Cover Photo Shot by @trentmunson
In this exclusive Studio Talks interview, we sit down with the talented producer Slo Meezy, a key member of the renowned Crash Dummy collective. Known for his unique sound and versatile production style, Slo Meezy has worked on major projects with some of the biggest names in the industry, including Lil Uzi Vert, DJ Khaled, and Rick Ross. In this conversation, he shares insights into his journey as a producer, his creative process, and his thoughts on the future of music production. Read on as Slo Meezy opens up about his path to success and what it takes to make it in today’s music industry. The interview was conducted by Andrej Aroch via a video call on 7th of November, 2024.
How did you first get interested in music, and what led you to transition into music production?
I was fortunate enough to grow up in the '90s, so I was always surrounded by music. By the time I got to school, I joined the band. In elementary school, I wasn’t completely invested—I just liked listening to music. But then I started experimenting with instruments, and that’s when something sparked in me. I realized, “Hold on, this is actually fun!” I got into percussion.
I was always around music, and throughout school, I was involved in band. I did marching band, concert band, and played pretty much every instrument in the percussion section. After a while, I felt I had mastered it, but I kept hearing this music on the radio and thought, “How are they doing this?” because I knew they weren’t using traditional instruments. Once I figured it out, I dove into music production, learning about the hardware and software—and that’s when it really took off.
Can you share some of your earliest songs and the people who collaborated with you as you developed your skills?
Yeah, the first major placement I had was with Plies back in 2014, I believe. I started making beats in 2008, but let me backtrack a bit—I interned at a radio station in Atlanta before I even began producing. So it’s a small world; I met Plies a few years before I actually produced a song for him. It really felt like I was always meant to be doing this.
I’ve worked with a few more Atlanta artists too—T.I., Trouble, and other people. I can't remember everyone off the top of my head—there are just too many.
How were you reaching out to people when you were just starting out and still building yourself up?
Back then, I was younger and putting in the groundwork. I would attend every event, no matter where it was. Interning at the radio station was like a cheat code, giving me direct access to people. At that time, Twitter was still new, and we had MySpace and Facebook. I was networking in every way possible. Back then, you could actually talk directly with the artists, so that’s what I did—I was proactive.
Can you describe your creative process when starting to work on a beat from scratch? Where do you draw your inspiration from?
It’s like creative chaos. I start with a blank canvas, and sometimes I have an idea right away. Other times, I’ll sit there for about 30 minutes, messing around with melodies until something matches my mood. I go off whatever I’m feeling—if I’m energetic, I’ll make club tracks; if I’m in an R&B mood or feeling like my “Certified Lover Boy” vibe, I’ll go in that direction. It’s all about the mood I’m in at the time.
Do you prefer working directly in the studio with an artist, or do you prefer working on your own?
Actually, I like both. When I’m in the studio with the artist, I can help guide the direction of the record. I can play the beat, explain what I was feeling when I made it, and suggest ideas we could try. But to be as creative as possible, I need to be alone in my own space, with no outside noise—just me and the tools I use to create.
For new producers, let’s say they get into a studio session with an artist for the first time—what do you think is the most important thing to keep in mind to make the session productive and successful?
My best advice is to act like you’re supposed to be there. Sure, you can be a fan, but keep your composure. Come in as the producer or beat maker, and play your part. Remember, this is business, and the artist is there to work. It’s not the time for anything extra—you’re there to get a job done. If you do it well, you'll naturally build a bond and a professional relationship. Just be professional and authentic.
What’s your opinion on new technologies in the music industry, particularly the use of AI nowadays?
It’s a little scary, mainly because we’re still somewhat in the dark about it. Once we figure out how to harness its power and see the positive ways it can benefit us, we can start to embrace it. Every era in music has had a big shift when new technology arrived. For example, in the '60s to the '70s, we moved from live instruments to incorporating hardware like synthesizers and Moog boards. Each decade brought new sounds and tools: the '70s into the '80s, and the '80s into the '90s. We just have to learn to embrace change while finding ways to keep AI under control because it can be dangerous if we’re not careful.
Can you share the backstory of how you connected with TM88 and Crash Dummy?
It’s a small world— TM88 and I grew up in the same county—shout out to Clayton County, Southside! Even before we got into music, I would often see TM around. When I started making beats, I was working at a job where TM would sometimes come in to shop. At that time, 808 Mafia was already established. I knew my beats weren’t at the level they are today, but we kept up our connection, stayed cool, and kept things on good terms. When the timing was right and everything started to click, we locked in and began making history.
Can you describe your creative process when starting to work on a beat from scratch? Where do you draw your inspiration from?
It’s like creative chaos. I start with a blank canvas, and sometimes I have an idea right away. Other times, I’ll sit there for about 30 minutes, messing around with melodies until something matches my mood. I go off whatever I’m feeling—if I’m energetic, I’ll make club tracks; if I’m in an R&B mood or feeling like my “Certified Lover Boy” vibe, I’ll go in that direction. It’s all about the mood I’m in at the time.
Do you prefer working directly in the studio with an artist, or do you prefer working on your own?
Actually, I like both. When I’m in the studio with the artist, I can help guide the direction of the record. I can play the beat, explain what I was feeling when I made it, and suggest ideas we could try. But to be as creative as possible, I need to be alone in my own space, with no outside noise—just me and the tools I use to create.
For new producers, let’s say they get into a studio session with an artist for the first time—what do you think is the most important thing to keep in mind to make the session productive and successful?
My best advice is to act like you’re supposed to be there. Sure, you can be a fan, but keep your composure. Come in as the producer or beat maker, and play your part. Remember, this is business, and the artist is there to work. It’s not the time for anything extra—you’re there to get a job done. If you do it well, you'll naturally build a bond and a professional relationship. Just be professional and authentic.
What’s your opinion on new technologies in the music industry, particularly the use of AI nowadays?
It’s a little scary, mainly because we’re still somewhat in the dark about it. Once we figure out how to harness its power and see the positive ways it can benefit us, we can start to embrace it. Every era in music has had a big shift when new technology arrived. For example, in the '60s to the '70s, we moved from live instruments to incorporating hardware like synthesizers and Moog boards. Each decade brought new sounds and tools: the '70s into the '80s, and the '80s into the '90s. We just have to learn to embrace change while finding ways to keep AI under control because it can be dangerous if we’re not careful.
Can you share the backstory of how you connected with TM88 and Crash Dummy?
It’s a small world— TM88 and I grew up in the same county—shout out to Clayton County, Southside! Even before we got into music, I would often see TM around. When I started making beats, I was working at a job where TM would sometimes come in to shop. At that time, 808 Mafia was already established. I knew my beats weren’t at the level they are today, but we kept up our connection, stayed cool, and kept things on good terms. When the timing was right and everything started to click, we locked in and began making history.
Can you describe your creative process when starting to work on a beat from scratch? Where do you draw your inspiration from?
It’s like creative chaos. I start with a blank canvas, and sometimes I have an idea right away. Other times, I’ll sit there for about 30 minutes, messing around with melodies until something matches my mood. I go off whatever I’m feeling—if I’m energetic, I’ll make club tracks; if I’m in an R&B mood or feeling like my “Certified Lover Boy” vibe, I’ll go in that direction. It’s all about the mood I’m in at the time.
Do you prefer working directly in the studio with an artist, or do you prefer working on your own?
Actually, I like both. When I’m in the studio with the artist, I can help guide the direction of the record. I can play the beat, explain what I was feeling when I made it, and suggest ideas we could try. But to be as creative as possible, I need to be alone in my own space, with no outside noise—just me and the tools I use to create.
For new producers, let’s say they get into a studio session with an artist for the first time—what do you think is the most important thing to keep in mind to make the session productive and successful?
My best advice is to act like you’re supposed to be there. Sure, you can be a fan, but keep your composure. Come in as the producer or beat maker, and play your part. Remember, this is business, and the artist is there to work. It’s not the time for anything extra—you’re there to get a job done. If you do it well, you'll naturally build a bond and a professional relationship. Just be professional and authentic.
What’s your opinion on new technologies in the music industry, particularly the use of AI nowadays?
It’s a little scary, mainly because we’re still somewhat in the dark about it. Once we figure out how to harness its power and see the positive ways it can benefit us, we can start to embrace it. Every era in music has had a big shift when new technology arrived. For example, in the '60s to the '70s, we moved from live instruments to incorporating hardware like synthesizers and Moog boards. Each decade brought new sounds and tools: the '70s into the '80s, and the '80s into the '90s. We just have to learn to embrace change while finding ways to keep AI under control because it can be dangerous if we’re not careful.
Can you share the backstory of how you connected with TM88 and Crash Dummy?
It’s a small world— TM88 and I grew up in the same county—shout out to Clayton County, Southside! Even before we got into music, I would often see TM around. When I started making beats, I was working at a job where TM would sometimes come in to shop. At that time, 808 Mafia was already established. I knew my beats weren’t at the level they are today, but we kept up our connection, stayed cool, and kept things on good terms. When the timing was right and everything started to click, we locked in and began making history.
You co-produced “Red Moon” by Lil Uzi Vert. Can you share how this track came together or any memorable moments from making it?
By the time I got involved with “Red Moon,” TM had already worked his magic on it. But I love playing keys, especially the Rhodes piano. If you listen closely to “Red Moon,” you'll hear the Rhodes piano in the background—that’s me filling in the extra spaces. I can hear counter melodies and know what complements what. It’s hard to explain, but our chemistry is just crazy. We don’t overthink it; it just comes together every time.
When working on a song like this with TM or other producers, what’s the process like? Are you all in the studio together, or is it more of a back-and-forth where one person adds something and sends it to the next?
Most of the time, we’re cooking up in the studio live, side by side. But sometimes, someone might send something out of the blue, and you just add your parts. We also collaborate online using tools like Zoom, Sessionwire, Parsec, Riverside—whatever works. These days, anything’s possible. If you love it and it's really in you, you’ll make it happen anytime, anywhere—however you can.
Is there a project or track you've worked on that holds a special place in your heart?
Yeah, there are a few songs that mean a lot to me because some of the people I worked on them with are no longer here, for various reasons. I have a lot of memories with so many people. That’s something I think about a lot now, especially since I’ve been doing this since 2008. So, yeah, there are definitely some special songs.
Can you name some of those songs?
One of them is “Day n’ Night” with Trouble. I also worked with RaRa, Bankroll Fresh, and of course, Bambino Gold.
What music do you listen to in your free time nowadays, or are there any recent projects that caught your ear?
I’m all over the place with my music. Lately, I’ve had 'Wake Me Up' by Avicii on repeat for some reason. I’ve also been listening to a lot of Bobby Caldwell. I just let anything play; I love good music, no matter the genre. I was even listening to Beethoven and Mozart recently. As long as it’s good, I’m into it.
What advice would you give to new or up-and-coming music producers trying to establish themselves and start working in the industry?
I’d say, be yourself and don’t overdo it with crazy stories or gimmicks when reaching out, especially if you’re sending loops to producers. At my level, I get a lot of messages, and most of them feel scripted, like “Yo, bro, this is such and such…”—you can tell everyone’s sending the same message with just the names switched out.
The key is to keep it humble and genuine. Don’t force a vibe—just get to know people naturally. If one person doesn’t click with you, don’t be discouraged—the next person might. Sometimes, the person next to the producer you want to work with ends up being the connection you need. And don’t get frustrated if we don’t see your message right away—Instagram, for example, can hide messages in different folders. Just keep shooting your shot and stay consistent.
Do you think building an online following on platforms like YouTube or Instagram is essential for new producers to succeed, or can they still break through by networking directly with established artists and sharing their music one-on-one?
Honestly, I think building your own following is key because you’re building your brand and establishing yourself. At the end of the day, you’re an entertainer, and you are your brand. Reaching out to a major artist might work and get you some recognition, but building a following creates a base of people who know and support you. They get to watch you grow, and you can build a personal connection with some of them. So, yes—focus on building your online presence and content. Put in the work to impress people and make them feel like they’re part of what you’re creating.
Do you have any upcoming projects or tracks you’re excited to share?
Yeah, it’s funny—actually, in about two or three hours, the first Latin record I’ve worked on is dropping with the official music video. Shout out to Duki, Wiz Khalifa, and Arcángel on this track called “Wake Up & Bake Up.” It’s already taking off, and I’m really excited because I love music. This is the first Latin record that Crash Dummy’s been part of—first of many, actually—and we’re also working on a lot of other genres. So stay tuned. We’re here to wow the world and make an impact.
Follow Slo Meezy on Instagram: @slomeezybeatz
