You can tell a lot about a producer by their sound, but even more by how they speak about it. Dante Guzzi, known as Fernospazzin, has been a notable name on the production scene since as far back as late 2019, with his samples impressing and inspiring many producers. Since then, Ferno’s records have garnered over 1 billion streams, including “Vampiro” by Matuê, WIU, and Teto, “3AM” by NBA YoungBoy, and “No No No” by Flipp Dinero and A Boogie wit da Hoodie. While some producers are defined and almost plagued by their records, Ferno has a broader vision, always looking ahead and branching out his interests, musically as well as personally.
We talked a lot about what music means, how music defines (or doesn’t define) a person, how Ferno’s records have impacted him personally and professionally, and most importantly – having self-awareness as a creative foundation.
Q: Everyone’s got that one track that changed everything for them. Which placement or record felt like a turning point in your career? What made it so significant for you?
Ferno: In December 2019, I opened Instagram one afternoon, and NLE Choppa had posted a video in the studio rapping over my beat. At the time, it felt like the confirmation I needed that the effort I’d put into sharing my work thoughtfully had started to open doors I hadn’t even imagined. That moment showed me that success isn’t just about working as hard as possible – it’s about giving your all while moving intelligently and adeptly. Since then I’ve never looked back and my outlook on what’s possible has expanded tremendously. I don’t like to count out any possibility these days.
Q: Producers often talk about having a ‘signature sound’. How would you describe yours, and do you consciously try to shape it, or is it something that just naturally happens over time?
Ferno: I’ve gone back and forth on whether or not I have a ‘signature sound’ and what that even means. This question is deeply connected to my own journey of personal growth. To be blunt, I don’t know if I’ll ever have just one ‘signature sound’ – my sound evolves, matures, and shifts as I do. If anything, when looking back at different periods of my work, certain stylistic elements may emerge, but they’re always tied to where I am at that moment in life.
I’ve come to believe that being self-reflective is essential – not just in art, but in life. Working on yourself as a person, being on a continuous path of growth, through all the highs and lows, directly feeds your creativity. It sharpens your perspective and expands your capacity to create something real. When you’re truly in tune with yourself, you develop what I consider a sixth sense, a heightened awareness that allows you to observe, absorb, and express with clarity. As a result, some semblance of a ‘sound’ can be born. This is the essence of what me and a great friend of mine describe as being ‘tapt’: a state of deep self-awareness where your personal evolution and your art are inseparable, feeding off each other in a powerful, almost intuitive way.
Another great friend of mine said it best: “Self-reflecting and working towards that goal (whatever it may be) is the only way to progress in life. As you self reflect you realize that certain things directly affect your goals and you might not even realize it till you make the change. You don’t know what you don’t know”.
For me, being tapt is realizing exactly that – and using it to create something honest.
Q: You’ve built a strong reputation in the producer community, what do you think has contributed most to your growth and recognition among other producers and artists?
Ferno: A combination of tapping into a niche at the right time, and timing itself. In 2020, I was creating samples specifically aimed at a certain style of producer, and that focus helped me connect and grow quickly within that lane. But I’ve come to realize that niches can be a double-edged sword; go too deep into one sub genre or style, and shifting directions can feel almost impossible.
Looking back, it might’ve been more of a ‘right place, right time’ moment, especially during the peak of that style’s popularity. I wouldn’t necessarily tell new producers to just find a niche and live in it – you’ll eventually hit a ceiling. While external validation can help some overcome self-doubt, I’ve found it limiting. I make my best, most impactful music when I’m true to myself, not chasing trends or approval.
Since mid-last year, I’ve been shifting my style, exploring genres like house, and focusing on what really resonates with me. I’ve realized that having a keen ear for the sonic subtleties I naturally gravitate toward will shape the future of my sound and the spaces I create within. Exploring new styles can be hard because we’re wired to resist change, but pushing myself in this way has brought more inspiration and fulfillment than I’ve felt in years.
Q: Looking back, was there a particular moment or opportunity that validated your decision to become a producer full-time?
Ferno: I consider myself a ‘full-time’ producer, though others might not see it the same way. I’ve always been in school while pursuing music, from getting my first placements at the end of high school to just graduating college last week. I’ll be starting a full-time job in September, but to me, that’s just another facet of my life. I don’t view these paths as separate – I see them as intertwined. One might say I “dream big,” but I see that as a strength. As I gain more life experience, I want to explore fields like technology and design, especially where they intersect with music, such as applying blockchain in creative ways. I envision myself leading a large corporation one day, blending music and tech, while continuing to create music that truly touches people.
I’ve found that structure helps me stay productive, and having these two sides of my life – music and my professional career – allows them to inspire each other. They act as a positive counterbalance, fueling both personal and creative growth.
I also believe that chasing music solely for money can compromise the quality of the art. That’s something Rick Rubin touches on in The Creative Act, and it really resonates with me. Financial success in music is cyclical, but stability is priceless. Some people thrive under pressure, needing to “make it” with no fallback, but I see that as negative energy. I prefer to take a risk-averse approach so I can create without feeling the need to sell – that’s the long-term play. This doesn’t mean I don’t share my work or benefit from it, but I’ve gone through times where chasing money clouded my vision and stunted my growth.
For me, validation comes simply from creating; being able to express myself and share that with friends and family is enough. Creating is a privilege, not a right, and I believe, as many others do, that it’s my calling to express myself in whatever form that takes.
Ferno
Q: You produced “Vampiro” by Matuê, WIU, and Teto, which has over 300 million streams. Did you anticipate that success at all when you made it? How did that placement impact you?
Ferno: The 30PRAUM artists, Matuê, Teto, and WIU, are incredibly talented, and this song is a perfect example of when the right beat, the right song, and the right artists align at the right moment. I wouldn’t say I fully anticipated how big it would become, but when you’re really invested in an online community, you can feel when something has that superpower. From the moment Matuê first teased it, it was clear this track was going to be special.
I’m beyond grateful for the success of Vampiro. It has pushed me to chase even my wildest dreams, both in the short term and looking further into the future. The fact that I produced it solo makes it even more meaningful, though all of my music reflects the inspirations and people who have shaped me along the way. One of the most unexpected and beautiful parts of this journey has been developing a deep appreciation for Brazil and its culture – it’s shown me how far music can travel and connect. Sending my love to Brazil always.
Q: What’s one piece of advice you’d offer producers who’ve been making samples for a while but haven’t yet broken through to getting placements or recognition?
Ferno: I was watching We Are Your Friends the other week and this quote stuck with me: “The best part of anything is the moment before it starts”. Looking back, I wish I had spent less time in my early years worrying about placements or chasing a ‘final product,’ and more time developing the mindset I have now: seeking to learn something new every day (even outside of music) and truly enjoying the process.
I still have days where I feel a pressure to be doing more to hit some material level of success. But what I’ve realized is that no amount of accolades, streams, or placements can sustain you long-term if you’re not creating for yourself; for that inner calling to express something real.
Enjoy the ride. That’s where the real growth and fulfillment come from.
300+ million streams and counting, Vampiro was produced by Ferno
Q: Success in music can sometimes blur personal boundaries or priorities. How do you maintain balance and keep yourself grounded as your career progresses?
Ferno: This has been at the heart of my self-reflection ever since I realized music was more than just a hobby for me. Health is my long-term priority – I focus on fueling my body with lean proteins, greens, fruits, and vegetables (essentially a carnivore-based diet with balanced fiber), daily walks, cold plunges, workouts, and running.
Just as important is checking in with myself emotionally. I’ve learned not to force creativity on tough days – there’s always tomorrow, and sometimes stepping back is what keeps me grounded. That said, I do believe that life’s hardest moments can inspire some of the most powerful, expressive art.
Finally, as I mentioned before, I have big goals beyond music. Exploring other fields, especially in technology and design, gives me a positive counterbalance to creating. Both sides of my work feed each other, often in unexpected ways, and that synergy keeps me inspired and focused on the bigger picture.
Q: From NBA YoungBoy’s “3AM“ to Flipp Dinero and A Boogie’s “No No No“, your credits are diverse. Which record challenged you creatively, and why?
Ferno: The story behind 3AM really stands out, and it definitely pushed me both musically and creatively at that point in my life. It was during the early days of the pandemic, and a childhood friend of mine, Jake Wolfe, and I locked in for about two weeks, making nearly twenty loops. He lived just down the street and would bring his guitars over; we’d spend hours just writing and experimenting.
What made it challenging, but also special, was the contrast in our backgrounds. Jake had never even heard of NBA YoungBoy before that song dropped, and he wasn’t into rap much at all. But that’s the beauty of it: great music transcends those kinds of barriers. We both found a creative outlet during a really uncertain, heavy time, and seeing something we made come to life on such a unique track was powerful.
That process challenged me to blend different sounds, to collaborate in new ways, and to trust that authentic music can reach places you don’t always expect.
500+ million streams between these 4 records, all produced by Ferno. From left to right: “Let’s Get It (Remix) by Hunxho, 21 Savage”; :No No No by Flipp Dinero, A Boogie Wit Da Hoodie”; “Jóvenes Millonarios by Eladio Carrión, Myke Towers”; “M4 by Teto, Matuê”.
Q: Is there a particular element, sound, or even a VST that you find yourself consistently returning to across your productions?
Ferno: I love delay – it effortlessly creates a psychedelic feel that I’m always drawn to. Since diving into Ableton last year, I’ve been able to explore that even more, especially with its precise and intuitive automation. My go-tos are simple but top-tier: SoundToys’ Echoboy and ValhallaDelay. I know I’m still just scratching the surface of more experimental possibilities, and I’m excited to see how this part of my sound evolves in the future.
Q: Do you have any strong opinions on current trends in the producer community? Something you love, something that frustrates you, or maybe something you’d like to see more of?
Ferno: I have a bit of a love-hate relationship with Reels and short-form content. On one hand, I appreciate how easy it is to share my work and stay connected with what my peers and inspirations are creating. But on the other hand, as much as I try not to let it affect me, the algorithm can influence how I feel about my own work, especially when a post doesn’t perform the way I expected. It’s a negative byproduct of something we can’t fully control, and I’m sure a lot of creators feel that. There was a certain peacefulness to creating in a world that wasn’t driven by short-form content.
That said, I think over time, I’ll find my own way to craft something that feels authentic; a type of reel or content that reflects my personality and taste without feeling forced.
This is also why I really value a platform like WAVS. It’s a space where I can share my samples and ideas with an engaged, like-minded community, without the pressure of chasing views or likes. It feels more about the music, and that keeps me grounded.
One of Ferno’s reels
Q: As someone who’s had considerable success, what’s one aspect of the music industry you wish you understood better earlier in your career?
Ferno: Having two parents who are lawyers definitely gave me a head start in understanding the business side of music, things like royalties and protecting intellectual property, which can feel overwhelming if you’re new to it. I hope anyone starting to gain traction takes the time to explore this side of the industry, or at least stays curious about the nuances that come with it.
One thing I wish I understood more deeply early on is how flawed and opaque the royalty system really is, especially in the streaming era. The current payout structures haven’t kept up with the times, and there’s a serious lack of transparency that makes it nearly impossible to navigate without help from labels or publishers – who, of course, take their cut.
What’s puzzling, though somewhat understandable, is that blockchain technology already offers potential solutions to this lack of clarity. But without consensus or willingness to change from industry leaders, we’re unlikely to see a real shift anytime soon. There’s still too much resistance to unbundling centralized control.
And on a personal level, I wish I had started making music purely for myself earlier. My satisfaction with my work – and honestly, my overall well-being – is so much greater when I’m creating without chasing external goals, just staying true to who I am.
Q: You’ve worked with artists like Eladio Carrión, Myke Towers, and Lil Keed. Which collaboration taught you the most about the industry, artistry, or even yourself?
Ferno: Every collaboration has taught me something different, but one standout moment was seeing the Eladio Carrión record hit the top of Miami’s Apple Music chart. That meant a lot to me, being from here. I’m looking forward to connecting more with my hometown’s music scene in the future, especially through different genres like house.
“Recovery” by Ferno, now available on WAVS
Q: What’s an underrated production technique that you’ve discovered and swear by, but isn’t widely talked about yet?
Ferno: As I’ve been exploring different genres, especially house music, I’ve really come to appreciate transient shaping. Ableton’s built-in transient controls in the warp modes have become essential for me, especially as I’ve focused more on refining my mixing and mastering skills across full tracks. In house music, mixing is so intertwined with production that shaping transients is now a key part of how I work. Right now, I mostly use it on percussive elements, tightening or softening hits to get them to sit just right, but I’m excited to experiment more with how transient shaping can enhance melodic elements too. It’s one of those subtle techniques that can completely change the feel of a track when used right.
Q: What’s next for Ferno? What’s the plan for the next 3 to 5 years?
Ferno: First and foremost, I hope the next few years bring even deeper personal growth. Lately, I’ve felt my musical interests shifting toward other genres, especially house music. This summer, I plan to fully immerse myself in that world, exploring new styles, techniques, and sounds. I’ll likely take a step back from social media during this time, but I feel like I’ve found the perfect home for my samples on WAVS, where I can continue to share my work while maintaining the creative freedom I value.
Looking ahead, I see myself evolving more into a songwriter rather than just a “sample maker”. After this summer, my focus will be on writing full songs that others can choose to sample, giving my work a new depth and context. It’s a shift from my usual approach, but I believe it’ll push me and anyone I collaborate with to new creative heights.
Embracing everything I’ve learned so far, I’m excited for what’s to come and ready for the next chapter to unfold.
“Atonement” by Ferno, now available on WAVS
