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Exclusive Interview

Jul 10, 2024

Produced by: Andrej Aroch

Edited by: Andrej Aroch

Kelvin "Wu10" Wooten - "Always remain a student of your craft"

Kelvin ‘Wu10’ Wooten, a Grammy-winning producer, has made a significant impact on the music industry through his collaborations with major artists like J Cole, 21 Savage, H.E.R., and Earth, Wind & Fire. This article delves into Wooten's musical journey from his humble beginnings in Huntsville, Alabama, to his current role as a sought-after producer. We explore his early influences, his shift to music production, and the story behind his successful collaboration with J Cole. Wooten also shares his approach to using analog versus digital tools and offers advice for aspiring producers looking to make their mark in the industry.

What got you into music in the first place?

I grew up in Huntsville, Alabama, which was a small city at the time. My first introduction to musical instruments was at church with my mom, where I saw a Hammond B-3 organ, drum sets, guitar, and bass. However, I didn’t have access to play these instruments as a kid.

In middle school, I joined the marching band and started playing the tuba, my first instrument. Although it was an unusual choice for the music I make now, it ignited my passion for music. I enjoyed making music with others in the band and orchestra. I even took my tuba to church, despite it not being a common instrument there. Seeing my passion, the church allowed me to explore other instruments, and I began learning to play by ear at an early age.

In ninth grade, my high school band director, who was a piano player, taught me the basics of music theory and arrangement using the piano. From there, my journey in music took off, and I haven’t looked back since.

What were your musical influences back then?

Growing up going to church, a lot of my musical influence came from gospel music, especially artists like Andraé Crouch, The Winans, and Commissioned. My dad, a former college DJ, also introduced me to jazz and jazz-infused R&B, featuring artists such as The Crusaders, Grover Washington, Nina Simone, and George Benson.

These records piqued my interest because I saw the instruments I was familiar with from church on the album credits. I admired musicians like Joe Sample on keyboards, Grover Washington on saxophone, Nina Simone as a singer, and George Benson on guitar, along with Earl Klugh and Marcus Miller. At that age, I didn't know what a producer was; I was more fascinated by the musicians themselves and aspired to play the instruments like they did.

What caused you to shift your focus towards music production?

The shift began when I started arranging for my high school marching band. My piano instructor taught me about music constructs, harmony, and rhythm, and encouraged me to arrange for the band. This experience introduced me to how instruments work together, leading to my interest in production.

In the early nineties, with the advent of the multi-track cassette recorder, I began recording multiple instruments and experimenting with arrangement. I would play bass guitar, drum machine, and other instruments on a four-track recorder, learning how to layer sounds. My early arrangements were cluttered, but I gradually improved, learning the importance of space in music.

Around the time I graduated high school, I started working with Raphael Saadiq, the lead singer for Tony! Toni! Toné!. He mentored me in music production, teaching me how to make a record sound good by crafting specific parts for each instrument. Working with tape recordings required playing entire songs, which improved my musicianship and understanding of production.

Photo credit: Dokk Savage

Can you share the back story of how you started working together with J Cole? What led to your collaboration, and how has that relationship evolved over time?

I'm glad to share this backstory. It started in 2018 or 2019 when I began collaborating with producer S1. We met in Atlanta and built a friendship, working together and sending files over the internet since he was in Dallas and I was in Huntsville. S1 had contact with J. Cole and sent some of our collaborations to him, which Cole liked.

Cole was also sending beats to S1 and me, asking us to improve them. One day, we received a beat from Cole that I found already so good, I didn’t know what to change. I was worried that adding or taking away anything might ruin it. I decided to add just a simple four or eight bar intro and sent it back. A week later, the song "Snow On Tha Bluff" was released, featuring only my intro looped throughout the track. Cole didn’t use the original beat at all, just my intro.

I spoke with Cole in October after the song's release in the summer. He told me he really liked what I did on the track. Even though I didn't like what I did and didn't think it would work with the song, he assured me it worked well. Since then, we've been working together regularly.

Can you share the back story of how you started working together with J Cole? What led to your collaboration, and how has that relationship evolved over time?

I'm glad to share this backstory. It started in 2018 or 2019 when I began collaborating with producer S1. We met in Atlanta and built a friendship, working together and sending files over the internet since he was in Dallas and I was in Huntsville. S1 had contact with J. Cole and sent some of our collaborations to him, which Cole liked.

Cole was also sending beats to S1 and me, asking us to improve them. One day, we received a beat from Cole that I found already so good, I didn’t know what to change. I was worried that adding or taking away anything might ruin it. I decided to add just a simple four or eight bar intro and sent it back. A week later, the song "Snow On Tha Bluff" was released, featuring only my intro looped throughout the track. Cole didn’t use the original beat at all, just my intro.

I spoke with Cole in October after the song's release in the summer. He told me he really liked what I did on the track. Even though I didn't like what I did and didn't think it would work with the song, he assured me it worked well. Since then, we've been working together regularly.

Can you share the back story of how you started working together with J Cole? What led to your collaboration, and how has that relationship evolved over time?

I'm glad to share this backstory. It started in 2018 or 2019 when I began collaborating with producer S1. We met in Atlanta and built a friendship, working together and sending files over the internet since he was in Dallas and I was in Huntsville. S1 had contact with J. Cole and sent some of our collaborations to him, which Cole liked.

Cole was also sending beats to S1 and me, asking us to improve them. One day, we received a beat from Cole that I found already so good, I didn’t know what to change. I was worried that adding or taking away anything might ruin it. I decided to add just a simple four or eight bar intro and sent it back. A week later, the song "Snow On Tha Bluff" was released, featuring only my intro looped throughout the track. Cole didn’t use the original beat at all, just my intro.

I spoke with Cole in October after the song's release in the summer. He told me he really liked what I did on the track. Even though I didn't like what I did and didn't think it would work with the song, he assured me it worked well. Since then, we've been working together regularly.

Do you prefer working in your home studio or in a professional studio?

It depends. About 90% of my productions, even with Cole, are done in my home studio. I love when artists come here; for example, Summer Walker recorded part of her EP here, and Masego and Rapsody have also worked here.

However, I also enjoy going to wherever J. Cole is recording, as there are usually other producers around, creating a collaborative energy. Working away from home can be challenging since I don't have all my instruments and setups. My home studio has everything patched in and ready, making it easier to get the sounds I want without hassle.

Photo credit: Dokk Savage

Photo credit: Dokk Savage

Photo credit: Dokk Savage

Do you primarily use analog synthesizers and live instruments in your productions, or do you also incorporate samples and digital plugins?

I don't use a lot of samples. Much of my work involves replacing or creating samples. I love having access to both analog and digital tools. If VSTs get the job done quickly, I'll use them. However, for authenticity, especially with instruments I play well like keyboards and bass, I prefer real instruments. I avoid VST bass sounds since I can play bass myself.

I might use VSTs depending on the situation, but I often prefer the unique sound of my real DX7 or Moog. The setup in my studio, where everything is ready to go, influences my choice between analog and digital. It's about getting the idea out quickly and efficiently.

For sound design and amp emulation, VSTs are practical, especially in hip-hop and R&B. They sound good and save time. However, for folk and country music, I might spend more time on the process and use real instruments more extensively.

Is there a particular production of yours that you value highly for its artistic quality, even if it didn't achieve significant commercial success or widespread recognition?

I did a song with Earth, Wind & Fire and Raphael Saadiq called “Show Me the Way.” I had the opportunity to play keys and arrange the strings and horns for that song, and the experience of working directly with Earth, Wind & Fire was amazing.

Another special project was with Raphael Saadiq on a song called “I Found My Everything.” I did the string arrangements and played piano. It has a Motown, Aretha Franklin throwback sound, recorded acoustically without VSTs, click tracks, or metronomes. Hearing my string arrangements translated into real strings was incredible. The song was nominated for a Grammy, though it wasn’t a huge hit for Mary J. Blige. It remains one of my most cherished works.

You have worked with some of the biggest artists in the world; however, do you still have dream artists you’d like to work with in the future?

John Mayer has always been on my list because he's such a talented musician. He has collaborated with musicians like "Spanky" Alford, who played on records for Tony! Toni! Toné!, among others. I admire John’s work ethic and would love to collaborate with him on something.

Working with Rihanna or Beyoncé would also be incredible. I’m interested in understanding their philosophies, work ethic, and attitudes, which are intangible qualities that contribute to their success.

For me, it’s less about the music itself and more about the personal impact these artists have. I try to absorb their mindset and approach to success, as these insights are what truly inspire me. Ultimately, it’s about learning from them and building meaningful relationships beyond the studio.

What’s your advice to upcoming producers trying to build a name for themselves and start working with artists?

Always remain a student of your craft. Never assume you've mastered it—there's always more to learn, whether from veterans or newcomers. Stay open to new ideas and adapt quickly. Secondly, help others succeed. By assisting those in different creative fields, you not only contribute to their growth but also gain insights into their processes and values. These two principles—continuous learning and supporting others—can pave the way for success in the industry.

Follow Wu10 on Instagram: @kelvin_wu10

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