve basically got the whole project laid out.
Do you still use that approach today?
Oh yeah, definitely. There’s still a lot of music I haven’t heard or fully explored yet, so I like to keep things fun. I make a wide variety of music. Of course, I have my own style that I’m confident in, but I think versatility is key.
Lately, I’ve been really interested in Detroit music. It moves at a much faster tempo—like 180, even 190 BPM. When I first heard it, I was like, “What is this?” It was completely new to me. So I applied the same approach. I’ll download a bunch of beats and songs, listen closely, and then start making my own.
It’s not as deep as it was when I was first learning, but the same principle still applies. Like, I’ll hear a BabyTron song and think, “Damn.” Then I’ll hear another one and go, “Alright, bet.” Next thing you know, I’m loading up FL Studio and suddenly I’ve got a whole pack of five beats done just like that.
Can you share the process behind joining the Neilaworld collective?
That had to be back in 2017. To give you the full picture, I’ll dial it back a bit. As I mentioned earlier, I started producing in 2012. Early on, I was part of two different collectives. One was Akai Mafia, which I joined within the first few months of producing. That group was led by JayWhitt. He’s done a lot of work in the industry, especially with Kevin Gates, who he’s pretty close with. I was also part of another collective called T3, led by Yxng Coke.
But around 2015, I decided to step away from music. I just wasn’t feeling it anymore and completely went off the grid. Nobody knew where I was or what I was doing. I wasn’t interested in making music at that point.
Then, two years later—in 2017—I decided I wanted to get back into it. I rebranded myself as Dotmidorii and started working with artists in the underground scene. I wanted a fresh start. As I kept putting out beats, people started to recognize the sound. They were like, “Wait, this sounds like that one beat... Are you the person who made that?” And I’d be like, “Yeah.” So I slowly started revealing who I was.
Eventually, I got connected with FBK, the founder of Neilaworld. I got tapped in with Faded, and we started talking. He was like, “No way, bro. You didn’t make that beat, did you?” I showed him the project file, and we got deeper into conversation. Turns out we actually found each other through Twitter.
After a while, he pitched the idea of me joining Neilaworld. At first, I wasn’t sure. I had already been part of two groups before, and I didn’t know if I wanted to go down that road again. I told him I needed some time to think about it.
But he kept bringing it up—talking about how the collective was all about the music. It didn’t matter if you had 20 placements or none. It was all about working, growing, and supporting each other.
Once I heard that, I had a good feeling about it. I decided to join, and yeah—I’d say that was probably around late 2017.
How do you approach working on a composition from scratch?
It usually just comes together as I go. I’m more melodic by nature, so I usually start with the chords. Most of the time, I don’t have a specific idea in mind—I just improvise. I’ll grab a sound, whether it’s a piano, some strings, maybe even a sine lead or something more experimental. I try to lay down the foundation first, whether that’s a melody or a chord progression.
Once I have that down, I start to flesh out the rest. Sometimes I’ll throw in 808s or hi-hats early to give it bounce, but it’s usually pretty random unless I’m working toward something specific.
Even in those cases, there are so many ways to approach it. If someone hits me up and says, “Yo, let’s make something for Uzi,” I can take that in any direction. I might go futuristic, go for pain vibes, or do something more standard like industry trap. It depends on what I hear in the moment.
For example, I might start with a piano and think, “Okay, this is a good base.” Then I’ll hear a new sound while working and think, “Oh, I could flip this into a hard beat.” So I’ll save the MIDI, delete what I had, and build something totally different. And just like that, I’ve made two different beats from the same project.
It really just depends on my mood. There are no rules. Music theory definitely helps—I’m not just randomly placing notes. Like, if I wake up one day and decide I want to make every beat using Nexus 5, then I’m going to use Nexus 5. It could be Detroit-style, futuristic, trap—or even just drums with no melodies.
Do you have any routine when it comes to your creative process?
As you get older, you have less time for things, so dedicating time to make music is great—but if an idea hits, being spontaneous is just as important.
I do listen to music every day, and I draw a lot of inspiration from that. Honestly, most of my inspiration comes from listening to my own beats. I’ll go back and listen to something I made in 2013—or even just five weeks ago. I’ll hear something and think, “Damn, that was good,” and it pushes me to create more. Sometimes I get inspired just by revisiting my own production.
If I’m feeling inspired, I’ll make time for it. I might set aside two hours to make music, but if the vibe’s not there, I’ll repurpose that time. Maybe I’ll upload beats, make artwork, do some research—whatever feels right.
So no, I don’t really have a strict routine. Don’t get me wrong, routines can be good, but for me, the creative spark has to be there. I can make a beat anywhere. I’m actually out at the beach right now—with my laptop. If an idea comes, I can probably get something down in five minutes, then finish it later at home.
Rules and structure help—but I’m too crazy for a routine.
What are some of your favorite VSTs and hardware synthesizers?
I use a lot of different VSTs, but my favorite—without a doubt—has to be Nexus. Nexus has been in my setup since day one, and I’m never letting it go. I don’t care what anybody says. I’m on Nexus 5 now, but I started with Nexus 2 when I first began making beats. Nexus 5 even has a feature that makes it look like Nexus 2, which is perfect—I’m a nerd for that kind of stuff.
The sound design options are great, and they even added a random preset button. I’ll scroll through the piano section, hit “random” until something clicks, and build a whole beat even faster.
I also use VSTs like Electra and ZENOLOGY—honestly, I’ll use anything that fits the sound I’m going for. But if I had to choose a go-to, it would definitely be either Nexus or ZENOLOGY.
As for hardware, I used to have some gear, but I had to sell it at one point. I’m hoping to get it back. I used the Roland JV-2080, and also some of the tabletop synths Roland put out—like the JP-08 and JU-06. I loved the sounds—they really captured that raw Jupiter and Juno vibe.
But the downside was the limited polyphony. They only allowed about four notes at a time, which was frustrating. If I wanted to build full chords, I’d have to route multiple units or bounce each part individually. I’d record three notes, bounce it, then come back and layer in the top-line melodies. It was a process—but I still made some really interesting music with them, from trap to 80s-inspired stuff.
Hardware is amazing, and it adds a unique touch, but VSTs can definitely get the job done too. I think both are important in their own way. If I had my way, I’d build a full studio with everything—hardware and software included.
What’s your opinion on the use of AI in music production?
I actually work professionally in human resources, so AI is already part of my day-to-day conversations. Honestly, the same answer I’d give in that context applies to music too: be smart with it.
Don’t treat AI as something that’s just there to make your life easier or do the work for you. Sure, it can help. If I ask it to analyze something or break down a process, it can be incredibly useful. But the key is to learn from it. If it helps you improve or speeds things up—go ahead and use it. We’re in an age where automation is everywhere. As long as you’re still learning, I think it’s good.
But if someone’s using AI to rip tags off my beats or recreate them and upload them as their own—that’s where I draw the line. That’s not creative, and it’s not cool. Using AI to generate an entire beat with zero input or effort from you? In my opinion, that’s not real creativity either.
But if you’re using AI to spark ideas—like asking it to come up with drum patterns or give you a reference to build off of— and then you go in, tweak it, and make it your own? That’s fantastic.
This debate’s probably going to go on for the next 10 or 20 years—and I might sound like an old head saying it—but just do the work. AI is a powerful tool. I use it in my day job to organize notes, plan out tasks, figure out what to prioritize. That kind of support is great.
But if you’re just saying, “Make me a beat that sounds like Future,” and letting AI do everything—that’s not the point. That’s like outsourcing your creativity entirely. At the end of the day, I can’t control what people do.
Is there a production of yours that’s especially close to your heart?
I like all my production, honestly. But if I had to choose one that really hits close to me, I’d probably say LUCKI’s “Almighty Tune.”
My brother Samsson reached out and said, “Hey, I love your old work from 2013 and 2014—that futuristic glo you had. It’s so good. I’ve been talking to LUCKI about it, and he really messes with it. Let’s make some beats for him.” That beat ended up being the first one Samsson and I ever made together—and it’s the one that got placed, which is crazy.
That was the first time I made a beat specifically with an artist in mind, and I think that’s why it means so much to me. Most of my other placements weren’t originally intended for the artists who ended up using them. “Love No Thotties,” for example, was just another beat I made. Saweetie’s “Baby Mama Coochie” record? That was originally for someone completely different.
We made that beat during my first time trying a West Coast sound. I was in the desert in California with my boy Ris (Ivsir) and Dirty Sosa. They were like, “You gotta make a West Coast beat.” I was like, “Alright, you got me.” So I made one, but I honestly hated it at first. I’m laying down chords thinking, “Why am I doing this? What am I even doing here?” It’s 2020, middle of COVID, I’ve got a mask on, and I’m making a West Coast beat.
Originally, that record was pitched to a different set of artists, but it didn’t work out. Then Bbyafricka ended up getting it, dropped it, and a few weeks later, Saweetie heard it and got on the remix. And that’s how that song came about.
But out of everything, the LUCKI record “Almighty Tune” definitely feels like one of my most accomplished pieces of work.
What advice would you give to upcoming producers trying to build their careers and start working with major artists?
First and foremost—work hard. Focus on your craft. Your craft should always be your top priority because that’s what’s going to make or break you. Whether it’s your unique style, your ability to make loops, your drum work, or your overall production quality.
The second part is your network. Meet people. Collaborate. Don’t be afraid to take a risk—book a trip to Atlanta or grab an Airbnb in California to connect with other creatives. The more people you meet, the more opportunities you’ll create for yourself. But don’t go into it just looking for opportunities. Go to genuinely build relationships. That one person you randomly collab with today might connect you to someone major weeks—or even years—from now.
It’s cliché, but it’s true: your network is your net worth. You could be the best producer in the world, but if no one knows who you are because you’re stuck in your bedroom all day, it won’t matter. Of course, being low-key doesn’t automatically mean you won’t be successful—but both parts matter. You need the talent and the community.
At the same time, understand your goals. Not everyone wants to be the next Jay-Z or anything like that. Know what you want, and do it for yourself—not just for placements, clout, or trends. When you’re working toward something that really aligns with who you are, you’ll put in way more effort and stay focused through all the ups and downs.
Don’t just chase a name. Saying “I just want placements with Yeat” might seem like a goal now—but you’re going to evolve. Life’s going to throw things at you, your taste will shift, and your vision will change.
For me, the one constant is that I just want to make music. Even if I stop making trap beats—or stop making beats altogether—I’ll still be involved in the music world. That’s my core. My goals have never changed.
Where do you see yourself a year from now, both professionally and personally?
Personally, I’d like to be more stable—out of debt and happy. I’m happy now, but ideally, I’d be married and building toward a family. Stability is super important to me. I’ll be 32 next year—I can’t be living on my mom’s couch.
Professionally, I’d say I want to be more consistent. Right now, I tend to work in bursts—I’ll go hard for a while, then slow down. That’s something I’m always working on.
Whether it’s finally launching my beat store, putting out my own kits, focusing more on sound design, or diving into educational content like YouTube tutorials—I want to pick a path, stick with it, and build momentum.
Placements will come and go. I’m not even focused on that too heavily because things can change in two weeks. Someone could drop a track with my beat and everything could change overnight. I’ve already planted those seeds.
What is in my control is consistency—and what I choose to build moving forward. That’s where I see myself a year from now.
Is there anything else you’d like to add?
For anyone reading this: you can do exactly what I do—and even better.
If you want to be the best trap producer, you can. If you want to be the best reggaeton producer, you can too. And don’t limit yourself to just music—whatever it is you want to do, go out and chase it. Whether you want to be a chef or a NASA scientist—it doesn’t matter. Go for it.
People are going to try to shut your dreams down, but if you put in the work, you will get there. It doesn’t matter where you’re from—you could be in Russia, China, Japan, Mexico, Greenland. You can still make it happen—wherever you are.
Don’t listen to anyone who tells you otherwise. Work your ass off—because no one else is going to do it for you. But you can do it.
Follow Dotmidorii on Instagram: @dotmidorii
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