Exclusive Interview

Feb 9, 2025

Produced by: Rudy Manager

Edited by: Rudy Manager & Andrej Aroch

Vlex – “My goal is always to inspire others—that really fills my heart with joy”

In this interview with Studio Talks, we sit down with rising producer Vlex to explore his journey in the music industry, his creative process, and his advice for aspiring producers. Known for his signature guitar-driven loops and seamless production style, Vlex has worked with notable artists such as Central Cee, DaBaby, and Kodoku. From his beginnings as a self-taught guitarist to collaborating with major names in the industry, Vlex shares the stories, inspirations, and insights that have shaped his career. This interview was conducted via video call by Rudy Manager on February 2, 2025.


How did you first get into music, and how did you transition into music production?

When I first got into music, I was around 12 years old and in middle school. I took a guitar class at school where they taught the basics, but I really fell in love with the instrument. Around that time, I was really into EDM music, so I started getting into DJing and watching YouTube breakdowns. That’s basically how I transitioned into music production—I loved seeing all the behind-the-scenes work that went into it.

At what age did you start with music production seriously?

Professionally, I started about four years ago, when I was 17. But I actually began producing music using GarageBand on my iPad when I was 14 or 15.

Who were your inspirations or influences when you were starting out?

It was probably EDM DJs like Martin Garrix, Tiesto, and Avicii. As I got older and started getting into rap, I became interested in producers like Metro Boomin. I’d watch tutorials about his work, so I’d say those were my main influences.

Did growing up in Mexico influence the way you produce music somehow,  did you have influences from the local scene?

Maybe—mainly because of the guitar. Guitar is very popular there, and I like to play Spanish-style chords most of the time, so I think that’s where the influence comes from. But honestly, I don’t listen to much Mexican music—I’m more focused on the U.S. market.

What was your process of improving your music back then? Did you go to any institutions, rely on YouTube tutorials, or have mentors?

In my first year of producing, I took classes for a year with my teacher, Paul Rosseland. He showed me how to use Logic Pro. Then COVID hit, and I had to stop taking those classes. From there, I started learning on my own by watching YouTube tutorials. I watched a lot of creators like Internet Money and Kyle Beats.

Guitar is my main instrument now, but I never took formal classes. I play everything by ear since I don’t know music theory. I just practice every day, making beats and playing guitar. I think that daily practice is what really helped me improve.

At this time, how did you connect with some artists, and how did those first collaborations come about, either with artists or producers?

During the pandemic, I was locked in my room all day, uploading my loops on Discord. That was my main way of connecting with people back then. I don’t use Discord anymore, but at the time, I was all about it. I also used Twitch, tuning in when producers like T-Minus were streaming, and I’d spend the day sending loops from my room.

I also reached out directly, hitting people up in their DMs or sending emails whenever someone shared their email in a story. I’d send loops immediately. That’s how I built connections. Over time, it snowballed—the more people I connected with, the more opportunities came my way.

Did growing up in Mexico influence the way you produce music somehow,  did you have influences from the local scene?

Maybe—mainly because of the guitar. Guitar is very popular there, and I like to play Spanish-style chords most of the time, so I think that’s where the influence comes from. But honestly, I don’t listen to much Mexican music—I’m more focused on the U.S. market.

What was your process of improving your music back then? Did you go to any institutions, rely on YouTube tutorials, or have mentors?

In my first year of producing, I took classes for a year with my teacher, Paul Rosseland. He showed me how to use Logic Pro. Then COVID hit, and I had to stop taking those classes. From there, I started learning on my own by watching YouTube tutorials. I watched a lot of creators like Internet Money and Kyle Beats.

Guitar is my main instrument now, but I never took formal classes. I play everything by ear since I don’t know music theory. I just practice every day, making beats and playing guitar. I think that daily practice is what really helped me improve.

At this time, how did you connect with some artists, and how did those first collaborations come about, either with artists or producers?

During the pandemic, I was locked in my room all day, uploading my loops on Discord. That was my main way of connecting with people back then. I don’t use Discord anymore, but at the time, I was all about it. I also used Twitch, tuning in when producers like T-Minus were streaming, and I’d spend the day sending loops from my room.

I also reached out directly, hitting people up in their DMs or sending emails whenever someone shared their email in a story. I’d send loops immediately. That’s how I built connections. Over time, it snowballed—the more people I connected with, the more opportunities came my way.

Did growing up in Mexico influence the way you produce music somehow,  did you have influences from the local scene?

Maybe—mainly because of the guitar. Guitar is very popular there, and I like to play Spanish-style chords most of the time, so I think that’s where the influence comes from. But honestly, I don’t listen to much Mexican music—I’m more focused on the U.S. market.

What was your process of improving your music back then? Did you go to any institutions, rely on YouTube tutorials, or have mentors?

In my first year of producing, I took classes for a year with my teacher, Paul Rosseland. He showed me how to use Logic Pro. Then COVID hit, and I had to stop taking those classes. From there, I started learning on my own by watching YouTube tutorials. I watched a lot of creators like Internet Money and Kyle Beats.

Guitar is my main instrument now, but I never took formal classes. I play everything by ear since I don’t know music theory. I just practice every day, making beats and playing guitar. I think that daily practice is what really helped me improve.

At this time, how did you connect with some artists, and how did those first collaborations come about, either with artists or producers?

During the pandemic, I was locked in my room all day, uploading my loops on Discord. That was my main way of connecting with people back then. I don’t use Discord anymore, but at the time, I was all about it. I also used Twitch, tuning in when producers like T-Minus were streaming, and I’d spend the day sending loops from my room.

I also reached out directly, hitting people up in their DMs or sending emails whenever someone shared their email in a story. I’d send loops immediately. That’s how I built connections. Over time, it snowballed—the more people I connected with, the more opportunities came my way.

What would you say was your first placement, or who was the first artist you made music with?

My first major placement was DaBaby’s song, “Sneaky Link Anthem,” which was my first big track. I’d also mention an artist named Kodoku. I have a song with him called “Rose Bath,” which I co-produced with my friend Nick Nash. Seeing the reaction to that song and reading people’s comments at the time felt crazy to me. I was just a kid making music in my room, so seeing people respond like that was beautiful. That’s when I knew this was what I wanted to do.

What’s your creative process like now compared to back then? What’s your work rate? Do you have a set routine?

I don’t have a strict routine—I simply work when I feel inspired. That said, I do have some structure. As a loop maker, I consistently send out 10 new samples every Tuesday. I usually make around 15 to 20 ideas a week, sometimes more.

I also play guitar a lot—it’s my hobby when I’m not working or in college. My creative process is hard to define, but when something clicks, I sit down and record it immediately. It’s kind of spontaneous, but that’s how it works for me.

In your opinion, what makes a great hip-hop sample?

For me, it’s all about a catchy melody. Something the people can sing to. A memorable melody that connects emotionally is what makes a great sample, in my opinion.

Can you share some of your favorite VSTs or equipment that you like to use?

My favorite VSTs include The Prince by Frank Dukes and Omnisphere. Lately, I’ve been experimenting with Logic Pro stock sounds, which are so good. For effects, I’ve been using Goodhertz’s Lossy, Valhalla Delay, and soothe2.

What’s your opinion on AI in music production? What do you think about AI?

I don’t use AI much right now, but I see it as a helpful tool to have around. That said, it could be dangerous for artists, especially if people use their voices to create songs without their permission. But overall, I think it’s a great tool—it opens up opportunities for creativity. For example, I’ve seen how you can make your voice sound like a female. I think that’s great and has a lot of creative potential.

Can you share the process of making the “Now We’re Strangers” record for Central Cee?

I made the guitar loop for that song back in March 2022. Then my guy Kabeh, a producer from Brazil, added some stuff to the loop. I met him on Discord—we’ve been friends since way back.

After Kabeh added his touch, my guy IanoBeatz, used the loop and made the drums. He then sent it back to Jonas Lee, who added more drums to it. From there, Kid Hazel and Jonas Lee connected it with Central Cee. That’s how it all came together. The whole idea started in March 2022.

Do you have a favorite production of yours or a project that’s especially close to your heart?

I’d say the song “​i know you’ve been lonely” by Chase Shakur. I really love that record. I’m such a big fan of Chase Shakur, so having a song with him was one of the greatest moments for me. I genuinely love the song.

Who are some of your dream artists you’d like to collaborate with? Or even producers?

For dream artists, I’d say Brent Faiyaz, Baby Keem, Travis Scott, and Drake—everyone wants to work with them.

As for producers, I don’t have a specific dream collaboration. I’m already working with super talented people—my friends are amazing.

What advice would you give to upcoming producers who are trying to work with major artists and build their brands?

Consistency and patience are the only things you need to make it in the music scene. Stay consistent, be patient, and keep working. Eventually, a big song or opportunity will come your way.

Who is one upcoming artist that you think will blow up in the next few months?

Right now, I’ve been listening a lot to Odeal. I really like his music—he blends R&B and Afro styles, and his sound is incredible. His vibe reminds me of Brent Faiyaz, and I’d love to work with him. I’m already somewhat connected to him, but I genuinely feel like he’s going to blow up soon.

What plans do you have for this year, either personal or career-wise?

This year, my main focus is growing my brand and making more content. I’ve started doing Instagram reels, and they’ve been doing great so far. It’s all about exposing my brand to new people.

My goal is always to inspire others—that really fills my heart with joy. Beyond that, I plan to release more songs and records while working towards turning music into a full-time career.

Follow Vlex on Instagram: @whotfisvlex

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