Exclusive Interview
Jan 14, 2025
Produced by: Andrej Aroch
Edited by: Rudy Manager & Andrej Aroch
Rozay Knockin – “Two things no one can deny in the music industry are hard work and great music”
In this exclusive Studio Talks interview, rising producer Rozay Knockin shares his journey in music, from working on DJ Khaled’s Grammy-nominated God Did and the hit “Big Time” to collaborating with Polo G and Lil Durk. With gold records and Billboard placements under his belt, Rozay discusses his creative process, advice for aspiring producers, and his vision for the future. The interview was conducted by Andrej Aroch via video call on December 13, 2024.
How did you first become interested in music, and what led you to start producing?
In the beginning, it was really thanks to my big brother. He used to make beats a while back, and when he stopped, he wanted to give me his equipment. At the time, I wasn’t really into it—I just wanted to play video games. I’d come home, play games, and not care about the music equipment. He kept telling me, “Bro, you should give it a try,” but I was really young then—maybe in seventh or eighth grade—so I didn’t think much of it.
A few years later, in high school—probably around 10th grade—my friend group started talking about rapping. I was really shy, though. I didn’t like showing my face or being in the spotlight, so I thought, Nah, rapping isn’t for me. Then it hit me: they needed someone to make beats. That’s when I remembered my brother trying to get me into it, and I thought, Okay, I’ll give this a shot.
My brother became like a mentor early on. I asked him how to get started, and he showed me this super old desktop computer with Reason software installed on it. When I opened it, I was like, Man, this looks so confusing—I don’t even know where to start. But I stuck with it. That Christmas, I asked my parents for a laptop. I didn’t know much about software, so I started with free beat-making websites and just messed around to get a feel for it. Since they were free trials, I couldn’t even save my work.
Then I discovered YouTube. You can learn everything on YouTube! I started watching videos, searching things like "how to make beats," and that’s when I came across the 808 Mafia guys, like TM88. The rest is history.
What’s the story of how you connected with TM88 and Crash Dummy?
I’m not great with dates, but I think it was back in high school, probably around 10th or 11th grade. At the time, I didn’t know TooDope, the producer, was signed to Crash Dummy. His profile just popped up on my Instagram one day, and I thought, Damn, this dude is hard! So I followed him. We stayed in touch here and there, and one day, he posted an email on his Instagram for people to send beats.
At that time, I had just started including my phone number and Instagram in the emails I sent out with beats. I thought, Why not? and sent some beats his way. Not long after, a FaceTime call on Instagram from TooDope and the artist Marcelli. They were in the studio, and TooDope said, “Bro, your beats are hard.” That moment meant a lot to me—they were the first people to show love for my beats.
TooDope took on a mentor role for me and really helped me grow. He followed through on everything he said, too. He even got me my first placement with Doe Boy. He hit me up and said, “Bro, I’m going to start something, you just finish it, and I’ll get you a placement within a week.” We finished the beat, and two days later, he sent me a snippet of Doe Boy rapping on it.
From there, we stayed in touch. TooDope kept pushing my name and showing my beats to TM88, and that’s how the connection with Crash Dummy came about. TooDope was the one who showed me love from the start. He told me, “I’m going to get you signed, I’m going to help you out. Just stay consistent and keep working.” I stuck to it, and he really made it happen.
When you start working on a beat, do you finish it all in one sitting, or do you think it’s important to take a break and revisit it later with fresh ears?
I definitely do that. If I’m working on a beat and it’s not going anywhere, I’ve learned that forcing it can ruin the whole thing. You might start adding sounds that don’t fit or overcomplicate the beat. So, if I spend, say, 30 minutes setting a good foundation but feel like it’s not progressing, I’ll let it sit and come back to it later, or I’ll send it to the rest of the Crash Dummy team.
That said, there are times when everything clicks, and I feel like I have to finish the beat in that moment. If the vibe is right, the beat is flowing, and it sounds great, I’ll finish it on the spot. Once it’s done, I’ll listen to it on my phone to make sure it doesn’t need any changes. If it feels complete, that’s the finished beat.
But honestly, a lot of beats don’t get finished right away. If I can’t take it any further, I won’t force it. That’s when I’ll send it to someone else—maybe another producer who can hear something I don’t. There are some great producers on my team who are advanced in genres like R&B or rock, where I’m less experienced. If I do my part and hit a wall, I’ll send it to them and let them finish it.
I think it’s best to let the process stay organic. If it’s not working, step back, collaborate, and let creativity flow naturally.
What’s your opinion on new technologies in the music industry nowadays, particularly the use of AI in music production?
I think AI is cool— I like it in many areas—but when it comes to music, I feel it’s a bit different. Music is an art, and it comes from the human experience. Even the imperfections —the things that aren’t perfect—are what make music special. AI might be helpful in some ways, but music is so creative. The process of choosing sounds, arranging them, and even making mistakes is all part of the art.
With AI, everything feels a bit too clean, too perfect. And that’s not always what music needs. Sometimes, when you make a mistake—like hitting the wrong note—it leads to something unexpected. It might take you down a creative rabbit hole—mixing two genres in a way you hadn’t planned.
I think AI has its place in technology and other fields, but when it comes to music, art, or acting—areas that are deeply creative—I don’t feel like AI is there yet. Maybe it’ll evolve, and I might change my mind in the future, but for now, I don’t see how it truly fits into those spaces.
I’d like to talk about another song you produced: “We Uh Shoot” by Polo G and Lil Durk. Can you walk us through how that track came together?
TM88 started that beat and sent it to me. It was one of those days when we were just sending ideas back and forth. He sent me the “We Uh Shoot” beat, and I thought it sounded good—I really liked it—but, to be honest, I didn’t think much of it at the time. It wasn’t one of those beats where I immediately thought, This one’s special.
As producers, we always try to imagine which artists could fit on our beats, but this one didn’t initially strike me as anything out of the ordinary. We make so many beats every day, and it was just another good one in the mix. I added my part, finished it, and sent it back to TM.
That was back in 2022. After that, I didn’t hear anything about the beat for a while—it was just one of those tracks we’d finished and moved on from. Then, out of the blue, TM texted me and said, “Man, we got one with Polo G and Lil Durk.”
Is there a track or project you’ve worked on that is your favorite or holds a special meaning for you?
I’d have to say the songs I’ve released so far. I also have some unreleased tracks with artists I’ve always looked up to, and I hope those will see the light of day. But the songs I’ve released hold a special place in my heart, mainly because of my journey with TM88.
TM has been an idol of mine for so long. To not only collaborate with him but to also achieve certain milestones together—it’s incredible. Take “Big Time,” for example. It’s gone gold, and the album it’s part of was nominated for a Grammy. I’m not saying we’re breaking records or making history, but having a beat with your idol and seeing it achieve something significant—that’s something I’ll always cherish.
When I think back to where I started—listening to TM’s beats during his live sessions, watching people record and post his sessions on YouTube, and replaying those videos in class—I never imagined I’d get to this point. From those moments to now—actually releasing songs with him—it feels like a dream. That’s why the songs I’ve worked on with him will always be my favorites.
What advice would you give to up-and-coming producers trying to establish themselves and start working with artists?
Focus on your sound. Like TooDope told me: sharpen your sword and really work on making your music better. Don’t get me wrong—I’m not saying don’t work hard. A big part of working hard is developing your skills by making a lot of beats. If your music is solid and you truly have a talent for creating great beats, that’s what will catch people’s attention.
Two things no one can deny in the music industry are hard work and great music. If your music is solid, it’ll stand out. It doesn’t matter if it’s your idol or someone you never thought would connect with you—the music will speak for itself. And you’ve got to know how to push it. Use social media to your advantage.
I don’t know if I was being annoying, but I used to tag everyone I looked up to. I made sure the beats I sent were high-quality, though. Even if I was annoying them, they couldn’t deny that the music sounded good.
So my advice is to focus on your beats, improve your sound, and find someone you look up to who can serve as a mentor. Work hard and keep making beats. If you’ve got good music, even if you walk into a studio and no one knows who you are, when you play your music, people will respect it. Focus on making great music, be a student of the game, and put in the effort. That’s what will open doors for you.
Where do you see yourself in five years?
In five years, as far as music goes, I wouldn’t say I’ve “done it all” because, honestly, I feel like I’m just getting started. I’ve been making music since I was 14 or 15, but when it comes to being in the industry and releasing music, I’m still relatively new. I’ve achieved some cool milestones, like going gold, earning a Grammy nomination, and landing Billboard placements. I’ve definitely made strides, but there’s still so much more I want to achieve.
In the next five years, I’d love to have a platinum record, secure more Grammy nominations, and, hopefully, win one.
As for life in general, I hope to have a big house and some nice cars. I know that’ll take time and a lot of hard work, but I’m committed to working towards it. Honestly, I don’t need much—just a nice car, a house, and the chance to achieve more in music. More recognition, more milestones, more plaques. To me, those accomplishments are undeniable. People might not care about that stuff, but for me, it’s meaningful.
Coming from where I do, it’s not something you hear about every day. These days, when my big brother and I visit Guitar Center, people will talk to him, and he’ll say, “Yeah, he worked on this album with that artist.” It’s always crazy to see their reactions. It’s nice to see others acknowledge the work. In five years, I want to be recognized as a platinum producer, with a few Grammy nominations—and, hopefully, a win.
Follow Rozay Knockin on Instagram: @rozayknockin
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