Exclusive Interview
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
K6WYA – Atlanta-Based Producer Behind Records for BossMan Dlow, Hunxho & Tee Grizzley
Studio Talks linked up with K6WYA at Pulse Music Studios in LA on April 19 for a conversation about his journey as a producer, his creative process, and the moments that helped shape his sound. The Atlanta-based producer has been making serious waves in the industry, with credits alongside artists like BossMan Dlow, Hunxho, Tee Grizzley, and many more. During the conversation, he spoke about first discovering FL Studio, building his way into the game, the making of BossMan Dlow’s “Motion Party,” and the advice he would give to the next generation of music producers.
"Everybody always wants to work with the top dogs, but you’ve got to build your way to that point."
- K6WYA
Can you share how you first got interested in music and how you transitioned into being a music producer?
It started around my sophomore year of high school. We snuck out of the crib with my partners. We went to a party, and it ended up getting shut down by the police. There was a trailer park right next door, and our car was stuck because all the cars were blocking us in, so we ran over there. My boy knew someone who lived in the trailer park, so we crashed with him until the next day after the police left.
While we were there, they started recording and making music. I was just asking questions, and one of them showed me FL Studio. I really didn’t touch it again until after COVID hit. Then I was like, “Man, I should do this,” so I started making beats. I got more interested in it from there, started building my network, and that’s really how I got my foot in the door. It all happened because of a homeboy from the trailer park.
What would you consider your first official placement, and how did that opportunity come together?
There are a few that come to mind. I did something with 1st Class, shoutout to 1st Class, and also Nard & B and Hunxho. Shoutout to Derek, Cho, and DB! as well. Those were some of my first ones.
At that time, I was really just working with people, finishing things up, pulling up on them, and doing everything that comes with it.
When you open FL Studio and start a beat from scratch, what do you usually do first?
Honestly, you might as well spin the wheel. Sometimes I’ll go listen to old music and get inspired by that. Other times, I might start with drums, or I’ll start with a melody. It really just depends.
I like to get creative with it. I’ll randomly press things, play around, and try to find new bounces and ideas that people don’t normally try.
What are some of your favorite VSTs right now, and do you use any hardware in your production process?
I’d use hardware gear if I had some, but my crew doesn’t really have a lot of hardware. For my favorite VSTs, I’ve got to go with Omnisphere, Nexus, and Zenology. I also love the older sounds, like Triton. It has those unique, different sounds, and that’s how “Motion Party” was made, with Triton.
A lot of times, I don’t even know exactly where I’m going with it. I’ll just pull up random sounds, play around, and finish the idea from there.
From your perspective, how did “Motion Party” for BossMan Dlow come together?
I’ll just say this: basically, it was one plus one plus one plus one plus one, minus three, then plus one plus one plus one. That’s how it came together.
When you first made the beat for “Motion Party,” did you already know it was special, or did that feeling come later on?
I knew it was going to land. I knew that for a fact. I didn’t know it was going to land with Dlow, but I already had three or four other rappers record on it, so I knew it was something special.
It was one of those beats where I wasn’t even tripping about getting it placed because I knew it was eventually going to find a home. I’m happy it found the right home, not the trailer park where I found FL Studio.
What advice would you give to the new generation of producers who are trying to build their careers and land placements with major artists?
I would tell them to build with what’s around them. Everybody always wants to work with the top dogs, but you’ve got to build your way to that point. The best way to do that is by building with artists locally in your area, or artists you get along with whose sound works well with yours. If you do your job and they do their job, you both go up. Once you both go up, the people at the top are going to come down and work with you. That’s how you lock in with new people. A lot of people try to shoot straight to the top, but I don’t recommend that. Build with what’s around you. Eventually, one of those artists is going to pop, and then everyone else is going to start hitting you up. Then you lock in with them, and it’s rinse and repeat from there. This isn’t rocket science.
Also, don’t be oblivious to the business. Know the business and understand what you’re really getting yourself into. A lot of producers put themselves in situations without fully understanding how serious it is, and then a couple of years down the road, or even six months later, they feel like they got messed over. But at the end of the day, your name is on the paperwork, so you’ve got to do your due diligence. Understand things like sub-publishing, splits, admin fees, and mechanical royalties on the publishing side. Then there’s the master side too, because a lot of producers confuse mechanical publishing royalties with master royalties. You need to know how to collect what you’re owed and how to get creative with handling business.
You also have to know when to stop pressing and how to handle disagreements in business. They’re going to happen, so you need to know how to mitigate those situations and defuse them without ruining relationships. It’s a lot. Know how to politic, know how to talk to people, and be memorable. I got lucky with that part.
What’s your opinion on the current state of trap music, and where do you see it heading over the next few months or even year?
All I’ve got to say is this. It’s one plus one plus one plus one, minus three, plus one plus one. 5.7 rounds up to six.
What are some of your personal and professional goals for the rest of this year?
Most definitely. I’m about to go to Antarctica. From there, I want to go ahead and call up those thirty strippers. I’m going to go outside and walk the fish.
What message would you like to share with the producer community?
Keep working, you dirty bastards.
Follow K6WYA on Instagram: @k6wya
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