"That Girl Is Mine" - Bryson Tiller R&B/Trap hybrid type beat | prod. by TheHitKingz

[HypeMan]

Check out my newest beat "That Girl Is Mine", I went for a Bryson Tiller approach on this one, sampling straight from a 90s record and adding in new school elements to it.



Let me get some feedback (good or bad) on this beat!

It was made entirely by me (The Harlem Kid), and also mixed and mastered by me. It's the first beat I've made solo in over a year and a half. I usually just co-produce everything with my crew members on TheHitKingz.

Make sure to check out that beat breakdown at the 1:44 mark

 

[Axum Ezana]

Check out my newest beat "That Girl Is Mine", I went for a Bryson Tiller approach on this one, sampling straight from a 90s record and adding in new school elements to it.



Let me get some feedback (good or bad) on this beat!

It was made entirely by me (The Harlem Kid), and also mixed and mastered by me. It's the first beat I've made solo in over a year and a half. I usually just co-produce everything with my crew members on TheHitKingz.

Make sure to check out that beat breakdown at the 1:44 mark

nice, I felt it could have more layers or supporting synths here n there.

mix sounds good too tho. loud thick n wide. u mix with digital or analog? or both probably?

also have u got any placements yet? small or big artist?

 

[HypeMan]

nice, I felt it could have more layers or supporting synths here n there.

mix sounds good too tho. loud thick n wide. u mix with digital or analog? or both probably?

also have u got any placements yet? small or big artist?

I appreciate that, thanks for the feedback.

For the mixing and mastering, I used a digital approach, I always use Pro Tools, but I added in a SSL Comp plugin, which emulates the analog warmth sound. So technically it was both, even tho I didn't do it thru actual analog outboard gear. I'm an audio engineer at a studio here in NYC, so mixing and mastering is natural for me.

As for placements, as a solo producer (The Harlem Kid), I've done work with:

Bandman Kevo (big underground artist out in Chicago in the drill scene):

I produced "Bad Habits" for him - almost a million views on this one:



I've also done work with other small or independent artists, too many to name.

After I gave up doing solo-work, and started working with my new production crew under the name "TheHitKingz", we've gotten huge placements. We've done work with Young Dolph, Big Boi, DJ Luke Nasty, Uncle Murda, Reek Da Villian, and many more to name.

Everything seemed to take off after I linked up with other producers and formed a team to collab with.

Big Boi - In The A [this one was produced by Showdown Beatz from our crew, he's also a late night on-air personality on 102 JAMZ in North Carolina.]



Hype Pacino x Young Dolph - Dope Boi shyt



Nat Lotto x Uncle Murda x 50 Cent - Look At Me (prod. by Showdown Beatz of TheHitKingz)



Yazzie Yaz x Luke Nasty - I Shine



We've also got an upcoming track with Reek Da Villian (I have the demo, but I am not allowed to leak the song yet).

I also have a lot of engineering credits under my belt, working with independent artists, and guys in the underground scene.

I produced and engineered this song for Ty Hannah - "9 To 5"

 

[SpacelySprockets]

hit record

 

[Axum Ezana]

I appreciate that, thanks for the feedback.

For the mixing and mastering, I used a digital approach, I always use Pro Tools, but I added in a SSL Comp plugin, which emulates the analog warmth sound. So technically it was both, even tho I didn't do it thru actual analog outboard gear. I'm an audio engineer at a studio here in NYC, so mixing and mastering is natural for me.

As for placements, as a solo producer (The Harlem Kid), I've done work with:

Bandman Kevo (big underground artist out in Chicago in the drill scene):

I produced "Bad Habits" for him - almost a million views on this one:



I've also done work with other small or independent artists, too many to name.

After I gave up doing solo-work, and started working with my new production crew under the name "TheHitKingz", we've gotten huge placements. We've done work with Young Dolph, Big Boi, DJ Luke Nasty, Uncle Murda, Reek Da Villian, and many more to name.

Everything seemed to take off after I linked up with other producers and formed a team to collab with.

Big Boi - In The A [this one was produced by Showdown Beatz from our crew, he's also a late night on-air personality on 102 JAMZ in North Carolina.]



Hype Pacino x Young Dolph - Dope Boi shyt



Nat Lotto x Uncle Murda x 50 Cent - Look At Me (prod. by Showdown Beatz of TheHitKingz)



Yazzie Yaz x Luke Nasty - I Shine



We've also got an upcoming track with Reek Da Villian (I have the demo, but I am not allowed to leak the song yet).

I also have a lot of engineering credits under my belt, working with independent artists, and guys in the underground scene.

I produced and engineered this song for Ty Hannah - "9 To 5"

all that sounds like industry standard to be honest, not bad at all.

so damn how much yall charge? is it a set fee or does it vary.

also do u go in studio with the artist or yall just work by email?

 

[HypeMan]

all that sounds like industry standard to be honest, not bad at all.

so damn how much yall charge? is it a set fee or does it vary.

also do u go in studio with the artist or yall just work by email?

Well for beats, we sell leases too, so we do $20 for MP3, $35 for WAV, $70 for Track-Outs, and then Exclusive Rights is $350 up to $1,500 depending on how good the beat is. [The Exclusive Rights one is the one industry artists buy, because its a buy to own type of deal], whereas the leases (the cheaper ones) are for artists who are on a tight budget, but do not mind leasing the beat and allowing us to resell it to other artists.

We have set prices, but we also accept offers. I'm a business man, so I let people negotiate if they don't like our prices.

For engineering work, I can do both online and go to the studio to engineer the session. I charge $25 per track thru online (3 for $50 [1 free]). And in person I charge $100 to go to the person's studio and engineer their whole session (maximum 4 hours). [I have a thread on here in the tunnel where I do free mix and masters for the coli tho]

For industry artists, they have their own network of people that they trust to engineer their work, so mostly they just have their people on their label buy our beat, we send them the files, then they'll have their people mix and master it along with the recorded vocals.

As for going to the studio session with established artists, I never had the opportunity because of location, I'm here in NYC, the people we've dealt with usually record in Miami, Atlanta, or LA. So in that case, I usually have a producer from my crew meet up with them at the session if they want us there. I've got 12 producers on my team and we are spread out across the whole country.

Here's an example of that, Freeway with one of the producers on my team: Showdown Beatz



I do work with independent artists and up-and-coming artists at their studio sessions (when they buy our beats) tho. I've gone to a bunch of studios to work with them when they record to a beat of ours: Quad Studios, Engine Room Audio, Portal Studios, NH Records, a bunch of places to name, mostly in NYC.

It also helps to get shoutouts on the radio every once in while, been getting a lot of recognition in North Carolina thanks to the homie Showdown:

 

[Axum Ezana]

Well for beats, we sell leases too, so we do $20 for MP3, $35 for WAV, $70 for Track-Outs, and then Exclusive Rights is $350 up to $1,500 depending on how good the beat is. [The Exclusive Rights one is the one industry artists buy, because its a buy to own type of deal], whereas the leases (the cheaper ones) are for artists who are on a tight budget, but do not mind leasing the beat and allowing us to resell it to other artists.

We have set prices, but we also accept offers. I'm a business man, so I let people negotiate if they don't like our prices.

For engineering work, I can do both online and go to the studio to engineer the session. I charge $25 per track thru online (3 for $50 [1 free]). And in person I charge $100 to go to the person's studio and engineer their whole session (maximum 4 hours). [I have a thread on here in the tunnel where I do free mix and masters for the coli tho]

For industry artists, they have their own network of people that they trust to engineer their work, so mostly they just have their people on their label buy our beat, we send them the files, then they'll have their people mix and master it along with the recorded vocals.

As for going to the studio session with established artists, I never had the opportunity because of location, I'm here in NYC, the people we've dealt with usually record in Miami, Atlanta, or LA. So in that case, I usually have a producer from my crew meet up with them at the session if they want us there. I've got 12 producers on my team and we are spread out across the whole country.

Here's an example of that, Freeway with one of the producers on my team: Showdown Beatz



I do work with independent artists and up-and-coming artists at their studio sessions (when they buy our beats) tho. I've gone to a bunch of studios to work with them when they record to a beat of ours: Quad Studios, Engine Room Audio, Portal Studios, NH Records, a bunch of places to name, mostly in NYC.

It also helps to get shoutouts on the radio every once in while, been getting a lot of recognition in North Carolina thanks to the homie Showdown:

okay nice. so do u guys fear anyone stealing material and remaking a beat? ive heard u can copy right shyt but its really about who gets the song popular first.

also do u guys have a deal after u sale the beat exclusive? where u can get royalties on the back end depending on how well the record does.

 

[HypeMan]

okay nice. so do u guys fear anyone stealing material and remaking a beat? ive heard u can copy right shyt but its really about who gets the song popular first.

also do u guys have a deal after u sale the beat exclusive? where u can get royalties on the back end depending on how well the record does.

Its a cut throat business, so people always stealing ideas off of each other, but we have our lawyers in place in case anything happens. Luckily so far only had to deal with that once, but it got resolved quickly. You sometimes got established producers stealing off of up and coming producers who don't have a name for themselves yet. I've seen Lex Luger do this on twitter, where he'd put out an email for producers to send beats, he'll say some bs like he's looking to sign producers, but then he'd just take their ideas and make profit off of it by recreating it.

I also heard that the song "Ain't Worried About Nothin" by French Montana, the producer who got credited for producing the beat actually stole the whole beat off of a youtube beat making tutorial from another producer.

On Exclusive Rights, the norm is that you get royalties. For Royalties, its usually a 50-50 split between artist and producer. That's the industry norm, if the beat is sampled, the original artist you sampled from gets a cut too. We use a thing called an "Artist-Producer Split-Sheet" to exchange publishing information thru BMI or ASCAP.

After the finished song is released publicly, you start receiving your royalties for it after 9 months of the release date. It's usually paid each year on a quarterly basis.

 

[Axum Ezana]

Its a cut throat business, so people always stealing ideas off of each other, but we have our lawyers in place in case anything happens. Luckily so far only had to deal with that once, but it got resolved quickly. You sometimes got established producers stealing off of up and coming producers who don't have a name for themselves yet. I've seen Lex Luger do this on twitter, where he'd put out an email for producers to send beats, he'll say some bs like he's looking to sign producers, but then he'd just take their ideas and make profit off of it by recreating it.

I also heard that the song "Ain't Worried About Nothin" by French Montana, the producer who got credited for producing the beat actually stole the whole beat off of a youtube beat making tutorial from another producer.

On Exclusive Rights, the norm is that you get royalties. For Royalties, its usually a 50-50 split between artist and producer. That's the industry norm, if the beat is sampled, the original artist you sampled from gets a cut too. We use a thing called an "Artist-Producer Split-Sheet" to exchange publishing information thru BMI or ASCAP.

After the finished song is released publicly, you start receiving your royalties for it after 9 months of the release date. It's usually paid each year on a quarterly basis.

damn, thanks. ima check out some yo other music too.

don't find many people who take questions like u do breh.lol

I might send u sumtin to mix/master later on if u still doing that type of shyt for coli brehs.