How Miami's Edsclusive Helped Produce One of the Summer's Hottest Singles

Miami-based producer Edward “EdsclusiveDavadi refuses to allow his newfound fame to disrupt his consistent workflow. Actually, "newfound fame" might be an understatement. He helped produce one of the biggest rap singles of the year, Fat Joe and Remy Ma’s “All the Way Up."

Inside Tone Zone Recording Studio in North Miami, Davadi is putting the finishing touches on instrumentals meant for several topnotch lyricists.

Before I arrived at the studio, the 25-year-old had sent off two beats to DJ Khaled for his forthcoming album, Major Key. Davadi is not the type to wear his emotions on his sleeve. Still, you can feel his excitement about working with the king of Snapchat in his voice as he describes their past sessions.

“He likes to play music loud,” he says. “I’ve been in the studio with him. He just loves shit all the way loud.”

Davadi and his family migrated to South Florida in the aftermath of Hurricane Katrina. When he touched down here, he embarked on a journey to discover his inner passion for beat making and embraced it as his ultimate career goal. Upon dropping out of high school, Davadi spent most of his teenage years studying every function of music-making programs like Fruity Loops, and learning the ins and outs of the recording studio.

“I started off back when I had my first computer,” Ed says as he adjusts the volume levels on the soundboard. “I didn’t really know what to do because, like a lot of people… I never knew what I wanted to be when I was like 15 turning 16. This was around the time when Soulja Boy came out with ['Crank That (Soulja Boy).'] I heard those beats and I was like, whoa." What struck Davadi about the viral single was how accessible it seemed. Surely, he thought, I could do this. "So I was like 'fuck it' and started making beats.”

Davadi officially established his producing career after he linked up with the Miami-based production duo Cool & Dre through a mutual friend. They brought him into their exclusive inner circle of urban musicians and eventually introduced him to producer turned We the Best rhymer, Kent Jones. Davadi spent hours in the studio with the “Don’t Mind” rapper and honed his skills.
“He’s always wanted to be an artist,” Davadi says. “Me and him just kept working. It was us in the studio — sleeping, waking up, doing it again. He got on a couple of my beats, and then from there he was like, ‘Oh shit.’”

After his first major placement on Curren$y’s 2015 album Pilot Talk III last year, Davadi ascended to a new level of stardom that struggling producers usually dream of. A swarm of top-tier artists like Curren$y, Future, the Game, and EDM lord David Guetta began to seek him out for fresh beats.

The NOLA native of Nicaraguan descent soon came across Fat Joe's radar. 

Late last year, Edsclusive found himself in the studio with the Terror Squad leader, who was in search of instrumentals for his upcoming joint album with Remy Ma called Plata O Plomo. Davadi was uneasy about playing it for Joe at first, but his anxieties quickly dissipated. Once Joe heard the looped horns and dope bass pattern, it was over. Davadi knew it could be a hit, but there was something missing. Before Infrared wrote the now-infamous hook, Davadi strongly suggested bringing in French Montana to top off New York City’s hardest radio record in years.

“I originally wanted French on it,” he says. “So I told him to put French on it because he wanted it for the album with Remy.”

Now Davadi’s infectious beat is on radio stations across the country, especially after Jay-Z broke his post-Lemonade silence and hopped on the remix. Now, as Davadi plans to relocate to the West Coast to finalize a sweet publishing deal, it looks like he will finally reap the benefits of the music career he’s always dreamed of.

With more fresh music in the works and a joint project with his artist, Legaxy, on the way, Edsclusive continues his life-long mission to chisel his way into music history and has no plans to stop anytime soon.  
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Tony M. Centeno
Contact: Tony M. Centeno