Exclusive Interview
Sep 25, 2025
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
Evan Moitoso - From Partial Deafness to Ken Carson and Destroy Lonely Placements
From being partially deaf as a young kid to representing a new generation of producers shaping the future of hip hop production, Evan Moitoso’s story is as inspiring as it is impressive. With credits that include work with Ken Carson, Destroy Lonely, and more, along with an A&R role at Producer Royalty, Evan has quickly established himself as both a creator and a connector in today’s music landscape. In this interview with Studio Talks, he reflects on his journey, creative process, and vision for where music is headed next. The interview was conducted by Rudy Manager over a video call on September 12, 2025.
“I felt music before I ever heard it.”
- Evan Moitoso
Can you share how you first got interested in music and later in music production?
I started getting interested in music when I was around five or six years old, so roughly in 2008 or 2009. At first, I was really into EDM because my dad would always play electronic music on the family Pandora account we used on the Mac at home. There was one song in particular that stood out to me, which was “Flashback” by Calvin Harris. That track fascinated me because of how the sounds and the production came together. It really intrigued me and inspired me to start learning more about music and how it works. Looking back, I think that was the first time I had a proper introduction to the idea of the production side.
I didn’t dive into making music myself until much later. It was around 2019 or 2020, when COVID first hit, that I started getting into hip hop production. During that time, I broadened the music I listened to and found myself really drawn to the producers behind the tracks. I got into people like Pi’erre Bourne, Wheezy, and Earl on the Beat, and I also followed artists like Lil Yachty and Lil Skies. Those artists set the direction for the type of beats I wanted to make, especially the fast-paced, melodic style that was popular in 2018 and 2019. From there, I became fully invested in it. I started watching tutorials, studying vlogs, and looking into the creative process of different producers.
How did you improve when you were just starting out? You mentioned watching tutorials, but did you also have mentors or other resources?
There were a lot of things that shaped me early on, but honestly, I would say the biggest factor in my development was myself. At the time, I was living in a rural part of Georgia, far from any major city. In Atlanta you have a strong music community and plenty of opportunities to connect with other creatives, but once you get outside of those hubs, it becomes much harder to network. Because of that, I didn’t really have access to mentors or people I could consistently collaborate with.
I did have a few friends back in 2020 and 2021 who were from the same county as me, and we would make beats together. It was fun and gave me a sense of community, but it was more recreational than anything else. I wouldn’t consider it mentorship. The real way I improved was through repetition. At the time, I was working in Logic and constantly opening new projects, experiment, and try to push myself to learn more. I studied sound design, theory, mixing, and anything else I could get my hands on. The process was simple but effective: keep making music, over and over again. That repetition is what made me better in those early stages, and it is something I still apply to my work today.
Can you share how you usually approach a composition from scratch when you open your DAW?
It really depends because I have a few different approaches to making a melody or building a beat. Some days I might be inspired by a specific genre. For example, I could be listening to indie music, the next day I might be listening to 2020 rap or even an international artist. Hearing certain sounds puts me in a mode where I feel like making something in that style. When I open FL Studio, my main intention is always to create something people will love. Of course, I like everything I make and I’m confident in that, but at this stage in my career, my creative process often starts by asking what people want to hear, what artists want to hear, and what would stand out to an audience. I try to look at it from the outside in.
Other times I go back through my own catalog. My laptop and Dropbox are full of music I’ve made over the last five years, and sometimes I will shuffle through old beats until something catches my ear. If I hear an idea that sparks something, I might build on it or create something in a similar vein. There are also times when people reach out asking me to send specific packs tailored for a certain artist. In those cases, I will think about that artist and create something that caters to their sound. So it’s always a balance between what I want to make and what I know other people are looking for. Finding that balance is what guides my creative process from the very beginning.
What does that usually look like? Do you start with drum patterns, sample something, or begin on the piano?
I have a piano behind me that I was given a couple of years ago, and that’s usually where things start. Whenever I open FL Studio, I almost always go straight to the piano. I’ll open Keyscape, pick a preset, and just start playing until I land on something I really like. Once I have an idea, I’ll record it, play it back, and start flipping it around. From there, I organize everything, quantize it, and make sure the melody sounds clean and in key. After that, I move into sound design and begin building around it.
For me, almost every time, the process starts with the melody. There is the rare occasion, maybe once in a while I’ll open my drums first and create a pattern that way, but more often than not the melody is the foundation.
Do you have any routines before working on music? For example, do you listen to music for inspiration or set specific times in the day to work, almost like a nine-to-five job?
Over the summer, when I wasn’t taking classes, I had a lot more free time to focus on music, and I fell into a sort of ritualistic routine. It was different from the stereotype that a lot of people have about hip hop production, where producers are up all night in the studio making beats until six in the morning. For me, I realized I don’t enjoy staying up that late anymore, and my creative energy is actually strongest during the day.
So during that period, I started treating music almost like a nine-to-five. I would wake up, go about my day, and create music while the sun was out. I found that I had way more inspiration then compared to staying up late and forcing myself to crank out beats or melodies nonstop. That’s not to say I’ve never had those late-night stretches. I’ve had plenty of nights, weeks, and even months where I was up until two or three in the morning making packs. But over time I discovered that I work best during the day.
I think the reason for that is that I am more present and inspired during daylight hours. I listen to more music then, I go on walks, and I try to take advantage of good weather to get into the right mindset. That way, whenever I open FL Studio during the day, I’m already in a strong creative state and ready to work.
What business tips would you give to upcoming producers to keep in mind when starting out in the industry?
The first thing I would tell any upcoming producer is to research what the music business really is. There are plenty of resources online, both free and paid, that can give you a solid understanding of the industry. Start with the basics and build from there. Learn what royalties are, what ownership means, how to collect publishing, and how to negotiate. Make sure you understand the different types of deals, whether that’s an admin deal, a co-publishing deal, or a publishing administration deal. If you take the time to study these fundamentals early, it will help you a lot later in your career.
I’ve also worked on the business side, helping producers collect royalties, and I see the same problem over and over. Many producers don’t take the time to educate themselves on music business and publishing, but it affects everyone. It does not matter if you just released your first beat through a major label or if you are twenty years into your career and signing a new publishing deal. Understanding the business side is essential.
For younger producers especially, I would also add that music is a very creative and personal industry. Don’t shape your sound, your style, or your personality entirely around one trend. It is fine to be inspired by trends, but at the end of the day, the music has to reflect you. Listeners are drawn to originality, to things they can relate to, and to new niches that stand out. Music evolves through new sounds and fresh ideas, so the best thing you can do is build your own wave and develop your own style. Stay curious, keep researching, keep listening to new things, and keep your mind open.
What do you think about AI in music and music production, including its potential uses on the business side? Where do you see it going?
I feel pretty split on AI, and I think a lot of people do as well. On one hand, we all recognize it has practical uses. Take Shazam for example. Most people know it as the app that lets you identify what song is playing, but what it’s really doing is audio fingerprinting, a form of AI. That is something we already use every day without even thinking about it. AI also helps us discover music, rediscover sounds, and identify audio in genuinely useful ways.
On the production side, there are tools I already use that incorporate AI in ways I think are very practical. A good example is the iZotope Ozone bundle, which has AI features that analyze audio and suggest mix settings like buses or channel adjustments. That kind of AI is valuable because it enhances the process without taking away creativity. It is a tool that helps you, but you are still the one making the decisions.
Where I start to feel skeptical is when AI gets implemented in a way that tries to bypass or replace the creative process entirely. Music has always been special because it captures human emotion in a way nothing else can. That is the core of the creative process, and if AI starts to replace producers, engineers, artists, or even A&R roles, it takes away the human element that makes music meaningful. I think AI will continue to evolve and inevitably change how the creative process works, but I don’t see value in supporting uses of AI that cut out the human input that defines music.
Can you share how you got the chance to work with Destroy Lonely on his records?
That really came about through Lil 88. He and I started working together in 2023, and I was consistently sending out melody packs, sometimes every week or even every couple of days for years. By early last year, by March or April, I knew I had songs on Destroy Lonely’s Love Lasts Forever project because Lil 88 was the executive producer. That connection was my way in.
Like most artists, Destroy Lonely already had his circle of main producers he regularly worked with, and I had not collaborated directly with any of them before. Once I started locking in with Lil 88, I kept sending melodies and creating sounds I thought he and Destroy Lonely would connect with. By July through September, during the album rollout, I already knew I had placements on it.
In the end, the process wasn’t much different from how most loop makers get on projects. You build a relationship with a producer, consistently send quality packs, and trust that some of the ideas will make it onto a record. That is how it worked out with Destroy Lonely.
Do you have a favorite production of yours that feels especially close to your heart?
Honestly, I love all the songs I produce because I believe there’s potential in every artist. Whether someone has already peaked or is still coming up, their next song could be the one that changes everything. That mindset keeps me excited about every project I work on.
If I had to point out a few that mean a lot to me, I would start with the work I’ve done for smaller Atlanta artists. There is one artist I really believe in named PROJECT4PLAY, and we’ve made a lot of songs together since 2022. Whenever I listen to his music, I feel inspired because I know his moment is coming. He has been putting in the work, and being part of that growth feels very fulfilling.
I also really value the songs I made with Baby Kia. Last year, he released either his first or second album, and I had two songs on it. That project was a turning point for him, taking him from a rising artist to someone who is now viewed as a superstar. Being able to contribute to something that elevated his career and gave him more recognition was a proud moment for me.
And of course, the Ken Carson record stands out. That song reached hundreds of thousands, maybe even millions, of people through streaming and live shows. Seeing it performed in Europe was an incredible experience. I had never felt anything like that before, and witnessing the energy of a crowd reacting to a song I worked on was one of the most inspiring moments in my career so far.
What advice would you give younger producers to elevate their game and land more placements?
First, I think it’s important to understand producer etiquette, studio etiquette, and the basics of the music business. Beyond that, one of the most effective ways for upcoming producers to break in is through making melodies. Regardless of what anyone says, loops are still everywhere in the industry. That’s not up for debate. Making melodies is free game, and it gives you the opportunity to develop your own sound while also connecting with producers who are looking for material.
I wouldn’t necessarily advise new producers to go straight to major producers right away. Some of my favorite placements and collaborations have come from working with smaller producers and artists. If you’re just starting out, focus on making melodies, putting in the work, and sending them consistently. Create small, high-quality packs instead of spamming big batches of material. People will remember your name if you consistently send strong ideas.
The reality is simple: if a producer or artist hears a good melody, they’ll use it as long as the rest of the track comes together. Most of the time, good drums elevate the melody into a solid beat. So for younger producers, making loops is one of the best free ways to get your foot in the door. The key is consistency. Keep making, keep sending, and keep improving. That steady effort is how you build connections, sharpen your skills, and eventually land placements.
Where do you see yourself in a year, both personally and in terms of your career goals?
In one year, I’ll have graduated from school, which will be the first time in seventeen years that I am not in an academic setting. That’s hard to imagine because school has been such a central part of my life. For a lot of producers, university is not really part of the discussion, but for me, it’s been everything up until now. Once I graduate, my main focus will be on fully stepping into the industry.
I hope to be working for a label while continuing my work with Producer Royalty. I’ve already found a lot of success in that space, and I want to keep helping producers while expanding my knowledge of the business and industry side of music. A&R has always been something I’ve wanted to do, so in the next year I want to be more involved in those kinds of projects. That means doing outreach, working with producers and artists directly, and continuing to find ways to support others in the industry.
At the same time, I’d like to try DJing and possibly release my own music. Atlanta is such a club-driven city, and being out and about is one of the best ways to get your name out. For me, most of my networking so far has happened in studios, at events, or during cook-ups, but I see DJing and releasing mixtapes, instrumentals, or original music as another way to build my presence in the city.
Overall, I really want to continue what I have already been doing, because I’ve seen consistent growth by sticking to the plan I started a few years ago. Every day I put in the work, and the results keep getting better. In a year, I hope to be in that same cycle of steady progress while finding new ways to improve and push myself forward.
Is there anything else we haven’t covered that you’d like to share?
I have a fun fact that I think applies to music, and I hope it inspires others to pursue their own musical interests. I was born partially deaf, around 50 to 60 percent, and had surgery at a young age that drastically improved my hearing. For the first couple of years of my life, I couldn’t hear well at all, and now I’m pursuing a career in music, which relies entirely on your ears. I think that story should serve as proof to anyone that there is no obstacle too great to stop you from chasing music if it is what you love.
I even wrote my college essay about it. My mom helped me put it together, and the central idea was that I felt music before I ever heard it. That perspective shaped how I see music today, because feeling it before hearing it shows the emotional connection that is at the heart of what music is about. It’s not just technical or mechanical, it’s about how deeply you connect to it. That is the mindset I believe a lot of people need when going into music. Find the part of it that makes you feel something, develop that connection, and just chase it.
Follow Evan Moitoso on Instagram: @evanmoitoso
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