Nathan Butts, a Miami-based producer and multi-instrumentalist, has been steadily making his mark in the music industry with his diverse range of collaborations. Known for his ability to seamlessly blend different genres, Nathan has quickly become a sought-after name in the music scene. This article explores Nathan Butts' evolution from his early days to his recent work with major artists like Kanye West, Maroon 5, and Anuel AA, offering insights into his unique approach to music production and his aspirations for the future.
How did you first get interested in music and music production?
Music has always been in my blood. My dad's a musician, my brothers are musicians, and my whole family is full of musicians. Growing up in church, it was like a boot camp—you either learned the songs, or you didn’t play. My dad was also an engineer, teaching at a college when I was really young. Some of my earliest memories are of being in the studio late at night. It was just something that was always a part of our family.
When I was around 13 or 14, my dad bought me Studio One. It's pretty rare to find someone using Studio One these days. Over the years, I got more serious about music, especially when I got to college. I wanted to learn about scoring, being in orchestras, and creating music for TV shows and trailers. I studied that before I even got into music production seriously. That’s pretty much how I fell in love with it.
Nathan Butts, a Miami-based producer and multi-instrumentalist, has been steadily making his mark in the music industry with his diverse range of collaborations. Known for his ability to seamlessly blend different genres, Nathan has quickly become a sought-after name in the music scene. This article explores Nathan Butts' evolution from his early days to his recent work with major artists like Kanye West, Maroon 5, and Anuel AA, offering insights into his unique approach to music production and his aspirations for the future.
How did you first get interested in music and music production?
Music has always been in my blood. My dad's a musician, my brothers are musicians, and my whole family is full of musicians. Growing up in church, it was like a boot camp—you either learned the songs, or you didn’t play. My dad was also an engineer, teaching at a college when I was really young. Some of my earliest memories are of being in the studio late at night. It was just something that was always a part of our family.
When I was around 13 or 14, my dad bought me Studio One. It's pretty rare to find someone using Studio One these days. Over the years, I got more serious about music, especially when I got to college. I wanted to learn about scoring, being in orchestras, and creating music for TV shows and trailers. I studied that before I even got into music production seriously. That’s pretty much how I fell in love with it.
Nathan Butts, a Miami-based producer and multi-instrumentalist, has been steadily making his mark in the music industry with his diverse range of collaborations. Known for his ability to seamlessly blend different genres, Nathan has quickly become a sought-after name in the music scene. This article explores Nathan Butts' evolution from his early days to his recent work with major artists like Kanye West, Maroon 5, and Anuel AA, offering insights into his unique approach to music production and his aspirations for the future.
How did you first get interested in music and music production?
Music has always been in my blood. My dad's a musician, my brothers are musicians, and my whole family is full of musicians. Growing up in church, it was like a boot camp—you either learned the songs, or you didn’t play. My dad was also an engineer, teaching at a college when I was really young. Some of my earliest memories are of being in the studio late at night. It was just something that was always a part of our family.
When I was around 13 or 14, my dad bought me Studio One. It's pretty rare to find someone using Studio One these days. Over the years, I got more serious about music, especially when I got to college. I wanted to learn about scoring, being in orchestras, and creating music for TV shows and trailers. I studied that before I even got into music production seriously. That’s pretty much how I fell in love with it.
What was your process of finding and connecting with artists when you first started producing?
When I first started, it was a bit of a rough start, but I also got lucky. I connected with people at my college and friends who were grinding just like me, trying to grow their careers. We grouped up, worked together, and put in those late-night hours. There was a time when I was juggling five classes, working 38 hours a week, and still going to the studio at night. It was tough, but it paid off.
I’d go to studios with friends and meet people who had connections I didn’t. The most important thing, though, was working with people you like and who respect you. That’s how you get the best product and the best connections. From there, one connection leads to another. I believe that all the great people find each other eventually.
You have a placement on Kanye West's new album, VULTURES 2, specifically on the song "Time Moving Slow." What was your role in the production of this track, and can you share the backstory of how it came together?
The backstory is pretty cool. It was me, Azul Wynter, Shraban, along with Bezi and Baby J—we all flew to Miami to work at BEAM's house for about a week or two. We do this thing once or twice a year where we get together, make songs, and just vibe out since we’re all actual friends.
During that trip, we ended up making a two-part song. We sent it over to Ty Dolla $ign, Kanye, and their teams, and they decided to use the second half, which is the "Time Moving Slow" track you hear now. Kanye, being the legend he is, made his edits and arrangements, and every version that came out has been fire.
I’m honestly just blessed to be a part of it. I did the main melody on the record, so it’s one of the biggest things I’ve done so far. I’m really happy it’s out, and I’m thrilled to be a part of it.
What was your process of finding and connecting with artists when you first started producing?
When I first started, it was a bit of a rough start, but I also got lucky. I connected with people at my college and friends who were grinding just like me, trying to grow their careers. We grouped up, worked together, and put in those late-night hours. There was a time when I was juggling five classes, working 38 hours a week, and still going to the studio at night. It was tough, but it paid off.
I’d go to studios with friends and meet people who had connections I didn’t. The most important thing, though, was working with people you like and who respect you. That’s how you get the best product and the best connections. From there, one connection leads to another. I believe that all the great people find each other eventually.
You have a placement on Kanye West's new album, VULTURES 2, specifically on the song "Time Moving Slow." What was your role in the production of this track, and can you share the backstory of how it came together?
The backstory is pretty cool. It was me, Azul Wynter, Shraban, along with Bezi and Baby J—we all flew to Miami to work at BEAM's house for about a week or two. We do this thing once or twice a year where we get together, make songs, and just vibe out since we’re all actual friends.
During that trip, we ended up making a two-part song. We sent it over to Ty Dolla $ign, Kanye, and their teams, and they decided to use the second half, which is the "Time Moving Slow" track you hear now. Kanye, being the legend he is, made his edits and arrangements, and every version that came out has been fire.
I’m honestly just blessed to be a part of it. I did the main melody on the record, so it’s one of the biggest things I’ve done so far. I’m really happy it’s out, and I’m thrilled to be a part of it.
What was your process of finding and connecting with artists when you first started producing?
When I first started, it was a bit of a rough start, but I also got lucky. I connected with people at my college and friends who were grinding just like me, trying to grow their careers. We grouped up, worked together, and put in those late-night hours. There was a time when I was juggling five classes, working 38 hours a week, and still going to the studio at night. It was tough, but it paid off.
I’d go to studios with friends and meet people who had connections I didn’t. The most important thing, though, was working with people you like and who respect you. That’s how you get the best product and the best connections. From there, one connection leads to another. I believe that all the great people find each other eventually.
You have a placement on Kanye West's new album, VULTURES 2, specifically on the song "Time Moving Slow." What was your role in the production of this track, and can you share the backstory of how it came together?
The backstory is pretty cool. It was me, Azul Wynter, Shraban, along with Bezi and Baby J—we all flew to Miami to work at BEAM's house for about a week or two. We do this thing once or twice a year where we get together, make songs, and just vibe out since we’re all actual friends.
During that trip, we ended up making a two-part song. We sent it over to Ty Dolla $ign, Kanye, and their teams, and they decided to use the second half, which is the "Time Moving Slow" track you hear now. Kanye, being the legend he is, made his edits and arrangements, and every version that came out has been fire.
I’m honestly just blessed to be a part of it. I did the main melody on the record, so it’s one of the biggest things I’ve done so far. I’m really happy it’s out, and I’m thrilled to be a part of it.
You’ve worked on tracks with Anuel AA, a major figure in the Latin music scene. How did that collaboration come about?
That collaboration happened because I was living in Miami. I have a friend named Dim Crux who’s really close with EQ “The Equalizer,” Anuel’s engineer. They brought us in on some projects, telling us that Anuel was working on some of the beats we had made. From there, I got involved in the post-production. I was really blessed to be a part of it.
That one happened really fast. It was near the end of the project, and we all went over to The Hit Factory with the goal of finishing the track that same night. It was a rush, but sometimes that’s how it goes—you’ve got to take those risks. I’m really glad I showed up that night and figured it out.
When you're making songs for artists in the Latin scene, do you have to adapt your production style compared to when you're working with American artists?
I don’t think it’s really about Latin versus American. It’s more about adapting your production style to whoever you’re working with at the time, in the room. It’s important to meet the artist halfway—bring them into your world while also making sure they’re comfortable in theirs. That’s where the magic happens, when you push each other and find that middle ground.
For example, some of my biggest influences are Mike Dean and D’Mile. When we were working on the Anuel project, one of the main tracks we did was super dark, with synths and experimental sounds—definitely inspired by Mike Dean and Kanye. You can hear that influence clearly. So, it’s not just about adapting, but finding that halfway point where you can create something new and exciting together.
Is there a particular production of yours that you value highly for its artistic quality?
The best things I’ve done haven’t come out yet, honestly. But for the things that have, I’d say "Time Moving Slow" stands out. From the original version to what it became, every iteration had its own place. It’s a project that’s super creative all around. People might have their own favorites or things they don’t like, but I personally love every version. I’m just happy to be a part of it.
You recently worked on the Maroon 5 track "Seasons," which was a bit surprising given that most of your work has been with hip-hop and rap artists. How did this collaboration come about, and did you have to adjust your approach since Maroon 5 is primarily a pop group?
Something a lot of people don’t know is that, even though I work a lot in hip-hop, I’m actually a pop guy at heart. When we made the track, we weren’t really thinking specifically about Maroon 5. We were at BEAM’s house—he’s one of my main collaborators—just jamming with my boys Tyree (Hawkins) and Dutchboi. I was on bass, Gio (Dutchboi) was on guitar, and Tyree was producing. BEAM started writing, and we were just vibing out with live instruments. We were up until like 6 a.m. recording, writing, and producing.
We sent the track over, I think, to J Kash and his wife Jaime, and they made the play. Adam Levine and the band loved it, did their final edits, and a few months later, it came out. It was probably one of the easiest and quickest collaborations I’ve ever done.
Would you like to do more pop collaborations in the future?
100%. I’m definitely open to it. A lot of the songs I’ve worked on in rap aren’t necessarily something I could play for my family or my grandma, you know? I want to create music that’s more timeless, something you can play for anyone, from a five-year-old to a 95-year-old. The kind of music that stands the test of time—like Michael Jackson or Prince—is what really satisfies and fulfills me. I’d love to make more of that kind of music.
You mentioned you work a lot with producer BEAM. How did you guys first start working together, and what’s your working relationship like?
My connection with BEAM is a bit different because I didn’t meet him through the industry—I met him through his family. I was working with a producer trio, and we ended up going to a session in Boca Raton or Fort Lauderdale, Florida. BEAM’s sister was there, and she told us how much they loved our work. Their dad, Papa San, who’s a legendary dancehall artist, was working on an album at the time. BEAM wasn’t living in Florida then; he was in another state. But I was at his parents' house almost every day for a year, working on that album with his family. I really became part of the family.
Eventually, BEAM came down to Florida to visit his family and work on his project, and he wanted me to be a part of it. Since then, we’ve been like brothers. It’s probably been four or five years now, maybe longer.
Do you think it’s important to have someone, like a production partner, to bounce ideas off of?
I think it’s always good to have someone to bounce ideas off of, whether it’s a friend who doesn’t know much about music and just listens as a consumer, or a production partner you’re growing with. It could be someone at the level of a BEAM or even a Hit-Boy—people who are at such a high level but still open to everything.
To grow as a producer, you need to bounce your ideas off others and have a clear vision of what you want to achieve. Producing isn’t just about making beats; it’s about crafting a complete record that stands out. It’s important to find the right people who understand what you’re trying to do and can help you paint that picture with your songs and beats.
What advice would you give to young producers trying to break into the industry now?
I’d say network as much as possible. If you can avoid relying solely on Instagram DMs and sending packs every day, do that. Those personal connections you make through real-life experiences, sessions, and networking have a lot more value. People will remember your face, how you treat them, and your character more than just your talent or what you send them. At the end of the day, people tend to work with those they like, not just the most talented.
Follow Nathan Butts on Instagram: @nathan_butts
