How to Make a Suicideboys Type Beat With a Dark, Hard-Hitting Arrangement

Video: SUICIDEBOYS TYPE BEAT - "MASK TURN"

Oct 19, 2026 · based on the channel Bayro

A Suicideboys type beat is a dark, sample-driven underground rap instrumental built around minor-key loops, distorted 808s and Memphis-inspired drum patterns, usually between 120 and 150 BPM. Bayro's "MASK TURN" is a working example at 136 BPM, and you can purchase the beat and its license options here. To make one yourself, start with a gloomy sample or melody loop, layer hard-hitting drums and 808s on top, then shape the arrangement around a clear intro, drop and switch-up.

What defines the Suicideboys type beat sound

The core of the style is contrast: slow, melancholic melodic material against drums that hit hard and often. $uicideboy$ built their catalog on pitched-down vocal chops, dusty piano or guitar loops, and 808 basslines that carry as much melody as the sample. Producers chasing the same feel usually work in minor keys, keep the harmonic content simple, and let texture — vinyl noise, tape saturation, reverb tails — do the emotional work.

Key ingredients that show up again and again:

1. A looped sample or self-played melody in a minor key, often pitched down a few semitones.
2. 808 glides and slides that follow the root notes of the loop rather than a separate bassline.
3. Hi-hat rolls, triplet patterns and occasional double-time sections borrowed from Memphis rap.
4. Snare or clap layers with short decay, so the groove stays tight at faster tempos.
5. Atmospheric pads, vocal chants or whispered ad-libs to fill the space between bars.

Adjacent styles — cloud rap type beats, Bones type beats, phonk and dark underground rap beats — share most of this toolkit, so a track built this way can be pitched to several different artists.

Setting the tempo and key for a 136 BPM beat

136 BPM is a flexible middle ground: it feels energetic at double time and heavy at half time. At that tempo, a half-time pattern makes the snare land on beat three, giving the slow, nodding feel common in Scrim type beats, while the hi-hats can still run in sixteenths or triplets. If you want a more aggressive, hard Suicideboys type beat, push the perceived speed with rolling hats and 32nd-note fills without changing the project tempo.

For the key, minor scales dominate. Natural minor and harmonic minor both work; harmonic minor adds a raised seventh that gives the melody a darker, slightly exotic edge. A practical workflow:

1. Set the DAW to 136 BPM and pick a minor key such as F minor or C# minor.
2. Write a 4- or 8-bar melody using three or four notes, leaving space for vocals.
3. Duplicate the loop, pitch it down 2–4 semitones and low-pass it for a sampled feel.
4. Add tape or vinyl noise so the loop does not sound sterile.

Building drums, 808s and the low end

Drums carry the aggression in this genre, and the 808 carries the melody. Start with a kick that has a clear transient, then tune an 808 to the root of your loop and program slides between notes. Keep the kick and 808 from fighting by sidechaining the bass to the kick or by cutting the 808 briefly where the kick lands.

A reliable drum recipe for a hard underground rap beat:

• Kick on beats one and three, with occasional extra hits before the snare.
• Snare or clap on beat three in half time, layered with a short rimshot for snap.
• Closed hi-hats in eighths as a base, with sixteenth and triplet rolls for movement.
• Open hats or rides on off-beats to add swing without clutter.
• Percussion loops — shakers, cowbells, distorted crashes — pitched and filtered to sit behind the main drums.

Keep the low end mono below roughly 120 Hz so the 808 translates on phone speakers and in car systems alike. Saturation on the 808 helps it cut through without raising the level.

Arranging a track from loop to full song

An arrangement is what separates a loop pack from a beat an artist can write to. The standard structure for a Suicideboys type beat is intro, verse, hook, verse, hook, bridge or switch-up, outro. Each section should introduce or remove at least one element so the listener feels movement.

A workable 2:30 arrangement:

1. Intro (8 bars): melody loop plus filtered drums, no 808.
2. Verse (16 bars): full drums, 808, main loop; drop the melody every fourth bar for breathing room.
3. Hook (8 bars): add a counter-melody, vocal chop or chant; open the hi-hats.
4. Verse two (16 bars): same drums, but swap the percussion pattern or add a new texture.
5. Switch-up (8 bars): half-time feel or a new chord, often where the artist changes flow.
6. Outro (8 bars): strip back to the loop and let it fade.

Leave the first four to eight bars relatively empty; artists often want space to establish a vocal tone before the beat gets busy.

Mixing for a dark, lo-fi but loud result

The goal is a mix that sounds rough and atmospheric yet still hits competitively on streaming. Treat the sample or melody loop as the emotional core, then make the drums and 808 the loudest elements. Common moves:

• High-pass the melody around 100–200 Hz to free space for the 808.
• Compress the drum bus gently, then saturate it for glue.
• Use short room reverb on snares rather than long halls, which smear fast hi-hat patterns.
• Keep the master peak around -6 dB before limiting, and check the mix in mono.
• Reference against released $uicideboy$ tracks at matched loudness rather than pushing the limiter early.

Lo-fi character should come from intentional processing — bitcrushing, tape emulation, sample-rate reduction — not from a muddy, uncontrolled mix.

Licensing, credits and where to get the beat

Type beats are usually sold through marketplaces such as BeatStars, where producers offer lease tiers and exclusive buyouts. Bayro's catalog is at https://bayrodoit.beatstars.com/ and includes a buy-two-get-one-free offer on beats. Free downloads typically come with restrictions: the "MASK TURN" beat is free for non-profit use only, and any release must credit the producer in the title as [prod. Bayro].

Before uploading a song to streaming platforms, confirm which tier you bought: leases usually cap streams and prohibit monetized video use beyond a set limit, while exclusives transfer broader rights. Contact for the producer is bayro.mgmt@gmail.com, with additional updates on Instagram at https://www.instagram.com/bayrodoit/ and in the Telegram group at https://t.me/bayrodoit.

Common questions from producers and artists

Most confusion around Suicideboys type beats concerns tempo choice, sample clearance and whether a free beat can be used commercially. On tempo: anything from 120 to 150 BPM works, and 136 BPM is a proven middle ground that supports both double-time and half-time flows. On samples: if you chop a copyrighted record, clearance is your responsibility once the track goes commercial; royalty-free loops and self-played melodies avoid the issue entirely. On free beats: read the license file attached to the download, because "free" almost always means non-profit with a required credit. On mixing: prioritize the 808 and snare relationship, since that pairing defines how hard the beat feels.

Final thoughts

A convincing Suicideboys type beat comes down to a dark minor-key loop, disciplined 808 programming and drums that stay hard without overcrowding the vocal space. Bayro's "MASK TURN" demonstrates the formula at 136 BPM with a structure that leaves room for an artist to perform. Build the loop first, then the drums, then the arrangement, and only mix once the idea works in mono on a phone speaker. When you are ready to release, buy the beat and check the license terms here so the credit and usage rights are settled before upload. The Bayro channel is a useful reference point for hearing how these elements come together in practice.

Source: SUICIDEBOYS TYPE BEAT - "MASK TURN" · Markdown version