An article on Genius asks:

Is making beats that explicitly mimic another artist’s style a viable career path for a producer or just another scheme to get noticed?

You are viewing: What Does Type Beat Mean

Producer Syk Sense, who’s worked on cuts like Khalid’s “Location” and Kendrick Lamar’s “The Heart Part IV.”, says:

“Normally you couldn’t get a good beat without having to pay a lot of money or know somebody. Now you can lease or buy an instrumental of your choice for an affordable amount.”

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An article on Fandom says:

“Type beats is the easier way for a rapper or musician to connect to a producer. All the rapper has to say is “do you have any Drake type beats?” and all the producer would have to reply is simply yes or no. I honestly think it’s a good time saving approach when looking for beats or instrumentals. It cuts out all the unnecessary inquiries some artists or rappers seem to request or search for when they’re looking for a specific type of beat.”

In an article for Medium, columnist Shkyd says:

“Selling $30 for an .mp3 of the beat, $50 for a .wav and $300 to $1,500 for a lease, for a production time not exceeding over 2 hours… sounds like a pretty solid deal. Selling beats on the Internet can be money straight to your pocket, as opposed to a slow and outdated industry of music all about splitting, waiting months to get a paycheck, or sending beats to artists without any confidence they’ll ever use it. With a good Type Beat business, no more beats on hold : the catalog is in display, beatmakers no longer depend on rappers or labels, nor appear to be in need of a publishing deal — often synonymous of death sentence or deep pain in the ass.

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Menace says:

“It’s become oversaturated now—so many beats online, so many producers out of the blue thinking they can make it. It’s hard for people to make it, even compared to when I was doing it. There’s too much to pick from, and it’s harder to stand out.”

King says:

“Since the beginning of my career, I’ve lived by that law of originality as if it was a hip hop commandment. I always pushed myself as a producer to pick the sounds other producers were afraid to use, use the tempos other producers couldn’t maneuver through, and instinctually arrange my instruments as uniquely as possible. Originality has always been at the forefront of my musical campaign, sometimes to a fault.

Fast forward to today’s current landscape and we find a younger generation that is conflicted with hip hop’s law of originality. The struggle seems to fall between their insatiable thirst for remaining relevant to the current wave of their peers while also being disgusted by the idea of those same peers clout-chasing the waves they create. It must be confusing terrain to maneuver, especially when it’s in an environment where 20-something-year-old rappers and producers, who are still growing and finding their own way, get to define the rules of the day. Some legends allow this evolution to inspire them, while others allow it to make them bitter. I simply chose to play ball. I chose to aggressively go against the grain because I knew that I wanted something different out of my production career.”

Source: https://t-tees.com
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