What to Include in a Custom Beat Request

Every producer has received the message. You know the one. It arrives in the DMs or the email, and it says — almost exactly — "hey I want a beat. something fire. how much?"

The sender thinks they're being straightforward. What they're actually being is impossible to work with. Because "something fire" is not a creative brief. It's the absence of one.

This guide exists so you never send that message. Here's exactly what to include in a custom beat request — whether you're messaging a producer for the first time or the twentieth.

The Golden Rule: One Reference Track Is Never Enough

Artists think sending a reference track is doing the producer a favor. It is — but only if you send the right kind. Sending a single Drake track and saying "I want something like this" tells the producer nothing useful. Drake's catalog spans dozens of producers, moods, tempos, and sonic palettes.

Send 2-3 reference tracks that capture different elements of what you're going for:

• One for the sonic texture — the overall mood, production palette, mixing style
• One for the rhythm and energy — BPM, hi-hat patterns, 808 weight
• One for the melodic direction — the melody or chord progression that appeals to you

These don't need to be from the same artist or even the same genre. They each serve a specific purpose in communicating what you want. The producer can then deconstruct what you like about each one and synthesize it into something original.

BPM — Give a Range, Not Just a Number

Most artists know their preferred tempo range, but they either give it too rigidly or not at all. Both are problems.

If you know your BPM: give it, but also give context. "I'm comfortable rapping at 140 but I like the darker feel that sometimes comes with 130 — I'd consider 130-145." This tells the producer you have some flexibility and understand why BPM matters.

If you don't know your BPM: don't guess. Describe how it should feel instead. "I want something that feels like it's not rushing me but has weight." A producer with ears will figure out the tempo from that description better than a wrong number.

Never say "I write at 120 but the beat can be different." That's physically impossible. If you write at 120 BPM, the beat needs to be at or near 120 BPM or your bars will land wrong.

Key and Scale — Why It Matters More Than You Think

Not every artist thinks about musical key, and that's fine — it's not a requirement. But if you do have a preference, share it. "I prefer something in a minor key" or "I'd like this to feel open and spacious, maybe something in a higher register" gives the producer useful direction.

If you're a vocalist who knows your range, that's valuable information. "My hooks sit in a higher register and I struggle with low register hooks" tells a producer to keep the main melodic element in the upper-mids so you don't strain on the hook.

If you don't know any of this — that's fine too. Say so. "I don't know what key I prefer but I know I don't want it to sound happy." The producer will handle it.

Genre and Subgenre — Be Specific

"Rap beat" is not a genre. "Hip-hop" is barely a genre in 2026. The difference between dark trap, drill, Jersey club, Baltimore club, rage rap, and phonk is enormous — and producers specialize in specific spaces. When you say "I want a rap beat," a dark trap producer and a pop producer and a boom-bap producer all hear something completely different.

Be as specific as you can:

• Dark trap vs standard trap
• Drill (NY drill vs UK drill vs ATL drill)
• Phonk vs cloud rap vs trap
• Rnb-inflected trap vs pure trap

If you're not sure of the subgenre label, describe it: "I want something that sounds like it could be playing in a dark club at 3am — heavy bass, reverb-heavy, not too many hi-hats." Specific sensory descriptions work.

The "Vibe" Problem — And How to Solve It

"Vibe" is the most overused word in artist-to-producer communication, and it conveys almost nothing. When you say "I want a dark vibe" — dark how? The darkness of a horror movie? The darkness of a late-night drive? The darkness of standing outside a club at 4am?

Producers are trying to execute your vision. Help them. Instead of "dark vibe," try:

• "The kind of dark where the bass makes you feel it in your chest, not just hear it"
• "Melancholy but not slow — I want to rap fast over something that feels heavy"
• "Cinematic — like it could be in a movie scene where the protagonist is making a bad decision"

These descriptions actually tell a producer something. Abstract adjectives don't.

Structure — Tell Them What You Need

Do you need an intro? Outro? How long should the hook be? Is there a specific section — a bridge, a half-time moment, a beat switch — that you know you want? Tell the producer upfront.

Producers can build anything, but they can't read minds. If you want a 16-bar intro before the 808 comes in, or a 12-bar hook because your hook writing runs long, or a beat switch at the end — say so from the start. Custom production can include all of these things; it just needs to be briefed.

Project Context — It Helps More Than You Think

What's the beat for? A single? An EP? A mixtape that's not monetized? A TikTok clip? A livestream? This context matters because it affects the type of beat you need and the licensing structure you'll use.

"This is for my debut EP, I want it to be the standout track" creates different incentives for the producer than "I just want something for a freestyle video." The producer should know which one they're working on.

Also include your timeline. "I need this in two weeks for a release date" is useful information. A producer who has a two-week deadline to work with will prioritize your project differently than one who thinks there's no rush.

Deal Breakers — Say What You Won't Compromise On

Every artist has things they won't bend on. Say them upfront. This saves everyone time.

• "I won't rap over a sample I don't have clearance for"
• "I need the stems so I can mix this myself"
• "I need exclusive rights, I won't release on a non-exclusive lease"
• "I need this in a specific key because I'm recording with a live musician"

These aren't demanding — they're clarifying. A good producer respects clear boundaries.

The Full Brief — What It Looks Like

Here's an example of a good custom beat request — not because it's elaborate, but because it gives a producer everything they need to do their job:

Hey — I'm working on my debut EP, looking to commission one dark trap beat as the lead single. I write at 130-140 BPM. References: the bass weight on [Track A], the atmospheric textures in the hook of [Track B], and the hi-hat energy of [Track C]. I want something that feels like it's pressing down on the listener — heavy, cinematic, not too many hi-hats. Hook needs to be 16 bars, no intro, needs a beat switch at the end for the outro. I need exclusive rights and stems delivered within 3 weeks. Budget is $800.

That message is a producer's dream. Clear, specific, actionable, professional, and it includes every piece of information needed to deliver exactly what's wanted.

Ready to commission a custom dark trap beat with that level of clarity? Send a brief. Custom production available for artists who know what they want.