Timbaland's Beatclub (YT/Twitch) ... oberservations, reflections, discussion

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Post 30 Jul 2022

I'm working on refining my ear and then my process/habits, etc.

This last week I've been listening to Beatclub during work and it's really helping to sharpen my ear, or at least raise my bar.


One commenter complained that he hardly ever gives feedback. His response is that the most valuable feedback you can get is an honest "hell yes", or "hell no" and that anything but "hell yeah," means "hell no" by implication.

It doesn't seem to just be about what is good, but also finding those who have managed to find that little extra difference to set themselves apart from others.

He's also commented on a lot of their beats lacking soul.


After a few years of music making, I felt I wasn't really cut out for making popular music, though I did continue with it through work at a studio and collaborations (even got my stuff to play on BBC Oxford and some urban radio stations).

From early on I focused on my sound. I wanted to understand how to get the "big sound", what was really required (did I need a workstation keyboard?), while also trying to take my own journey through music.

I really enjoy making my own music regardless of whether others get it. But man. I'd love to get a "hell yes".

Can I get a hell yes by focusing on my own internal sound?

Some thoughts and questions

Why do some seemingly good songs get rejected? Is he being too harsh at times?

Could a hit song of yesteryear have gotten a hell yes if this was the first time it was ever heard?

Do you have a good sense of what will be liked or rejected?

Where do you feel your music fits? And your craftpersonship?

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Timmy Crowne
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Joined: 06 Apr 2017
Location: California, United States

Post 30 Jul 2022

I’ve watched several of his streams over the last year. My sense is that he tends to reject for three reasons:

(1) derivative works that might be called “type” beats (e.g. “Drake-type beat,” “Kanye-type beat,” etc.) Even if a song sounds good, it likely won’t make an impact if it sounds like it could’ve been on Future’s album from 7 years ago. Even if someone nails MikeWillMadeIt’s sound, aren’t they just following?

(2) lack of attention to detail. If the whole beat just feels like the producer slapped together some loops and synth presets, it’s probably not going to make the cut. Was any thought put into carefully crafting the sounds to fill specific roles in the track?

(3) overproduction. This one is tough. We who make the music hear every component we put into it. The listener tends to hear a composite, and if we threw in everything but the kitchen sink, that composite sound is likely to be a mushy, un-mixable mess. Add to this, many decent tracks simply take too long to get going. Did the producer really edit, or did they indulge themselves? If you ask the average person to hum the tune, or even describe it, can they?

I think hit songs of yesteryear could theoretically work, but the presentation of the song would likely need to be updated. The implication being that for any song, there’s the *core* harmony and melody or rhythmic hook, then there’s the packaging consisting of tempo and genre and instrument selection. A lot of the beats that get played there don’t really have a core; they’re all packaging. Listen for 15 seconds… yep, sounds like trap. Adequate trap.

Honestly, my own stuff may not pass the test. One problem is that I’m so interested in so many styles of music, I haven’t really buckled down to perfect any specific one. I also tend to overproduce. I’m getting better, though. Trying to be more surgical with what I’m trying to say musically. If the guitar part makes the point, why add a synth line in the back? If the drum sounds good, why add an EQ?

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