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She cut an incredible vocal. The easiest part of making a record is the first 90 percent of the song. Our managers had been talking, and a couple of days later I caught an Uber to his place near the beach. Neither of us were very inspired, so we ended up going out and getting food. When I heard that, I knew that she had the range. The process now is recording everything rather than finding it. The first time he heard the new beat was over email. I actually made the drop of the song first, while we were on a flight. Then I remembered the Alt J stuff and made a whole new thing. We met at one of our shows in Pittsburgh. It gets tricky. This was over a year since the original demo. If they do let you, they can basically say what percentage of [the publishing rights] they want. It was the first time we hung out, and he rerecorded his vocals once he heard the new beat. Then I discovered this little trick where I automated the volume on the synth to create that fluttering effect in the main synth chord line. I was stressed; it was a week until I had to hand it in. But [Herring] was going back on the road, and I was stuck on the beat, having trouble taking the production anywhere for a few months. The drums were samples that I played in a studio in Brooklyn, an hour and a half of me playing freestyle drums. I typically try to do three drops in a song. Lil B left, but I was still in L. And the third drop has this sax part that I wrote late in the process. Often when I work with a vocalist, I like to focus on the melodies first. She was 17, but super mature. I started playing around and came up with that heavy drum section [outro], with the time-stretched weird sounds. I knew it needed to be towards the end [of the album]. He loved it. The next year, I called Lil B. We locked in for three days at the studio. I knew that was what it needed. It was a totally different idea but it had the same kind of vibe, the same tempo. The next day Emily sent me a sick a cappella, and I threw it on the track. My old process was finding things online, downloading music through file-sharing services.

Acts like the Chainsmokers, along with Diplo, Disclosure, Calvin Harris and even the rap figurehead DJ Khaled have proven reliable hitmakers as lead artists, frequently employing their industry friends to carry the tune while laboring in partial obscurity.

I wanted to make a big, echoey guitar sound like something from Explosions in the Sky or the xx. Eventually, Sam and I met up in New York.

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Then we got a chance to get into the studio together in New York, which was exciting, because neither of us is from there. I never finished the idea. I slowed it down and made it half time with heavier hip-hop drums. After a few weeks of listening to it, I was able to wrap my head around it. It was a really interesting combination of this kind of indie, lonely opening that drops you on your head with this trap breakdown, combining two opposing genres. But I recorded Joe singing and then I played a little melody on a keyboard, making a little loop that became the song. He had a huge studio set up with these enormous speakers. I played him a bunch of demos from my laptop. I recorded the original beat idea and the vocal sample with Joe Newman from Alt J. But it was funny, because he never really played the music loud. I chopped them up and ran it through effects. I put all of these songs into one and transposed them so they were all in the same key, and started crafting melodies out of the bits and pieces. I had a rough beat that I made with Mikky Ekko. He wrote to it, but I was expecting him to sing out and be a little more melodic. When we got back, the ice had been broken. It felt fresh. I was actually on my laptop at the carwash when it clicked. This was the last song completed on the record. We were in London and I was going around creating samples to use. I was writing with him in L. He started playing some piano chords and it became a whole new idea. Benefiting from the cross-pollination of regions and genres, these collaborations can introduce the featured artists to new audiences, with rappers and crooners crossing over among dance-pop aficionados. We picked a theme and started working on lyrics. The last 10 percent is when you sit there and you mix it and you add percussive fills and effects and make sure every piece enters and leaves perfectly. Later [my partner Alex Pall and I] bought this new Fender electric guitar, and I was messing around with it in this cool [software] plug-in called Guitar Rig. It caught me off guard. I did more drums and fleshed out the structure. Still, some of the original stems of him singing in his house are in the song. Once we had that laid down, we went our separate ways. We parted after that, and the song took a few twists and turns. A lot needs to happen before you can get to this point. But the producers are pulling the strings and rightly taking much of the credit. It takes forever. He probably sang on five or six different songs, just improvising. And because many of the producers perform internationally as D. It was always very responsible. I needed a little help, so I called my buddy MP Williams and we went into the studio and stripped it down to nothing but the vocals.