Dunk Rock, a versatile producer known for his innovative beats and significant collaborations with Gunna, has made a notable impact on the industry. He played a crucial role in producing Gunna’s biggest hit to date, fukumean. From his early experiments with GarageBand to crafting chart-topping tracks, Dunk Rock’s journey showcases his dedication and passion. Join us for an exclusive Studio Talks interview as we explore his creative process, the stories behind his major breakthroughs, and his aspirations for the future.
How did you first get interested in music and music production in general?
I come from a musical family. My father plays guitar, and my mother is a singer, so music was always a part of my upbringing. We listened to a lot of The Beatles and old-school R&B, which I’ve grown to love. I really started getting into beats around the time Kanye West began releasing music. I was fascinated by how he made his beats, and that’s what sparked my interest. The early Kanye days were what really piqued my interest.
Can you remember what was your first DAW?
I started on GarageBand around 2008 or 2009, making some really bad, generic beats while I was just trying to figure things out and learn how it all worked.
Do you think starting on GarageBand, rather than using a more complex DAW, shaped or influenced your production style in any way?
I’d say it was more a matter of not knowing any better. I didn’t even know what a DAW was at the time. I just saw GarageBand and realized I could make beats on it, so I gave it a try. That’s what I used until I eventually got Reason, which I still use today. Even when I got to college a few years later, I was still using GarageBand. Then someone told me, "Hey, there’s something better you can use," and they helped me switch over to Reason. I’ve stuck with it ever since. I didn’t even know about Ableton or FL Studio until a few years later, when I realized there were other options out there.
When you first started releasing music, what was your main method for promoting your beats?
I primarily used SoundCloud to share my beats. That was pretty much it in the beginning. I remember around 2012 or 2013, a lot of artists would post their email addresses on Twitter, asking producers to send beats. That was a big thing back then, so I was always scouring Twitter for emails where I could send my beats. That was my main method for getting my beats out there.
Dunk Rock, a versatile producer known for his innovative beats and significant collaborations with Gunna, has made a notable impact on the industry. He played a crucial role in producing Gunna’s biggest hit to date, fukumean. From his early experiments with GarageBand to crafting chart-topping tracks, Dunk Rock’s journey showcases his dedication and passion. Join us for an exclusive Studio Talks interview as we explore his creative process, the stories behind his major breakthroughs, and his aspirations for the future.
How did you first get interested in music and music production in general?
I come from a musical family. My father plays guitar, and my mother is a singer, so music was always a part of my upbringing. We listened to a lot of The Beatles and old-school R&B, which I’ve grown to love. I really started getting into beats around the time Kanye West began releasing music. I was fascinated by how he made his beats, and that’s what sparked my interest. The early Kanye days were what really piqued my interest.
Can you remember what was your first DAW?
I started on GarageBand around 2008 or 2009, making some really bad, generic beats while I was just trying to figure things out and learn how it all worked.
Do you think starting on GarageBand, rather than using a more complex DAW, shaped or influenced your production style in any way?
I’d say it was more a matter of not knowing any better. I didn’t even know what a DAW was at the time. I just saw GarageBand and realized I could make beats on it, so I gave it a try. That’s what I used until I eventually got Reason, which I still use today. Even when I got to college a few years later, I was still using GarageBand. Then someone told me, "Hey, there’s something better you can use," and they helped me switch over to Reason. I’ve stuck with it ever since. I didn’t even know about Ableton or FL Studio until a few years later, when I realized there were other options out there.
When you first started releasing music, what was your main method for promoting your beats?
I primarily used SoundCloud to share my beats. That was pretty much it in the beginning. I remember around 2012 or 2013, a lot of artists would post their email addresses on Twitter, asking producers to send beats. That was a big thing back then, so I was always scouring Twitter for emails where I could send my beats. That was my main method for getting my beats out there.
Dunk Rock, a versatile producer known for his innovative beats and significant collaborations with Gunna, has made a notable impact on the industry. He played a crucial role in producing Gunna’s biggest hit to date, fukumean. From his early experiments with GarageBand to crafting chart-topping tracks, Dunk Rock’s journey showcases his dedication and passion. Join us for an exclusive Studio Talks interview as we explore his creative process, the stories behind his major breakthroughs, and his aspirations for the future.
How did you first get interested in music and music production in general?
I come from a musical family. My father plays guitar, and my mother is a singer, so music was always a part of my upbringing. We listened to a lot of The Beatles and old-school R&B, which I’ve grown to love. I really started getting into beats around the time Kanye West began releasing music. I was fascinated by how he made his beats, and that’s what sparked my interest. The early Kanye days were what really piqued my interest.
Can you remember what was your first DAW?
I started on GarageBand around 2008 or 2009, making some really bad, generic beats while I was just trying to figure things out and learn how it all worked.
Do you think starting on GarageBand, rather than using a more complex DAW, shaped or influenced your production style in any way?
I’d say it was more a matter of not knowing any better. I didn’t even know what a DAW was at the time. I just saw GarageBand and realized I could make beats on it, so I gave it a try. That’s what I used until I eventually got Reason, which I still use today. Even when I got to college a few years later, I was still using GarageBand. Then someone told me, "Hey, there’s something better you can use," and they helped me switch over to Reason. I’ve stuck with it ever since. I didn’t even know about Ableton or FL Studio until a few years later, when I realized there were other options out there.
When you first started releasing music, what was your main method for promoting your beats?
I primarily used SoundCloud to share my beats. That was pretty much it in the beginning. I remember around 2012 or 2013, a lot of artists would post their email addresses on Twitter, asking producers to send beats. That was a big thing back then, so I was always scouring Twitter for emails where I could send my beats. That was my main method for getting my beats out there.
Can you remember some of the first artists who used your beats when you were sending them via email?
It’s funny—there’s an artist named Lil Chuckee, who was part of Young Money. If you remember Young Money, the Lil Wayne collective, he used one of my beats around 2013. At the time, no other well-known artists had used my beats, so that was pretty cool. It wasn’t an official placement or anything—he just released it—but it was a great moment to realize that someone I’d heard of, or at least knew as a rapper, was using my stuff. That was definitely an encouraging moment for me.
Can you describe your creative process? Where do you get your inspiration from, and what does a typical day look like for you?
I like to keep my days consistent. I usually wake up and dive right into creating, starting with melody ideas. I try to come up with a few melodies during the day, and if I like them, I’ll come back later and add drums. Sometimes, in the evening, I’ll use loops from other producers and add drums to those. My creative process is really about sitting down and seeing what happens. I believe you never know when you’re going to strike gold or when lightning will strike, so I just focus on being consistent. I sit down, play something on the keyboard, and go from there—because on any given day, you might stumble onto something great.
You mentioned that you start with melodies. Do you usually create them using live instruments?
I mostly use VSTs for my melodies. I play guitar, so if I’m working on a guitar melody, I’ll usually play it live. For almost everything else, I rely on VSTs. Reason has some great options, and I use a mix of different ones. It’s really a combination of tools.
Can you remember some of the first artists who used your beats when you were sending them via email?
It’s funny—there’s an artist named Lil Chuckee, who was part of Young Money. If you remember Young Money, the Lil Wayne collective, he used one of my beats around 2013. At the time, no other well-known artists had used my beats, so that was pretty cool. It wasn’t an official placement or anything—he just released it—but it was a great moment to realize that someone I’d heard of, or at least knew as a rapper, was using my stuff. That was definitely an encouraging moment for me.
Can you describe your creative process? Where do you get your inspiration from, and what does a typical day look like for you?
I like to keep my days consistent. I usually wake up and dive right into creating, starting with melody ideas. I try to come up with a few melodies during the day, and if I like them, I’ll come back later and add drums. Sometimes, in the evening, I’ll use loops from other producers and add drums to those. My creative process is really about sitting down and seeing what happens. I believe you never know when you’re going to strike gold or when lightning will strike, so I just focus on being consistent. I sit down, play something on the keyboard, and go from there—because on any given day, you might stumble onto something great.
You mentioned that you start with melodies. Do you usually create them using live instruments?
I mostly use VSTs for my melodies. I play guitar, so if I’m working on a guitar melody, I’ll usually play it live. For almost everything else, I rely on VSTs. Reason has some great options, and I use a mix of different ones. It’s really a combination of tools.
Can you remember some of the first artists who used your beats when you were sending them via email?
It’s funny—there’s an artist named Lil Chuckee, who was part of Young Money. If you remember Young Money, the Lil Wayne collective, he used one of my beats around 2013. At the time, no other well-known artists had used my beats, so that was pretty cool. It wasn’t an official placement or anything—he just released it—but it was a great moment to realize that someone I’d heard of, or at least knew as a rapper, was using my stuff. That was definitely an encouraging moment for me.
Can you describe your creative process? Where do you get your inspiration from, and what does a typical day look like for you?
I like to keep my days consistent. I usually wake up and dive right into creating, starting with melody ideas. I try to come up with a few melodies during the day, and if I like them, I’ll come back later and add drums. Sometimes, in the evening, I’ll use loops from other producers and add drums to those. My creative process is really about sitting down and seeing what happens. I believe you never know when you’re going to strike gold or when lightning will strike, so I just focus on being consistent. I sit down, play something on the keyboard, and go from there—because on any given day, you might stumble onto something great.
You mentioned that you start with melodies. Do you usually create them using live instruments?
I mostly use VSTs for my melodies. I play guitar, so if I’m working on a guitar melody, I’ll usually play it live. For almost everything else, I rely on VSTs. Reason has some great options, and I use a mix of different ones. It’s really a combination of tools.
I’ve heard there’s a crazy story about how you and Gunna first met. I’m sure you get asked about this a lot, but could you share the story again?
Yeah, of course. So, in 2020, I co-produced a song on Gunna’s Wunna album called “COOLER THAN A BITCH” with Tre Poundz—shout out to Tre Poundz. At the time, the pandemic had things really shut down, and I was living in LA. I had done the loop for the track, so Gunna didn’t really know who I was. It was a big song for me, my biggest placement up to that point, and I was eager to work more.
Through word of mouth, I found out where they were recording. I decided to go there with a sign that said, “I produced “COOLER THAN A BITCH”,” hoping someone would notice me. Honestly, I didn’t expect Gunna to see me—I thought maybe an engineer, or another artist might pass by and notice. But, within five minutes of being there, a Rolls Royce pulled up, and it was Gunna and Turbo. I had my sign, and there’s even a video of me interacting with them.
It was an incredible moment because I got to go inside, meet Gunna, talk to Turbo, and connect with Kenny Stuntin. Now, I’m cool with all of them, and it worked out from there—I’ve been able to keep working with them ever since.
You produced fukumean by Gunna, which became a huge hit. Can you share what this song has done for your career?
It’s been incredible—a huge blessing. This is the first time I’ve had a song achieve such a level of success. One of the coolest things was hearing it on the radio. My mom even called me when she heard it playing in Connecticut, which was so random. I remember hearing it for the first time in an Uber in Atlanta. It’s still amazing to see videos of people going wild for the song at concerts, even overseas. It’s a real blessing to see your work resonate with people and to see them enjoy themselves while listening to it. That’s really all I can say—it's been a huge blessing.
Is there a project or collaboration you've worked on that didn't get much attention but holds a special place in your heart?
At the beginning of 2021, I produced a track on Young Dolph’s deluxe album. I had always been a big Dolph fan, and he passed away later that year. I worked on the track with BandPlay—big shoutout to BandPlay. The song is fire. Even though it's not a major hit, I feel truly honored to have produced for Dolph, especially since we lost him so early. The track is called “Gimme My Bag.”
What advice would you give to young producers who are just starting out now?
It’s important to let go of the need to see immediate results, especially early on. There might not be any results at first—there certainly weren’t for me. While things seem to happen quicker these days in terms of placements, it’s easy to get discouraged when comparing yourself to others, especially younger producers who may be getting placements faster. You can get lost in the sauce of seeing other people's success.
My advice is to focus on making the music you love and enjoy the process. Stay consistent, take risks, travel, and create opportunities for yourself. Don’t worry about what others are doing; focus on your own growth and development. If you stay dedicated and passionate about your craft, things will eventually fall into place.
Do you have any advice on how to connect with artists if someone doesn't have any connections in the music industry and wants to get their beats out there?
These days, it’s about doing everything you can to make connections. I moved to LA in 2017 to give myself every opportunity for success. While it's true that producers around the world can achieve success without being in a specific location, being in a music hub can be advantageous. You can run into people, catch them in the studio, and build face-to-face relationships, which can be really helpful.
If you’re not in a music hub, travel to where the music scene is active. Try to meet people in person and reach out to others online as much as you can. Understand that not everyone will respond—95% of people might not—but if you can connect with a few, you can start building relationships. Be consistent in reaching out and sending your work. Follow up in person, if possible, especially when you’re traveling. Consistency and persistence with your work ethic and connections are key.
What are your long-term goals as a producer, and where do you see yourself in five to ten years?
I’ve always aspired to be one of the top producers in the industry—among the likes of Metro Boomin, Tay Keith, Murda Beatz, Cardo, and Turbo. These are the producers creating hit records and working with the biggest artists, and that’s where I see myself. I aim to continue making major hits and collaborating with top artists over the next decade.
After that, I could see myself transitioning into an executive producer role. In that role, I’d focus more on overseeing projects, signing artists, and supporting other producers, rather than just creating beats. For now, my focus is on making as many hit songs as possible with the biggest artists.
Follow Dunk Rock on Instagram: @dunkrockproductions
