Exclusive Interview
Feb 3, 2025
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
Wylo – “A great sample needs to stay simple and consistent without becoming boring”
In this exclusive interview with Studio Talks, Swiss-based music producer Wylo opens up about his journey in the music industry, sharing insights into his creative process and experiences working with major artists such as Pop Smoke, Lil Baby, DaBaby, Kodak Black, and many more. Wylo also discusses the founding of his producer collective, Glacier Boyz, and how collaboration plays a key role in his success. In this conversation, he touches on his approach to producing, the evolution of the music industry, and the importance of building strong relationships in the business. From creating loops to landing placements, Wylo shares the strategies that have helped him thrive in a competitive industry. This interview was conducted by Rudy Manager via video call on January 15th, 2025.
How did you first get into music, and what led you to transition into producing?
I started playing drums in first grade and played for about five years. Then I stopped and didn’t do anything with music until I was around 16. I saw an ad for Maschine by Native Instruments and I was just like, yeah. I was outside with my friends and jokingly said, “I’m going to be a producer.” I thought, why not buy it and try it out? And I liked it. From there, I got into the YouTube scene, seeing people upload their beats and all that. I thought, yeah, this is something I want to try. So I started making music more regularly again. Eventually, I switched from Maschine to another DAW and kept working from there.
What was your process for improving your music during the early years?
At first, I wanted to become a sound engineer because my dad wanted me to have some kind of diploma or qualification since I never finished anything—just basic school. But that didn’t happen because I wasn’t interested in the technical side of things. I just wanted to make music, and in those programs, you mostly learned how to mix and stuff. So, I decided to teach myself through YouTube. I watched videos on how to get better at playing the piano and either learned through YouTube or by trial and error. I tried everything out. For example, eight or nine years ago, when it came to making beats, there weren’t many good tutorials on how to mix drums and similar elements. Nowadays, there’s so much good content, but back then, everything felt like a secret.
When you started making beats, did you collaborate with local artists in Switzerland, or did you immediately start working with American artists?
I worked with some friends, but it wasn’t really serious. They were just starting out too, so we didn’t release anything. I was mainly focused on making beats to upload to YouTube. Once I felt they were good enough, I uploaded them and kept dropping beats on YouTube, about three times a week. That was my main focus. I did work with some people in Switzerland, but nothing serious at the time. My first real songs mostly came from working with foreign artists through YouTube. That’s actually how I got started.
What would you consider to be your first major placement?
My first major placement was on Boosie Badazz's track called "Weed Head X4," which was in 2019.
How did you connect with U.S. artists, and what was the process of starting those collaborations?
I started by selling beats and made enough money to live off it for about two years. But then I wanted to take my career further and do more. I noticed that the whole loop game was relatively new at the time—not many people were doing it. I watched interviews where people said that if you're from another country, like Europe or other countries, the easiest way to connect with artists in the U.S. is through loops. So I thought, why not try it? I made three packs of free loops just to see how it would work out. The first pack I dropped got really good feedback, so I decided to keep going. I ended up releasing a new pack every two months. Actually, I think the first sample from that first pack was the one that got placed on Boosie’s album back then. So yeah, that’s how it all started.
Do you think uploading “type beats” is still an effective strategy for upcoming producers to gain recognition in 2025?
I mean, it depends. What works for one person might not work for another. For me, it worked back then, but things are totally different now. There are still producers who are successful with it. I actually tried uploading to YouTube again last year, and it didn’t work the way it used to.
There are so many different strategies people suggest—some say starting a new channel works better, others say sticking with your old channel is best. Some recommend focusing on one style, like uploading only “Future-type” beats, so people recognize you as the go-to guy for that sound. I think that’s a good strategy because if someone wants a beat in that style, they’ll know exactly where to go.
But it really depends. I feel like even producers who had a lot of success with it eventually hit a plateau. YouTube is such a fast-paced platform—you might do well for a few years, then suddenly fall off. Maybe some people still get a lot of views and make good money, but the algorithm changes so often that it’s hard to keep up. One moment your videos perform well, and the next, they don’t.
Honestly, I think producers should try everything—making loops, creating tutorials, and producing content for other producers. Many people are finding success by sharing tutorials and educational content. I feel like that’s an easier way to gain traction and connect with other producers nowadays.
Can you share how you made “For the Night” for Pop Smoke featuring Lil Baby & DaBaby?
I was working on another loop pack at the time—probably my third or fourth pack, I’m not exactly sure, but I think it was my fourth. I made that loop in about 10 or 15 minutes. Honestly, I didn’t like it that much, but I figured someone might, so I just included it in the pack. For me, it felt more like a throwaway.
But that’s how it goes sometimes—the samples you don’t really like or don’t expect to get placed are the ones that do. I put it in the pack, dropped it, and then Palaze used it. He put it on a YouTube beat, and I also dropped it on YouTube. I’m not exactly sure how it got noticed, but before Pop Smoke used it, that beat had already been used in a song that got pretty big in Brazil. I guess they must’ve found it on YouTube, and that’s how everything came together.
Could you share your process for starting new music from scratch?
Most of the time, I start with the melody—just something simple to get an idea down. I don’t worry about finding the perfect sound right away; I just want to lay something down and see if I like it. If the sound doesn’t feel right, I’ll search for a better one afterward. From there, I build on it.
Recently, I’ve been sampling a lot more because I needed a fresh approach to making music—it was starting to feel boring to me. So, I began sampling old records or chopping up vocals and blending them into the track. That’s been a big part of my process lately.
I’ve also been collaborating more with other producers from Switzerland. I started a collective called Glacier Boyz a while back, which includes a few people from Switzerland. A lot of the time, we’ll meet up in the studio, and someone will start an idea, and we’ll just build on it together. For me, making music alone started to feel dull after a few years, so around 2021, I focused on connecting with new people, and that’s really kept things exciting.
Who are the producers in Glacier Boyz?
We’ve got NicoOnTheKeys, Quick M, Pasci, Deyo, Arktiz, Andy 4Real, Cheng Skai, and Typico. That’s pretty much the core group.
Most of them are up-and-coming producers, but Nico has already landed some placements with artists like Lil Baby and Money Man. For me, the goal was to collaborate more with others and also help them get placements. It’s all about supporting each other and helping everyone in the group grow.
In your opinion, what makes a great hip-hop/rap sample?
For me, the most important thing is that a sample is simple—but not boring. It has to be simple enough to give space for the artist but still interesting enough that it doesn’t get stale, even if you listen to it for 20 minutes. I think every producer knows that certain feeling when a sample just works—it’s simple but still engaging.
It’s easy to make a sample that changes every two, four, or eight bars to keep it from getting repetitive, but honestly, those types of samples often don’t get used. A great sample needs to stay simple and consistent without becoming boring.
I also think that if you can imagine yourself rapping over it or instantly come up with ideas, that’s a sign it’s a good sample. Personally, I always add some basic drums to my loops to test if they work well rhythmically because sometimes a melody sounds good on its own but doesn’t always blend well with drums.
What is your opinion on AI in music production?
I think you just have to use it. Even if you don’t like it—I personally don’t love it either, but the reality is that you can’t ignore it. If you choose not to use it, you’ll just get left behind. If it helps you make better music, then why not use it?
There are people with too much pride when using third-party tools like AI, who feel the need to do everything themselves—like if they don’t do it themselves, it’s not really their work anymore. But honestly, if you can make the best music possible with some help, it doesn’t matter. Some people are already using AI, and if you don’t, you’re just not going to be as efficient as others.
Is there a specific song you’ve worked on that stands out to you for any particular reason?
The recent song I did with Kodak Black called “Never See Me” stands out to me. The sample was from a pack I made back in 2020 or maybe 2019—I’m not sure anymore, but it was around that time. The melody was one of my favorites I’ve ever made. I always knew it had potential, and I kept sending it out until I found the right artist. After about five years, the sample finally got used by Kodak. I’m really proud of how the song turned out—it’s one of my favorites.
What advice would you give to new producers outside of the U.S. who want to build their name and collaborate with more established artists?
It really depends on what you prefer to do, but if you like making beats, then upload them to YouTube and try to get in touch with upcoming rappers or build relationships with A&Rs and managers. Send your beats to them and try to build connections that way.
If you’re into making loops, then send them out to as many people as possible. Do packs, share your work, and get your name out there. Work with as many producers as you can in the beginning to build your network.
But over the years, I’ve noticed that the approach has changed a bit. It’s not as effective anymore to just send loops to a thousand people. In my opinion, it’s better to still send your work to as many people as you can, but when you start getting placements or collaborating with others, it’s best to focus on building strong, consistent relationships with those people. When you’ve worked with producers before, you have a history, and they’re more likely to use your loops because they know your style, how easy you are to work with, and how well your sound fits their production.
What plans do you have for this year?
This year, I plan to keep doing what I’ve been doing—making as much music as possible, releasing loops, and helping my team get placements. That’s something I really enjoy—helping the people around me, the producers on my team, get their songs placed. I really like giving back in that way.
When I see my team members getting placements and I can help them move forward in their careers, it feels great. It’s not just about me—it’s about helping them grow and succeed as well. I’ll keep sending their stuff out and working together to get placements.
Follow Wylo on Instagram: @wyloprod
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