Exclusive Interview
May 19, 2025
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
Satori – “It’s not just about quantity—it’s about making the right beats”
In this exclusive Studio Talks interview, we speak with Satori—a talented producer based in Orlando, Florida, whose name is steadily rising in industry circles. With production credits on records for artists such as GloRilla, Vory, DDG, and wolfacejoeyy, Satori has already proven his ability to craft emotionally resonant, sonically rich music that connects across genres. We dive into his creative process, key placements, and the vision behind his rapidly growing career. This interview was conducted by Rudy Manager via video call on May 14th, 2025.
How did you first get into music production?
I first got into producing when I was about 16 or 17, back in high school. I had a few friends who loved making music and playing instruments, so we ended up forming a band called Sage. I played guitar and did vocals for the band. They’re actually still active in Orlando today, though I’m no longer part of it. But I was one of the co-founders.
I started learning how to produce music on my phone. I was using GarageBand—and even Logic Pro X—right from my phone. At the time, we were really inspired by artists like Steve Lacy and that whole indie sound. We’d literally plug our guitars and instruments straight into our phones and start cooking up.
A few years later, I left the band and started focusing on my own independent music. One day, my brother SAKii said, “Yo, you already know how to do all this stuff—you should start making beats, like trap beats and all kinds of different styles.” So I made the transition and started applying everything I had learned to beat-making.
How did you improve early on—was it self-taught, through mentors, or by working with your band members?
I think collaborating with other people is key. When you work with other people, you learn a lot. Whether they’re older or younger, there’s always something to pick up. If you’re constantly around people who are great at what they do, you’re going to absorb things naturally.
One of my biggest inspirations is my older brother, SAKii. He taught me a lot about producing and really helped guide me. I also want to give a shoutout to SkipOnDaBeat—he’s been a great mentor to both me and my brother. He’s shown us different techniques, helped us shape our sound and bounce, and even taught us how to navigate the music industry. He also made sure we were in the right rooms with the right people.
Being in those environments, you just start picking up ideas, sounds, techniques—it all builds up over time.
What would you say was your first official placement, and how did it come about?
I’d say my first official major placement was “Love You 2” on Vory’s project, EROS.
My friend Nathan Butts had been locking in with Vory and doing sessions with him. Vory’s a great artist, and Nathan’s an amazing producer. One day, he was just playing some keys and grabbed one of my vocal loops. He laid it down, and then we started building melodies around it and adding sounds.
When Vory heard it, he really wanted it on his album. That was a big moment for me when it dropped last year. It meant a lot—just knowing that people really resonate with my voice and want to create art with it. That placement is super special to me.
What’s your opinion on the use of AI in music production?
I’d say I’m pretty neutral about it—it’s a tool at the end of the day, and like any tool, it depends on how you use it. It’s kind of like EQ or Auto-Tune—those are tools too, and it just depends on how you use them.
For example, if you’re trying to make a song for an artist or write something with them in mind, AI can be helpful. You might use it to get an idea of how their vocals would sound on a beat, or to find the right pockets and vibe. Maybe you throw on a vocal filter and say, “Yeah, this sounds great for them.”
But when you start depending on AI to do everything—creating melodies, sounds, full beats out of thin air—and then claim it as your art, that’s a problem. If you’re using it to enhance your music, cool. But if you can’t make music without it, I think that’s where we need to draw the line.
In your opinion, what makes a great hip-hop sample?
For me, it’s all about feeling. Music should evoke a certain emotion—whether it’s anger, sadness, joy, or intensity. If a producer or artist can translate an emotion that the listener can actually feel, then I think they’ve done their job.
If you listen to music and don’t feel anything, what’s the point? What are we even doing it for? Music has to move you in some way, no matter what the emotion is. That’s what makes a sample—or any piece of music—special: when you can feel it.
Can you share how “Stop Playing” by GloRilla came together from your perspective?
It’s one of the biggest songs and placements we’ve had so far, and it’s something I hold really close to my heart.
I was about 21 or 22 at the time, and it was my first time going to Bounce House Studio down in Broward. My brother SAKii brought me with him, and that night I met SkipOnDaBeat and Jordan Hollywood—both his managers.
They told me, “We just want you to make great samples—something balladic, with vocal runs and loops.” I was like, “Okay.” So that same night, my brother and I locked in. We started building melodies, got inspired, sang over the samples, chopped them up—and then Skip got the loop and made the beat from it.
Later on, we had a session at Timbaland’s house. GloRilla came through, and they played her the beat. She loved it immediately. The rest is history—she recorded the track, and it became what it is today.
It’s such a blessing. Just knowing my voice is part of that—something millions of people have heard, something she performs to thousands of fans on tour every night—that’s an incredible feeling. I’m super grateful, and I’m really excited for what’s next.
Did you know the beat was special while making it, or did that realization come later?
It kind of ties back to what we were talking about earlier—it’s all about the feeling. That loop had so much emotion in it—you could feel it in the room while we were building the beat and the song. Everyone felt the energy. Even SkipOnDaBeat was like, “Man, there’s something about this beat—it’s special.”
We make hundreds of beats—and have thousands—so for everyone in the room to have that kind of reaction, it definitely stood out. That’s the beautiful thing about music: sometimes, you just know when it’s special.
What’s your typical work rate—how many beats do you make in a week or month?
It really depends. Of course, you want to hit a certain number to feel productive, but at the end of the day, it’s not just about quantity—it’s about making the right beats.
You could sit there and make 10 or 20 beats a day, but if no one hears them or nothing happens with them, it doesn’t really matter. On the flip side, if you make just two or three beats a day and all of them get placed—that’s way more meaningful.
So it varies. Over the span of a week, I’d say I usually make around 20 to 30 beats. But sometimes I might only make 10—and those could end up being the ones that really hit.
What advice would you give to upcoming producers trying to build their careers and work with major artists?
I’d say stay open-minded—be open to different sounds, different people, and different situations. Be a sponge. Don’t be afraid to learn from others—whether they’re older or younger than you. You never know what someone can teach you or how that knowledge can help you evolve.
Stay hungry. Keep that drive alive and stay consistent. That’s how you become the best version of yourself.
Also, create your own opportunities. Leverage your network, make the most of your social platforms, and use them to create your own opportunities.
What would you say is a placement or project you’ve worked on that’s very close to your heart?
One placement that’s really close to my heart is a song I did with wolfacejoeyy called “nympho.” My brother BEAM is also on the track.
We had a session one night where we were originally making music for PARTYNEXTDOOR. If you listen to the record, you can definitely hear that PND-inspired vibe. I was cooking up with BEAM, G40, and BEZI—shoutout to them. It was one of those sessions where the energy was just undeniable. Kind of like with the GloRilla placement—if you were in the studio that night, you knew that song was something special.
A day or two later, wolfacejoeyy pulled up—he was in the Miami area—heard the track, and immediately said, “I need this.” He didn’t even want to record anything else. He felt it, just like we all did.
That record carries so much emotion. You know that feeling when music gives you goosebumps or hits you in your spine? That’s what this track does for me. And the fact that I helped create it, that’s what makes it really special to me.
Who are some of your dream artists that you’d like to work with in the near future?
I’ve got a long list of artists I’d love to collaborate with, but off the top of my head, definitely Playboi Carti and The Weeknd. Whether it’s working with them individually or even together, it would be a dream come true for me.
Sonically, they inspire me a lot. I love how their music can be really dark and gritty, super high energy—but at the same time, it can also be soft and beautiful. Their music has so much melodic texture and emotion, and I really admire the range in their artistry.
Where do you see yourself in five years—both personally and professionally?
Right now, I’m 25, so in five years I’ll be 30. By then, I hope to be doing what I’m doing now—but on a much bigger scale. I want to be fully immersed in music, giving it my all. I see myself doing music full-time, with no distractions—just 100 percent dedication.
I want to be working with some of the biggest artists in the world, collaborating at the highest level. More than anything, I want to keep making the best music I possibly can and continue growing into the person—and the producer—I’m meant to be.
Is there anything else you’d like to add?
I just want to say I appreciate everyone who’s helped me on this journey to becoming who I am. You know who you are—and I’m truly grateful for all of you. Shoutout to all y’all. Much love.
Follow Satori on Instagram: @ayosatori
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