DJing the WNBA, scoring E! documentaries, and designing fashion show soundscapes: A conversation Vicky Casis

Vicky Casis is a multi-talented artist who threads the worlds of DJing, production, and visual media with her signature sound. From spinning at major events like the WNBA Championship to crafting beats for documentaries and fashion shows, Vicky creates soundscapes for a variety of cultural moments and events.

We recently had the opportunity to chat with her about her multi-faceted career, her creative process, and her advice for aspiring producers.

You’re involved in a variety of projects, from DJing major events like the WNBA Championship to performing live Maschine+ beat sets and co-creating QSTV. How do you balance these different aspects of your career?

Time management is very important for me. I take a lot of mental notes, plan events on my iPhone notepad, and try my best to use my calendar more often. I’m still working on managing time better, but I do my best!

Does your experience DJing influence your production style, or vice-versa?

My production style and DJ style are actually a bit different because I like to blend all different types of genres and sounds together. My production style is more hip-hop based, but currently, I’m looking to get into more dance production, and what is inspiring me to do so is spinning anything that gets the people moving.

You’ve worked on hip-hop documentaries like “Contact High” and the “Black Pop” TV special. How does the process of creating music for visual media differ from composing for your own releases?

Creating music for visual media is a bit different from composing my own releases because there is a template from the team on how they want different scenes to sound. The music coordinator may have an idea of what sounds they want conveyed for a scene, and from there I build on that idea. When making original music, my mind is clear of what to create. I never really have an idea of what type of track to create; I usually build off of listening to Maschine sound libraries, sound packs, and/or samples.

“Casis World” features a variety of artists, much like your “Baby Gurl” EP. What do you enjoy most about collaborating with other musicians, and how do you select the artists you work with?

What I enjoy most about collaborating with other musicians is bringing out what’s special about these musicians on a record, as well as experimenting with new fresh ideas and sounds that may be new for them and myself. I like to select artists that I know are willing to get out of their comfort zone and can deliver what is needed for the track or project.

A lot of people I collaborate with are either good friends of mine or musicians that I’ve discovered from other friends or social media.

You’ve had success integrating music production into the fashion world with your work for Marissa Wilson NY. Can you talk about the connection between music and fashion, and how you approach creating music that complements a visual aesthetic like a fashion show or campaign?

Music and fashion go hand and hand for me, whether it’s music played in a clothing store or music played during a runway show. Creating the right soundtrack to complement a show or campaign can help elevate the story of what the designer is trying to convey.

The amazing thing about Marissa is that she always knows what she wants, and she always has references for me to build from. We’ll brainstorm and send ideas to each other until she’s satisfied with what I create. It’s always a joy to collaborate with Marissa and to create music for her runway shows/campaigns.

Can you share a couple of your favorite Maschine features that have helped you create your music?

One of my favorite features on Maschine is the Clips feature. With Clips, I’m able to edit and create on the fly without any interruptions. The amount of plugins and sound libraries in Maschine are out of this world. When I want to get experimental between different genres and/or instruments, I’m capable of finding whatever I need to execute a beat.

Being able to use external VSTs like Serato Sampler, Serato Hex FX, Splice, and more is awesome. I have no limits to finding the right sounds to create and mix.

And using my Maschine+ for beat sets is always great. I can load in beats on each pad/group and use different FX during a beat set on the Maschine+ like a SP404 to create an experience for a live beat set.

What advice would you give to aspiring producers, especially those interested in creating music for various types of projects like you have in your career?

Some advice I would like to give is to never limit yourself because music is needed in all different mediums. Learning the music business and learning from stories of those that had bumpy experiences in music is important. Finding your community or creating your own community is needed.

There’s a beat scene in many cities in the U.S. and internationally where producers curate live beat shows, beat battles, and more. Connect with like-minded individuals in music and different fields like technology, art, fashion, etc. You all can create art and events together that can inspire the world.

Is there anything else you would like to share with us?

There are new collaborative projects from myself and different artists that will be released this year and beyond! Also I would like to give a huge shout out to The QSTV squad, my family, and my daughter Valentina Rose Bryant who will be 2 years old in March! Much love.

Get inspired with limitless opportunities in music

Vicky Casis’s journey through the music industry is a testament to the power of versatility and collaboration. Her ability to adapt her skills to different mediums, from documentaries to fashion shows, showcases the numerous opportunities available to music creators today.

Vicky will be speaking at SXSW 2025 on the panel, “The Art of the Beat: Bridging Creativity and Technology alongside Native Instruments, Akai, and Zaytoven.