Avery On The Beat is a Massachusetts-based producer, writer and audio engineer with over 10 years of experience. While Avery excels as a collaborator across all genres of music, his real specialty lies in his exceptional and explosive drum programming, particularly in the world of trap music. Due to his background as a skilled and well-studied audio engineer over many years, Avery is able to work side-by-side with an artist from the start to finish of a record, oftentimes as the artist’s sole collaborator. Avery has produced for artists like Soulja Boy, Sean Kingston, Famous Dex, Coi Leray, Key Glock, as well as many others. Most recently, Avery produced the Lil Tjay single “Move On”, which showcases the unique hard-hitting yet highly melodic sound he is best known for.
Q: How did you get your producer name?
A: I got my producer name from really, trial and error. To this day i don't know an alternative I could of came up with. I tried AOTB, "Kid Genius", "Avery" ... They all sounded tacky to me. Coming from a musical background I called myself "Avery On The Beat". The time period I remember coming up in (2010-2011) producer tags seemed new to me. After hearing Lex Luger's production at the time I wanted to be just like that so I came up with the tag that way.
Q: What was your first record placement?
A: My first placement (to my knowledge) was "Her Body" by Soulja Boy on the Better Late Than Never album in 2016. Later on I found more songs that I had produced that released beforehand without me realizing it. That placement kicked me into gear and showed me that I really to have the ability to do anything I set my mind to.
Q: What is the biggest lesson you learned while working in the music industry?
A: The biggest lesson I've learned so far is that real relationships bring real results. I say that because, you could have the hottest joints on your hard drive and yet they might not get heard or placed because they weren't brought to the table as direct as they could've been. For example, when you get a placement that hits the charts A&Rs will reach out to you. From that point on you start to learn the power of a proper introduction which then starts the real relationship with whoever you're speaking to. You get to connect directly with the A&R and tap into what specific artists they are working on at the moment. This is where the opportunity kicks in and all you have to do is bring the right joint forward for another major placement. Once you've executed from that first call there really is not much to say other than keep that line of communication open throughout the years and continue bring results in.
Q: Where are you from, and how did it mold you into the person you are today ?
A: I'm from Springfield, Massachusetts. Springfield is pretty small city in MA however we still have a lot of local talent in music specifically. I can't say that there are tons of outlets though. Growing up and seeing a lot of local talent perform and do their thing really inspired me to keep going. I used to run sessions out of my grandmothers house and had a closet for a booth. I would have 5-6 sessions that I would engineer everyday and get paid actual money for it, which I still think is crazy. My city taught me to keep going and to not fall victim to doubting yourself.
Q: Who is your favorite artist to work with?
A: My favorite artist to work with right now is Skooly. There is an entire story attached to that. I was going back and fourth to ATL with a friend of mine at the time and we would book anywhere from 8 to 17 hours daily in every studio we could think of in Atlanta. During that time I ran into Skooly at Patchwerk while he was recording a live album in their live room over there. I had offered him a flashdrive but, instead he just said to pull up the next day and play beats. The day after we went over to Street Execs and into his session to play beats off of our drives. He'd picked maybe 5 beats from it and cut one later that night and actually let me hear the song as it was bouncing which was insane to me back then. Skooly definitely went crazy on every joint i had given to him so I'm always happy to hear what he does with my beats
Q: What DAW do you use, and what is your favorite plug-in?
A: FL Studio. My favorite plugin is Heat Up 3 it has a lot of fire sounds and is really light on the computer
Q: What is your favorite record placement and why?
A: My favorite placement has to be "Shit" by Kevin Gates. I've listened to Kevin Gates since he released "Satellites". I actually was a fan of his music before i was heavy into producing so being able to have worked on songs for him was amazing.
Q: What are somethings producers don't know that they should know?
A: Outwork everybody and move around. Everybody at the very start thinks that there are secret answers to getting placements, plaques, and connections. At the end of the day it comes down to having the beats and getting out there in real life. You need to shake hands and have these introductions in real life and stop hiding behind an email. Your face card is everything and if you bring records to people and vibe out in real life they will for sure prioritize you over others they haven't actually met. This goes back to what I said about real relationships bringing real results. It is about who you can call to help executing the challenge when it is in front of you. Whether its getting packs together for specific artists that aren't in your pocket of sound to having to engineer an emergency session because the engineer is sick for reference. You should know who to call from your circle to help bring these records to life and submit something great rather than the best that YOU as an individual could do.
Q: What makes you a hot producer?
A: Being able to identify what people are looking for and read the vibes in the studio sessions. Being able to deliver when it is time is key too. Understanding the energy the artist is looking for in the production stage is really the main thing you have to nail when producing a record. If you can do that when called on then that is a hot producer for sure.
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