Tag: Ariana Grande

Matt Firenzé Teaches You How To Become a Type Beat Producer

Artists Confessions December 10, 2019

(Photo by Desmond Rodgers)

(Written by Miguel Anderson)

In a busy roadhouse restaurant in Walnut Creek, California, I sat down with Matt Firenzé over a plate of Chicken & Waffles. He’s the mastermind producer behind Matt Firenzé beats on YouTube. His producer specialty lies in creating type beats. We discussed the effect of type beats in his own career, his process of producing type beats, and professional advice. Firenzé’s world lies nestled within the beat making community, particularly the type beat community, on YouTube. It’s a small, underground community compared to the likes of other YouTubers. Firenzé states that “the biggest type beat producers are still dwarfed in comparison to other YouTubers. So the biggest type Beats producer might have a million subscribers. Whereas you look at Ninja who plays video games, he has 30 million or more.”

That’s probably why you’ve never heard of type beats before. And if you haven’t, type beats are the over-labeled instrumental tracks found on YouTube. They’re tagged by feeling, genre, and most notably, an artist’s style that the type beat’s sound is most similar to. For example, the rap trio Migos’ sound is defined by a long trap bass. In that case, Matt Firenzé would create a type beat that has a long trap bass and label it “Migos Type Beat,” and upload it to YouTube. The same goes for other artists such as Drake who is identifiable by their R&B/Pop-rap sound, and DJ Mustard who utilizes a slow-tempo and repetitive handclaps. To be clear, type beats are not copies of the artists beat, that would be in violation of copyright laws. Type beats are original compositions, labeled to the artist who would sound best on that particular track. Between an artist’s composition and a type beat instrumental, there are similarities, but never outright copying.

Type beats are feeding a community of amatuer & newcomer artists. Since making music has become more accessible, as all you need is your phone microphone to rap or sing, many new artists look to type beats to use for their own songs. It’s easy to see why as type beats have appeal. Their cheap, accessible, have pre-made song structure, and most importantly, they have the big-name-producer sound. If an artist needs a Pharrel beat all they have to do is type “Pharrell type beat” into YouTube’s search bar, and immediately buy it. This has removed a process that originally was expensive and exclusively professional. No longer do artists need money for a top producer or the skills to create the track for their song. Instead, all they need is $30 bucks for a .WAV file.

The nature of appeal for type beats have led to a surge in popularity, making type beats expand past their homes on YouTube and on the charts & in the tracklisting of the most successful and professional artists. In an interview, San Francisco Bay Area rapper P-Lo confessed that his song, “Type Beat,” off his then-brand-new EP “Something Light” was inspired by the type beats that replicated his sound on YouTube. He searched up “P-Lo type beat” and found a bunch. Fetty Wap’s 2014 hit, “Trap Queen,” was created off of the back of a type beat. In 2016, Desiigner, racked a #1 from Billboard’s Hot 100 for his song “Panda,” whose instrumental track was purchased on YouTube. As more artists use them, type beats prove that they are a force within the music industry.

For Matt Firenzé, creating type beats began unexpectedly. Before type beats, Matt Firenzé was simply a beat maker. He had been making beats for years in college, and he continues to make beats on the weekends and after work; whenever he can. After seeing his friend make beats, he decided to start a YouTube channel for himself. “I got into it from a buddy of mine who used to live in Livermore. He made beats and he was doing really well that he moved to L.A..” He tells me. YouTube is a platform for his beats. While seeing how profitable beat making was, he started to market his beats as type beats as a way to gain coverage. “So I had already been making beats before. Then, I just realized that the beats I already had could be uploaded and marketed as type beats.” Firenzé’s case is commonly the case for many other type beat producers. Producers need a way to market their material, and type beats give them the opportunity to do so. When a producer uses a big artist name on their material, YouTube’s algorithm picks it up and sends it into a “rotation,” as Firenzé calls it. Once it’s in the algorithm, it shows up as a recommendation, encouraging the user to click it. It’s a smart move. Imagine watching a music video from Ariana Grande, then being forwarded to an Ariana Grande type beat. 

For Matt, he begins making a beat by listening to music. The inspiration from music is how he got his start, and it continues to aid in his craft today. “I listen to music all the time. So whenever I’m going in between classes, I listen to music. If I’m grocery shopping, I have music. If I’m doing homework, I’m listening to music. That’s why when I go into making beats, it’s automatic.” That automatic process is what Firenzé calls the joy of making music. “The joy of making music is when I’m at work, and I hear a melody in my head. So I have to go to the bathroom to voice record that melody before I forget it. And when I get home, I make that beat. And usually when a beat comes to me in that way, then I usually have the entire beat in my head created before I even put it down.” And thats when the beat moves into it’s drafting phase. All Firenzé does is tweak the beat. “I’ll play with some synths and find a sound by listening to music.” Then he envions which artist works best for the beat. He asks “Who do I see on this beat? Who’s this beat in the style of?” and then he titles the video by tagging the artist’s name. He finishes it by uploading the video, putting together a cool picture, and then watch the video quickly pick up views. Currently, Firenzé is getting inspiration from Skepta right now since he dropped his album. His last two beats were Skepta type beats. “Just listen to way more music because you’ll eventually know what your ear wants to hear and you’re subconsciously training your ears just by listening to music.”

Listening to music can only get you so far. You can develop your sound as much as you want, but how do people listen to your beats? You simply can’t wait for your beat to gain traction on itself.  To make it as a successful type beat producer you have to pay close attention to the trends. Catering to trends in music and outside of music can bring in attention. Matt does exactly that, he studies and notices patterns, then incorporates those trends into his beats.This is important because if you’re posting a video surrounding a trend, you’ll generate more buzz that will push YouTube to send your video into rotation. This was the thinking behind Firenzé’s beat titled, “Bath Water”: “These females on Instagram bottled their bath water, as a joke, and they sold it online and people were buying it. So, bath water was trending. So, I dropped a Drake and J. Cole type beat called “bath water” and it’s a picture of a tub with a rubber ducky. The beat starts with water drops building up into a [base] drop. That beat did really well.”

What Matt Firenzé is practicing, is a skill called strategic planning and marketing. Every type beat producer should learn this skill because your beats will be listened to. Firenzé advises newcomers to “Look at the news. Title a beat, and build it around that crazy thing.” You have to capture beats when trends are happening around it to draw crowds. Firenzé calls this, the greatest skill. “The greatest skill isn’t even being the greatest at type beats. I’ll listen to them [type beat producers] and think their beats are not that good. But they’re getting way more plays than what I am.” Leads to his a wise piece of advice, “knowing trends, knowing how to do marketing, knowing hook people in is important because I can have the greatest beat in the world, but if I’m not hooking people in to hear it was like no one’s gonna listen.” It works both ways too: “If you’re not the best, but have really good marketing, you’ll be better than someone who’s actually better than you.”

Marketing your video using the title and release date is only one way to successfully break out. With making beats, you’re playing in a competitive field. Everybody with a computer can make a beat at this point. However, when working with beats, the best way to stand out is by utilizing promotion. Firenzé notes that promotion by tagging and reposting your work is a secure way to stay ahead and support yourself. Firenzé says everyone should “casts a fishing pole.” He sets up his dynamic like this: “The pond is like the music industry and your fishing pole is whatever you’re currently doing. You just can’t hope for your video to go viral. You can’t just cast one pole and hope that that’s one. You can’t rely on a video going viral. You can’t rely on the beat maker that you tweeted out to to repost you. You can’t rely on any of that. But what you can rely on is doing everything you can to get the highest chance of success.” He invites those to cast their fishing pole by promoting your songs for at least 2 weeks. Reposting and tagging your work on other channels help bring people to your channel. It also shows others that you’re serious about your work. “That’s kind of how I treat my beats. While not all my beats are going to do well, but some of them will do well.” Promotion operates as a tunnel, bringing people to your beat. 

When you’re dealing with people who make a beat from your song, promotion is probably the most important thing you can do surrounding your beat. Many will skip promotion simply because it isn’t their song; however, Firenzé emphasizes that you want to tag the person using your beat. “Yeah, so if this guy wants to buy beat from me, I want to tag them on my social media and promote the fuck out of him, because it’s only it’s only positive. If this dude looks up my channel, he’ll see that I’m always promoting everyone that’s buying my beat. So it’s free promotion for them. They want to be tagged to me so they follow me and promote me.” It creates a string of events that causes more people to come to your channel. So, the best thing you can do is promote!

With promotion and sound development under wraps, type beats can be profitable. In Matt Firenzé’s second year of beat making, he was making thousands of dollars just by selling  beats. When you’re at that scale, you’re making passive income. You want to hone your skills to secure the bag. As you build your catalog even more, your older beats are getting purchased and played, sending your other beats into the rotation. It’s a cycle that keeps on giving. 

While type beats seem like a tricky field to break into, it’s not. New software like Ableton, FL Studios, and even Reason, has made producing more accessible. And YouTube gives you the platform for your beats. At the end of the day, making money off of type beats depends on how ambitiously you market & promote your beats. Any aspiring beat maker can learn from Matt Firenzé. He teaches those that developing your sound is just as important as promotion. Don’t ignore one or the other. That way, you can turn those type beat dreams a reality. Making a grand doesn’t seem so hard, huh?

Check out Matt Firenzé here:

YouTube – Matt Firenzé Beats
SoundCloud – Matt Firenzé Beats
Instagram – @Matt.Firenze
Twitter – @mattfirenze
Matt Firenzé Beat Store

The 50 Best Albums Of 2018

Favorites, Music Catalogs January 20, 2019

The year 2018 has granted us a lot of music. We’ve seen numerous albums, from newcomer debuts to veteran releases. However, with all that music released, there were some major disappointments in 2018 (especially from veterans). For example, Kanye West released “ye” to bad response. The response if anything, allowed 2018 to be the year of new artists. Take a look at Cardi B and SOPHIE, both relatively new artists released their debut album in 2018 to great success. Their albums made waves in the world of music. This was all taken up a notch with 2018 officially being the year that streaming numbers did make a difference. Streaming pulled Nicki Minaj’s Queen from the #1 spot on the Billboard 200 and let Travis Scott soar to new heights taking that slot. This year, we count down between the releases that made this year so special and pivotal in the age of streaming. Here are the 50 best albums of 2018:

50. Triathalon – Online

Release date: February 16th, 2018

49. Teyana Taylor – K.T.S.E

Label: G.O.O.D. Music
Release date: June 22nd, 2018

48. Lotic – Power

Label: Tri Angle
Release date: July 13th, 2018

47. NAO – Saturn

Label: Little Tokyo
Release date: October 26th, 2018

46. Ryan Beatty – Boy In Jeans

Release date: July 20th, 2018

45. Jonghyun – Poet | Artist

Label: SM Entertainment
Release date: January 23rd, 2018

44. Rae Sremmurd – SR3MM

Label: Ear Drummer / Interscope
Release date: May 4th, 2018

43. Tommy Genesis – Tommy Genesis

Label: Downtown
Release date: November 9th, 2018

42. The Internet – Hive Mind

Label: Columbia
Release date: July 20th, 2018

41. Blood Orange – Negro Swan

Label: Domino
Release date: August 24th, 2018

40. The Marías – Superclean, Vol II

Label: Partisan
Release date: September 28th, 2018

39. Playboi Carti – Die Lit!

Label: AWGE / Interscope
Release date: May 11th, 2018

38. Beach House – 7

Label: Sub Pop
Release date: May 11th, 2018

37. Sheck Wes – MUDBOY

Label: Cactus Jack / G.O.O.D. Music / Interscope
Release date: October 5th, 2018

36. Young Fathers – Cocoa Sugar

Label: Ninja Tune
Release date: March 9th, 2018

35. J.I.D. – DiCaprio 2

Label: Dreamville / Interscope
Release date: November 26th, 2018

34. Mariah Carey – Caution

Label: Epic / Butterfly MC
Release date: November 16th, 2018

33. Larry June – Very Peaceful

Label: The Freeminded
Release date: November 29th, 2018

32. U.S. Girls – In A Poem Unlimited

Label: 4AD
Release date: February 16th, 2018

31. Cardi B – Invasion of Privacy

Label: Atlantic
Release date: April 5th, 2018

30. IDLES – Joy As An Act Of Resistance

Label: Partisan
Release date: August 31st, 2018

29. Smino – NOIR

Label: Downtown JV
Release date: November 8th, 2018

28. Kamasi Washington – Heaven & Earth

Label: Young Turks
Release date: June 22nd, 2018

27. CupcakKe – Ephorize

Release date: January 5th, 2018

26. Snail Mail – Lush

Label: Matador
Release date: June 8th, 2018

25. Travis Scott – Astroworld

Label: Epic / Cactus Jack
Release date: August 3rd, 2018

24. The 1975 – A Brief Inquiry Into Online Relationships

Label: Polydor
Release date: November 30th, 2018

23. Kids See Ghosts – Kids See Ghosts

Label: G.O.O.D. Music / Def Jam
Release date: June 8th, 2018

22. Against All Logic – 2012 – 2017

Label: Other People
Release date: February 17th, 2018

21. Daughters – You Won’t Get What You Want

Label: IPECAC
Release date: October 26th, 2018

20. Noname – Room 25

Label: No/Name
Release date: September 14th, 2018

19. Tirzah – Devotion

Label: Domino
Release date: August 10th, 2018

18. Low – Double Negative

Label: Sub Pop
Release date: September 14th, 2018

17. Saba – Care For Me

Label: Saba Pivot
Release date: April 5th, 2018

16. Earl Sweatshirt – Some Rap Songs

Label: Tan Cressida / Columbia
Release date: November 30th, 2018

15. Kali Uchis – Isolation

Label: Virgin EMI
Release date: April 6th, 2018

Last March Kali Uchis announced her debut album was coming out in April after performing one of singles on the album, After The Storm, on The Tonight Show Starring Jimmy Fallon. After that the anticipation for the album grew more and more. Then after what felt like ages, Uchis released Isolation. It’s an album full of emotion and no skips whatsoever. Uchis takes on the journey of heartbreak, growth, self-love, and so much more. This album was beautifully constructed and honestly excites me for the next album. – Louis Cano

14. Rico Nasty – Nasty

Label: Sugar Trap / Atlantic
Release date: June 15th, 2018

Rico Nasty has been the most authentic female rap personality to jump on the scene since Cardi B in Love & Hip-Hop. Nothing shows this more than her debut mixtape under Atlantic amply titled, Nasty. Full of rage, personality, and energy, Rico keeps everyone on their feet. Nasty highlights the best of Rico, her gritty and powerful flow, relentless style, and loud character. What makes Nasty a standout from her peers is how well done it is. It doesn’t get anymore nastier than that. – Miguel Anderson

13. Julia Holter – Aviary

Label: Domino
Release date: October 26th, 2018

Jolia Holter’s Aviary is a fantastic Art Pop record that is filled with emotive lyrics and beautiful instrumentation. Throughout the 90 minutes of music on this album, Holter presents the listener with brilliant fusions of Chamber Pop and Jazz, along with a very personal lyrics dealing with love and heartbreak. – Thejas Varma

12.  The Voidz – Virtue

Label: Cult / RCA
Release date: March 30th, 2018

If I were to reimagine The Strokes as a more bold and electronic band the result would be The Voidz. On Virtue, Julian Casablancas doesn’t settle for what The Strokes has become in recent years. He lets The Voidz becomes a more daring and encompassing project. Virtue dabbles in a broad range of alt-rock genres and experiments with effects not yet seen on a Strokes album. At this daring capacity, Virtue lives its life on the edge, and that’s what counts here. – Miguel Anderson

11. Kacey Musgraves – Golden Hour

Label: MCA Nashville
Release date: March 30th, 2018

Golden Hour is an album that will make you appreciate life to the fullest extent. It’s relatable and outright beautiful. Kacey’s words make this album shine bright, especially when it’s paired with the light, delicate, and meticulously crafted instrumentation. The instrumentation, along with the raw story and emotive lyrics drive this album. Golden Hour is purely empathetic, to where she sings “Grandma cried when I pierced my nose” on “Slow Burn” to the last message of hope on the heart-wrenching piano-assisted ballad, “Rainbow.”


Some may detest this album because of the country label this album has, however Golden Hour veers past the stereotypical truck driver and misogynistic commercialized country we see at the Country Music Awards. We see Kacey insert a piece of herself into this album. Golden Hour is a pure example of how country is suppose to be done. – Miguel Anderson

10. Ariana Grande – Sweetener

Label: Republic
Release date: August 17th, 2018

In 2017, Ariana Grande was plagued with the misfortune of a bombing at her show, known as the Manchester attack. Since then, she has taken the time to develop emotionally and Sweetener was born. Here, Ariana is in a state where she is emotionally mature, reflective, and personal. By working with Pharrell, she was able to turn devastation into newfound reassurance, and it’s paid off tremendously. Ariana Grande sounds realized and refined on her most serious record to date. – Miguel Anderson

9. Denzel Curry – TA13OO

Label: Loma Vista
Release date: July 27th, 2018

Denzel Curry became the face of the bottle flip challenge with his song “Ultimate” becoming the soundtrack to it. The song was captured in almost every single video, and as a result, his skill was overlooked. Even I’m guilty of doing this; I pinned him as a “meme” rapper. When TA13OO released, it was definitely a shocker. This album sticks out as a highlight of the year because of how solid it is. Denzel Curry dabbles with the boldest and smokiest production yet. His wordplay is top-notch, and his flow doesn’t flee. At the heart of this project, is the brave experimentation. He doesn’t flee, but goes all in. Even when it’s something seen as soft, like R&B on “CASH MANIAC” or . He is confident

8. Let’s Eat Grandma – I’m All Ears

Label: Transgressive
Release date: June 29th, 2018

This year, critics praised I’m All Ears for being a step forward for synth-pop music, and while it is, they are embracing it for the wrong reason. The album embraces the fundamentals of life. Through the eyes of two teenagers, one can expect what they say to be so pure and resonant. Whether what they say be about fun or heartbreak, they keep the same message throughout: to live in the present moment. A message especially needed right now to keep us from the hectic hustle and bustle of life. – Miguel Anderson

7. Pusha T – Daytona

Label: G.O.O.D. Music / Def Jam
Release date: May 25th, 2018

Fresh out his hiatus, Pusha T proves himself still a force to be reckoned with as a solo artist and no longer just the other half of Clipse with twenty years in the game. A controversial picture of the beloved Whitney Houston’s filthy, drug infested bathroom is plastered on the cover which serves as a glance at the album’s themes: addiction, fame, luxury and loss. With Kanye West’s sonically complex production layered full with synthesized sounds paired with Pusha T’s smooth flows and haunting lyrics we’re sent down a spiral of pure organized chaos in the best way possible attesting G.O.O.D. music to be a rap powerhouse once again. – David San Miguel

6. Rosalía – El mal querer

Label: Sony Music
Release date: November 2nd, 2018

If you aren’t yet familiar with the mega talented Rosalía then you need to wake up and get into her. This year she put out her second album, El Mal Querer which was highly praised by many. It all started with the first single, Malamente. Not only is the single stupid good but so is the visual for it. If there’s anyone who is doing real different stuff right now in music, it’s Rosalía. She puts her own twist on Flamenco and executes it so well. She tells us a story throughout the album about a person who goes through this toxic relationship. Each song has a set theme whether it’s jealousy, power, control, and much more. Definitely an album worth checking out. – Louis Cano

5. Yves Tumor – Safe in the Hands of Love

Label: Warp
Release date: September 5th, 2018

Straight static and distorted echos is what Yves Tumor represents in a way. He represents what is not fully seen, heard, or ever transpired, but still compellingly chaotic. However, somehow melody and musicality still appears in the untraceable mist that Yves prefers to surround himself in. He’d rather let his audience ponder and guess in the mystery. There are traces of broken jazz, groove, alternative rock, R&B, noise, electronica, and pure ambiance on Safe in the Hands of Love, but what forms from it is something utterly mesmerizing. The way Yves manipulates those genres as paints to create his own art is masterful. Safe in the Hands of Love is that masterpiece. – Miguel Anderson

4. Tierra Whack – Whack World

Release date: May 30th, 2018

The album is 15 minutes and each song is a minute. With that said, Tierra Whack didn’t have a lot of time to encapsulate every genre. However in that time frame, she did. She was able to bottle almost every sound from every genre and keep it under a minute without doing too much. No song sounds too short, overdone, overstuffed, or rushed. She keeps everything tight and simple. A feat other artists have yet to match on a smaller projects like EPs and mini-albums. – Miguel Anderson

3. Janelle Monae – Dirty Computer

Label: Atlantic
Release date: April 27th, 2018

Liberation for marginalized people comes in the form of not only a musical record but also an (E)motion picture with Janelle Monae’s masterpiece Dirty Computer. Monae celebrates the intersections of her identity through juxtaposing futuristic visuals of an oppressive dystopian society and dazzling pop beats – creating a world that serves as a macrocosm of what it means to be a queer, dark-skinned black femme. There is no mistake of Prince’s influence on Dirty Computer’s look and sound with the upbeat rhythms, synthesizer and bad ass attitude to every song. From start to finish, Janelle Monae keeps things stimulating, innovative and socially relevant with Dirty Computer. – David San Miguel

2. Mitski – Be The Cowboy

Label: Dead Oceans
Release date: August 17th, 2018

Sometimes we shut ourselves off from our emotions. We put ourselves in a vulnerable place and resent ourselves when we do. What Mitski does on Be The Cowboy is no different, but she lives on to tell her story of loneliness. That, itself is a challenge, and to make her despair accessible is even more challenging, but she does it. While at it, she brings her most emotive instrumentation and vulnerable lyrics yet to sing about the absence of love and the consequence of refusing to accept the void. She challenges her inner-thoughts while embracing her most troubling at the same time. Beauty is shown in those juxtaposes and what is developed is a record full of beautiful self-realization. – Miguel Anderson

sophie-oil-of-every-pearls-uninsides-1528912548-640x640

1. SOPHIE – OIL OF EVERY PEARL’S UN-INSIDES

Label: Transgressive / Future Classic
Release date: June 15th, 2018

SOPHIE is in the midst of recreating what an ordinary pop song should sound like. OIL OF EVERY PEARL’S UN-INSIDES executes itself to that changing landscape of sound. The album is pushing pop’s traditionally accessible sound to the extremes to the extent where sound is distorted and frayed. If anything, this innovation SOPHIE has captured on her debut, is bringing music and us, into the future. – Miguel Anderson