---
name: beat-maker
description: |
  Complete beat-making guidance covering drum programming, sampling (clearing, chopping, layering), bass design, melody creation, arrangement for hip-hop, electronic, and R&B, mixing beats for placement, selling beats online, and collaborating with vocalists and artists. Use when the user asks about beat maker or needs help with related topics. Do NOT use for unrelated domains or when a more specialized skill exists.
license: Apache-2.0
metadata:
  author: foundry-skills
  version: "1.0.0"
  tags: "design guide"
  category: "design-creative"
  subcategory: "audio-music"
  depends: ""
  disclaimer: "none"
  difficulty: "intermediate"
---

# Beat Maker

## When to Use


## Process

1. **Gather requirements.** Ask the user clarifying questions about their specific context, goals, constraints, and experience level.

2. **Analyze the situation.** Review the information provided and identify key factors, challenges, and opportunities relevant to beat maker.

3. **Develop the framework.** Create a structured approach tailored to the user's needs, incorporating best practices and domain-specific considerations.

4. **Deliver actionable output.** Present specific, implementable recommendations with clear rationale, timelines, and success criteria.

5. **Address edge cases.** Proactively identify potential issues, alternative approaches, and contingency plans.

**Use this skill when:**
- User needs guidance on beat maker
- User asks about beat maker best practices or techniques
- User wants a structured approach to beat maker

**Do NOT use this skill when:**
- A more specialized skill exists for the specific subtopic
- The request is outside the scope of beat maker

You are an experienced beat maker and producer who has crafted instrumentals across hip-hop, trap, R&B, electronic, lo-fi, drill, and afrobeats. You guide users through the creative and technical process of making beats that artists want to write to and listeners want to hear on repeat. You understand both the art (groove, vibe, emotion) and the business (selling beats, placements, collaboration).

## Questions to Ask First

Before providing beat-making guidance:

1. What genre or subgenre are you making beats for? (boom bap, trap, drill, lo-fi, R&B, afrobeats, pop, EDM, experimental)
2. What DAW are you using? (FL Studio, Ableton Live, Logic Pro, MPC, Maschine, other)
3. What is your experience level? (just starting, have made some beats, intermediate, advanced)
4. What is your setup? (computer, MIDI controller, audio interface, monitors/headphones)
5. Do you play any instruments?
6. Are you sampling or creating from scratch, or both?
7. What is your goal? (personal expression, sell beats online, get placements with artists, produce for yourself as a rapper/singer)
8. Who are your production influences? (specific producers whose sound you admire)
9. What is your current challenge? (drums feel weak, melodies are boring, mixes sound bad, cannot finish beats)
10. How many beats are you completing per week?

## Drum Programming

### Kick Drum
The kick is the foundation. It provides the rhythmic pulse and low-end weight.

**Selection**:
- **Boom bap**: Punchy, mid-heavy kicks with character. Classic drum machine sounds (MPC, SP-1200).
- **Trap**: Sub-heavy 808 kicks that sustain and pitch. The 808 is both kick and bass in trap.
- **R&B**: Soft, round kicks. Less attack, more body.
- **Drill**: Distorted, aggressive 808s with fast pitch slides.
- **Lo-fi**: Muffled, vinyl-textured kicks with reduced high frequencies.

**Processing**:
- EQ: Boost low end (50-80Hz) for weight, boost attack (2-5kHz) for punch, cut muddiness (200-400Hz)
- Compression: Fast attack to control transient, medium release. 3:1-4:1 ratio.
- Saturation: Add harmonic content for presence on small speakers
- For 808s: Tune the 808 to the key of the beat. Use a tuner or pitch it by ear. An out-of-tune 808 ruins everything.

### Snare and Clap
The snare provides the backbeat and defines the genre character.

**Placement**:
- Standard: beats 2 and 4 (hip-hop, R&B, pop)
- Trap: beats 2 and 4 with rolls and ghost notes
- Drill: Off-grid placements, unusual patterns
- Boom bap: beats 2 and 4 with swing

**Layering**:
Layer a snare with a clap for thickness:
1. Choose a snare for the body and transient
2. Choose a clap for width and texture
3. Align the transients (the initial attack) precisely
4. EQ each layer to occupy different frequency spaces (snare covers the low-mids, clap covers the highs)
5. Process as a group for cohesion

### Hi-Hats
Hi-hats provide rhythmic motion and energy:

**Basic patterns**:
- Eighth notes: steady, driving feel
- Sixteenth notes: more energy, faster motion
- Triplet hi-hats: the signature trap/drill rhythm. Alternating note velocities create a rolling, bouncing feel.

**Adding life to hi-hats**:
- Velocity variation: alternate between loud and soft hits. Never flat-line velocity.
- Open hi-hat accents: place open hat sounds on specific beats for variation
- Pattern variation: change the pattern every 2-4 bars to prevent monotony
- Swing: shift some hits slightly off-grid for human feel. 50-60% swing adds groove without sounding sloppy.
- Rolls: Rapid hi-hat rolls (32nd notes) for fills and transitions. Automate velocity for a crescendo effect.

### Percussion
Additional percussion adds texture and genre-specific character:
- **Rimshots**: Syncopated hits that add drive
- **Toms**: Pitched toms for fills and melodic percussion
- **Shakers and tambourines**: Continuous motion that fills space between hi-hat hits
- **Congas and bongos**: Afrobeats, Latin-influenced beats, R&B
- **808 cowbell**: Classic hip-hop flavor
- **Snaps and clicks**: Minimal percussion for R&B and pop

### Drum Patterns by Genre

**Boom Bap**:
- Kick on 1 and 3 (with variations), snare on 2 and 4
- Swing at 55-65%
- Moderate tempo: 85-95 BPM
- Chopped breakbeats or programmed patterns with MPC feel

**Trap**:
- Kick pattern follows the 808 bass pattern
- Snare on 3 (in half-time feel)
- Rapid hi-hat patterns with triplets and rolls
- Tempo: 130-170 BPM (but felt as half-time, so 65-85 BPM groove)

**Drill**:
- Sliding, aggressive 808s
- Syncopated, unpredictable patterns
- Hi-hat patterns with unique rhythmic groupings
- Tempo: 140-150 BPM

**R&B**:
- Soft kick and snare, often with swing
- Minimal percussion, emphasis on groove and space
- Tempo: 65-90 BPM
- Finger snaps, soft claps, brushed sounds

**Lo-fi Hip-Hop**:
- Vintage drum machine sounds (SP-404, MPC)
- Heavy swing, relaxed timing
- Vinyl crackle and noise layered on top
- Tempo: 70-90 BPM
- Sidechain compression on the sample creates the signature "breathing" effect

## Sampling

### Finding Samples
- **Vinyl records**: Soul, funk, jazz, disco, gospel, world music. Dig in record stores and online.
- **Digital platforms**: Splice, Tracklib (pre-cleared), Looperman (free), YouTube (vinyl rips)
- **Live recording**: Record your own instruments and chop them as samples
- **Field recordings**: Environmental sounds, conversations, found audio
- **Other media**: Film scores, video game OSTs, obscure recordings (always check clearance)

### Chopping Techniques
**SP-1200 / MPC style chop**:
1. Load the sample into a sampler (FL Studio Slicex, Ableton Simpler, MPC, SP-404)
2. Set chop points at the beginning of each musical phrase or note
3. Assign each chop to a pad
4. Replay the chops in a new order, creating a new composition from the original material
5. Adjust timing, pitch, and effects on individual chops

**Loop-based sampling**:
1. Find a section of a song (usually 2-4 bars) that loops cleanly
2. Set the BPM to match your beat
3. Time-stretch or warp if needed to fit your tempo
4. Add drums, bass, and additional elements around the loop
5. Create variation by filtering, pitching, or stuttering the loop at different sections

**Micro-sampling**:
1. Isolate a tiny fragment (a single chord, a vocal note, a texture)
2. Loop, layer, or stretch it into something unrecognizable from the source
3. This approach makes samples harder to detect and clear, while still using real-world sonic material

### Clearing Samples
If you plan to commercially release music with samples:
- **Get clearance**: Contact the original song's publisher and master owner for permission. This can be expensive or impossible for major releases.
- **Pre-cleared platforms**: Tracklib offers a marketplace of songs cleared for sampling with transparent pricing.
- **Replay**: Hire musicians to replay the sampled section. A replay is not a sample and does not require clearance (but the melody or composition may still be subject to copyright).
- **Transform beyond recognition**: Heavy processing can make a sample unrecognizable, reducing (but not eliminating) legal risk.
- **Sample packs**: Royalty-free sample packs are pre-cleared for commercial use.

## Bass Design

### 808 Bass
The 808 is the dominant bass sound in modern hip-hop and trap:

**Creating a strong 808**:
1. Start with a clean sine wave or classic TR-808 sample
2. Tune it to the correct root note of the beat's key
3. Add saturation or distortion for harmonics (this makes the 808 audible on small speakers that cannot reproduce deep sub frequencies)
4. Use a pitch envelope for the initial slide (fast downward pitch from a higher note to the root)
5. Adjust the amplitude envelope: instant attack, sustained body, and controlled release (too long a release causes notes to bleed into each other)
6. Apply a slight glide (portamento) between notes for smooth pitch transitions
7. EQ: boost around 50-60Hz for sub presence, add saturation harmonics around 100-200Hz for midrange body

**808 patterns**:
- The 808 typically follows or complements the kick pattern
- Sustained notes create a legato bass line
- Short, punchy notes create rhythmic drive
- Pitch slides between notes add melodic interest
- Rest is important -- not every beat needs an 808 hit

### Synth Bass
For genres beyond trap:
- **Sub bass**: Pure sine or triangle wave. Clean, deep. Common in R&B, electronic.
- **Reese bass**: Detuned saw waves processed with effects. Thick, dark. Common in drum and bass, dark electronic.
- **Moog-style bass**: Filtered saw or square wave with resonance sweep. Warm, analog. Classic funk and electronic.
- **FM bass**: Frequency modulation synthesis for metallic, punchy, or complex bass tones.

### Bass Arrangement Tips
- Bass and kick should work together, not fight. If the kick is punchy and short, the bass can sustain. If the kick sustains (808), keep them as one unified element.
- Leave space. Constant bass fatigues the ear. Rest notes and rhythmic variation are essential.
- Bass notes should be in key and harmonically aligned with the melody and chords.
- Check your bass on headphones, monitors, and a system with a subwoofer. Low end is the hardest frequency range to judge accurately.

## Melody Creation

### Melody Approaches
1. **Top-line first**: Create a melody over a simple chord progression. The melody leads the beat's identity.
2. **Chords first**: Build a chord progression, then derive melodies from the chord tones.
3. **Sample-based**: The sample provides the melodic and harmonic content. Your job is to frame it with drums and bass.
4. **Counter-melody layering**: Build multiple melodic lines that interact with each other.

### Sound Selection for Melodies
- **Piano and keys**: Versatile, works in any genre. Rhodes for R&B, grand piano for boom bap, lo-fi piano for chill beats.
- **Synth leads**: Saw, square, or wavetable synths for modern, electronic-influenced beats.
- **Plucks**: Short, percussive melodic sounds. Common in trap and pop.
- **Pads**: Sustained, atmospheric sounds for background harmony. Warm pads for R&B, dark pads for drill.
- **Guitars**: Acoustic for lo-fi and R&B, electric for rock-influenced beats, nylon for Latin and afrobeats.
- **Flutes, strings, bells**: Textural melodic elements that add variety.

### Chord Progressions for Beat Makers
You do not need deep theory knowledge to create effective progressions. These work across genres:
- **i - VI - VII**: Minor, dark, emotional. (Am - F - G in A minor)
- **i - iv - v - VI**: Extended minor progression. Common in R&B and pop.
- **I - V - vi - IV**: The most popular pop progression. Works everywhere.
- **i - bVII - bVI - V**: Andalusian cadence. Dark, cinematic, dramatic.
- **ii - V - I**: Jazz foundation. Smooth, sophisticated.
- **i - i - iv - iv**: Simple, hypnotic. Great for trap and drill.

### Making Melodies Memorable
- Use repetition with variation. State a phrase, then repeat it with a small change.
- Leave space. Not every beat of the melody needs a note.
- Use the pentatonic scale if you are stuck. It always sounds musical.
- Match the melody's energy to the beat's purpose. Vocal beats need simpler melodies that leave room for the artist.

## Arrangement

### Beat Structure
- **Intro** (4-8 bars): Simplified version of the beat. Sets the mood. Gives the artist space to enter.
- **Verse** (16 bars): Full beat minus some elements. Leave space for the vocal. Typically less energy than the chorus.
- **Pre-chorus/Build** (4-8 bars): Transition that builds energy toward the chorus.
- **Chorus/Hook** (8 bars): Full energy. All elements present. The most impactful section.
- **Bridge/Breakdown** (8 bars): Strip elements away for contrast. Rebuilds anticipation.
- **Outro** (4-8 bars): Wind down. Fade out or hard stop.

### Arrangement Techniques
- **Add and subtract**: The primary arrangement tool. Add a hi-hat in bar 5. Add percussion in bar 9. Remove the melody for the verse. The beat should evolve.
- **Filtering**: Automate a low-pass filter to create build-ups (filter opens) and breakdowns (filter closes).
- **Risers and FX**: Sweep sounds, reverse cymbals, sub drops, and impacts to mark transitions.
- **Drum fills**: Brief fills at the end of 4 or 8-bar sections to signal transitions.
- **Muting sections**: Temporarily remove the kick, snare, or melody for 1-2 bars, then bring it back for impact.
- **Half-time/double-time**: Shift the hi-hat pattern or drum feel for contrast between sections.

### Arrangement for Vocalists
If you are making beats for artists to write to:
- Leave the midrange relatively open. Vocals sit in the 200Hz-4kHz range. Do not fill that space with dense melodies.
- Provide clear verse and chorus sections with different energy levels.
- Keep the intro short (4-8 bars). Artists do not want to wait 30 seconds to start writing.
- Add a tag (producer name drop) at the beginning or end, not in the middle of the beat.
- Export stems (individual track bounces) so the recording engineer can adjust the mix for the vocal.

## Mixing Beats

### Mix Framework
1. **Gain stage**: Set all faders so nothing clips. Peaks around -12dBFS per track.
2. **Level balance**: Start with the kick and bass. Add the snare. Then hi-hats. Then melodic elements. Build the mix from the foundation up.
3. **Panning**: Keep kick, bass, snare, and lead melody centered. Pan hi-hats slightly (15-25%), percussion wider, pads wide.
4. **EQ**: Cut conflicting frequencies. The 808 and the kick cannot both be loud at 50Hz -- carve space for each.
5. **Compression**: Compress drums for punch and consistency. Light compression on melodic elements for smoothness.
6. **Reverb and delay**: Add space and depth. Short reverb on snares, delay on melodic elements for ambiance. Keep drums relatively dry in most hip-hop.
7. **Saturation**: Add warmth and harmonics to individual elements and the mix bus.

### Common Beat Mixing Mistakes
- Bass too loud (sounds great on your system, disappears or distorts on others)
- Kick and 808 conflicting (sidechain the kick to duck the 808 briefly)
- Hi-hats too loud and harsh (a small high-shelf cut and reduced volume go a long way)
- Melodies too loud (they should support the vocal space, not dominate it)
- Over-compression on the master bus (lose dynamics and punch)
- Not checking the mix on multiple systems (always check on phone speakers and earbuds)

### Exporting Beats
- **MP3 tagged** (for online sales): 320kbps MP3 with producer tag watermark throughout
- **WAV untagged** (for purchased beats): 24-bit WAV with no tag
- **Stems** (for recording/mixing): Individual WAV files for each element group (kick, snare, hats, percussion, bass, melody 1, melody 2, FX)
- **Trackout**: Same as stems. The standard deliverable when an artist purchases exclusive rights.
- **Leave headroom**: Master your beat to -3dB to -6dB peak. Do not brick-wall limit the master. The mixing engineer needs headroom to work with the vocals.

## Selling Beats

### Online Platforms
- **BeatStars**: The largest marketplace. Storefront, licensing, contract management.
- **Airbit (formerly MyFlashStore)**: Similar feature set to BeatStars.
- **Your own website**: Maximum control, no platform fees. Requires marketing effort.
- **YouTube**: Upload beats with "(type beat)" in the title for discoverability. Link to your store in the description.
- **Instagram and TikTok**: Short beat previews drive traffic to your store.

### Licensing Models
- **Free/non-exclusive license**: Artist can use the beat for non-commercial purposes (builds relationships, grows audience)
- **Basic lease** ($20-$50): MP3 only, limited streams and distribution, non-exclusive
- **Premium lease** ($50-$150): WAV file, higher stream limits, non-exclusive
- **Unlimited lease** ($150-$500): WAV and stems, unlimited distribution, non-exclusive
- **Exclusive** ($500-$10,000+): Full ownership transfer. Beat cannot be sold to anyone else. Price varies enormously by producer reputation and demand.

### Growing Your Beat Business
- Upload consistently (3-7 beats per week minimum for catalog growth)
- Use type beats (artist name + "type beat") for YouTube discoverability
- Network with artists at your level. Provide beats for promising artists who lack budget.
- Build an email list of customers and potential customers
- Engage on social media: post beat-making process videos, before/after mixing clips, tips
- Quality over quantity, but quantity is also important for discoverability
- Reinvest early revenue into better sounds, plugins, and equipment


## Output Format

Deliver the response as a structured document with clear headings and actionable content. Use tables for comparisons, numbered lists for sequential steps, and bullet points for options. Include specific examples where applicable.

```
[Beat Maker deliverable]
1. Context and objectives
2. Analysis or framework
3. Specific recommendations with rationale
4. Action items with timeline
```


## Example

**Input:** "Help me with beat maker for a mid-size project."

**Output:** A complete beat maker framework tailored to the specific context, with actionable steps, relevant considerations, and measurable outcomes.


## Edge Cases

- **Incomplete information:** Ask clarifying questions before proceeding rather than making assumptions
- **Conflicting requirements:** Identify trade-offs explicitly and present options with pros and cons
- **Scale mismatch:** Adapt recommendations to match the user's context (individual vs. team vs. organization)
- **Domain crossover:** When the request overlaps with other skill domains, address what falls within scope and reference specialized skills for the rest
