MAKE BEATS LIKE KENDRICK LAMAR: Learn How To Make Modern Boom-Bap Beats | Kia Orion | Skillshare

MAKE BEATS LIKE KENDRICK LAMAR: Learn How To Make Modern Boom-Bap Beats

Kia Orion, Artist & Music Producer

MAKE BEATS LIKE KENDRICK LAMAR: Learn How To Make Modern Boom-Bap Beats

Kia Orion, Artist & Music Producer

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8 Lessons (54m)
    • 1. Course Intro

    • 2. Melody

    • 3. Drums

    • 4. Bass

    • 5. Vocal Percussion

    • 6. Vocal Textures

    • 7. Mixing & Mastering

    • 8. Final Touches

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About This Class

Want to learn how to make hip hop beats like Kendrick Lamar?

In this course I'll teach you the fundamentals of music production to make your own modern boom bap beats.

This course is specific To Pimp A Butterfly type beats! 


-How to design a soulful hip hop beat from start to finish

-How to create melodies for your favorite soulful hip hop type beats

-How to design hip hop drums, bass, and samples. 

-How to mix and master a soulful hip hop track with mostly stock plug-ins

-How to create a melody by flipping guitar samples

-How to achieve the gritty analogue sound you want without wasting money on expensive gear

-How to make better decisions in terms of sample choice and sound design

Meet Your Teacher

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Kia Orion

Artist & Music Producer


Ay! I'm Kia. 

I'm an artist and educator who believes life wouldn't be the same without music.

Or tacos.

I realized that I was equally as passionate about teaching music as I was making it.

In 2016 I founded Beat School, an online platform and series of educational programs to help aspiring artists and producers learn how to make beats, accelerate their growth, and stay inspired. 

I'm originally from New York but these days you'll find me traveling around the world writing songs or playing beats on a rooftop somewhere.

I appreciate you stopping by, and if you'd like to get in touch you can DM me or shoot me an email at [email protected] 

Life is too short not to do what you lov... See full profile

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1. Course Intro: Welcome back to another masterclass with your boy, key Orion. I'm the man who is obsessed with making don't music in teaching you how to make your own. And I'm the founder of beat school, the online music production school for hip hop producers, as well as the producer, which is where you can go for all of your producer goodies if you're looking for things to help you level up, Guide sample paths, drum kits, all that good stuff. But I'm here to talk to you today about making beats like Kendrick Lamar. This isn't going to be the full extensive Kendrick Lamar catalog. This is going to be specificly four beats like to pimp a butterfly. So if you're looking for like, good kid mad city, if you're looking more for like as newer stuff, this isn't exactly gonna be at, there's going to be specifically for pimp about applies to vary like acoustic driven sounds. These are very like free kind of flowing jazz. A lot of acoustic guitars, a lot of like vintage drum brakes. I loved the beat. Actually use this for one of my songs recently. And so this is a beat that I started with a guitar loop and I'll teach you how to make a beat from start to scratch using simply guitar. And then we're going to build out some base. We're going to build some really cool drum brakes using vintage drum, kinda drum samples in. I walk you from start to finish kinda step-by-step due to mixing and mastering process, all the different elements that go into a b, that kinda Kendrick Lamar type vibe, especially if the butterfly is your jam. So if that sounds fun, set aside some time. Gabby beverage of choice and holler at me. Always looking to level up and teach you guys courses that you want to learn about. So someone said, hey key, I want to learn how to make it Kendrick Lamar tie beat. And here we go. If you have recommendations, you can email me at Qia Qia Orion or slide into dm IG, everyone social at KIA Orion. And I would love to make some courses for you. So I hope that you enjoy. Let me know what you think in post your project, in the project description or a link to your SoundCloud, whatever. If this happens to inspire you, look forward to seeing what you come up with and I'll see you on the inside piece. 2. Melody: Alright, so let's jump into this. So culminate 90 BPM is going to be some, Kendrick Lamar is going to be like very acoustic. I've got some really cool loops that I'm excited to show you guys. But the first thing is first we've got this guitar loop that I'm going to now dive into. And I loved the guitar loop as is, but I'm going to chop it up and then add some effects to it. So let's do that. Super simple. And I got a little legs. So here's how we're gonna make these endings. Save. Then we had some flashy endings. That's, that's an effect. Well, if somebody high-end. So OTT, So little bit of reverb. For now. We're just going to get this out. So the dopant swatch, teal color. So you see we've gotten server to drums. So that's, we're going to start at least with the guitar, somewhat simple. And just chopped up, just switched up the loop a little bit at it. Some effects to a, just to get a little bit more kind of odd that I like to shoot for. So I'm going to come, I'm going to bring you their drum loop and see, see if we can make it our own will try. But they had some really cool drums at that they have. So let's see what happens. 3. Drums: I'll just jump into these drums. These are doped drums. These are doped drums. Assumed we got good at it. What I wanna do is keep their, keep their swag but, but, but bring it to life with our own. With our own our own. I want to keep their Schreiber brain-to-brain delay for their own samples so that we can have it, that it knocks a little bit more. Yea, yea, yea. Cool. Have a, bring it to life. A little bit of a more of a modern Bob. So going to be looking for acoustic samples. Oh, I like that one too. I like that one a lot. I just like punchy kicks my that's quotas. Quotas, cool. Let's see them as we heard about this one. Yeah, this one, I think this is probably better as an acoustic kick. And as you can tell, they dip that first kick a little bit. Space. Took this kicks up. Oh would I goes. But I do think we need to do next thing, a snare. I think a snare diesel, a life spring that's there to life. For real acoustic snare. O. Both of those Good. An EQ out there. The survey just keep enrich, keeping the percussion sounds and a little bit of their snare. Oh, Michel line it up. I might even have another joint right here. What do you think that? We need some times, we definitely need some towns to fill that out because that is such a dope loop. I can't tell if that's a kicker snare. That's a kick right there. I'm tripping. I'm trip and I'm trip and I'm tripping chip in on chip in. And so we'll come back to that because I think that's going to be a flare that we have at the end of every fourth bar. This is going to be our main loop right here. And that little percussion to it. And it's like an acoustic. So I like that. Both. Yes. And I really like just kinda in-between hi-hats. Those, those are similar, we can turn those up. Here's what we're gonna do. Let's see if we can do it like this. When we're recreating this drum loop. I really like their sounds iss what is to be a little bit louder? Yeah, like that. Actually. And they keep their audio clips because they're there times different radiation. Keep the same field, but it's getting there. Second part loop, it'll be done. And they go, we go over suites, we got our drums, or move under the nice piece. Now. 4. Bass: At the next piece we got, we got this base loop from them, which is super dope. Whoops, that's not what I wanted. That's what I wanted. Tar loop-based loop. This is how you make something with loops and still make them your own. Right now this dQ and now some of those super low EQ and assuming the super lows leaving room for the kick in the MSI China that kicks, it comes down to we're going to get this up a little too. Or it's like came up pressure F. And we also need to take these different loops as well because remember we switched the endings. So let's see what happens if you put this here. It's moving and efforts that are better. And then we have led this over here. Is moving. This over here. Is the gate this out there it is. Well, sorry. Sources are supposed to treat a Gary van or truck right now trying to get on the show, you know, hustle like I do just want to see this real quick. I like, I like a little distortion and I basically just brings out the highest little bit. And we're both so that's our base. We've got a little basically gone. I do feel like this needs a little bit more like some slight percussion that's reminiscent percussion real quick, just to trial and error. 5. Vocal Percussion: I feel like this needs like a chance or something just like a little, a little, a little something more about dbGaP have with learning. I love this vest nine south, the body. Wherever two, but this era, I think we're good. I think we're good. If you need to find some vocals or maybe one other kind of something to layer on this to give it a little bit more texture, maybe for a hook or another part of the verse up like that. So you have more than just the guitar loop. 6. Vocal Textures: Our job on some cool vocals. I'm going to record these in and then we're going to chop them up. Let's get it. The reason I freeze these is because I like to amount effects to him, so I bring them in as dry as possible. That's also duplicated. If k1 and pointed at the screen, I duplicated it because I want to edit own effects to it. So I bring these in dry and then we're going to, now we have this is our backoff, meaning to come back to them. We're pretty much going to make that nonexistent in this is going to be vocals. And so what I do with my vocals is for sure we're going to as usual at an EQ as usual. And then we're going to roll off a little bit of the highs were going to add some reverb to these. And we're going to add them up a bit. Just for a little bit of color on that network to which a matter for what's really going to make these as the reverb or serve a different phrases now like that right there, we don't even need, so we're going to bring this down here just to save it. But we actually don't need that. Let's see, once we do this. Ie, it should be given to any width right there. It will be. We will. I like that. That's a little bit late. There is actually like that staff more than I like this one. Let's see what happens as this one. I actually like that stable APA or clever enough to finance the avocados. So let's mix this damn, maybe add some other elements possibly to it. Is that it dad? The Santa, pretty good to me. Let's mix this and then see if there's maybe some more cities. Maybe it's a little bit, or maybe some sort of a PAD or something. I don't wanna get too crazy with it because I feel super inspired by this honor right to it. But maybe one more element would be fun to fill it out. 7. Mixing & Mastering: I lost. So let's jump into this mix. There gonna be a couple other pieces that we probably add like those Tom's, I really liked those drums and their drum loop, but we can always do later. I always tell people, run with your inspiration while you've got it. That's like a nitty-gritty thing that we can come back to and try later. But for now I want to run with this inspiration while we got this. So for the kick, I like this, I like my kids, they're really dumb. Quick list command fixed that cake. I can hear it has a little bit of a clip on it. There it is. She's actually will do like this. Because the loudly make your kick, the more those little things are gonna become evident. Yes, you gotta come in it with everyone. There it is. And then we'll do the same thing over here. Well, what's that about? And then we'll come over your fix these little things. You don't catch those until you're kicks are really loud and then or at least louder and then it becomes a lot more parent. And fast forward this part if you don't want to watch. But it is an important part in our code details. And until those details matter, if you're me. Nice there it is. Because once we release our bumpiness, kick. It's going to matter. Is that the owner of that click is from the base. Here, is our fate is here goes. There it is. We are both of these come in immediately. Annex 7.96. Not again. Yeah. Yeah. Yeah. So the scenario is given as a problem with our mixes in this drum loop. Because we want to drum up, because we want to add them up to be loud, but we don't want the snares to be too loud. So Scott, Chinese snares down. There's an icon and sneers, but however, the order dynamic control of ours. Yeah. So we're gonna do, actually do this. Because I really like to decenter their snares. So it's going to actually make a narrow track as we try and integrate out. So you have more control over it. There is, by just coming to maybe Ehrlich five. But now I've drawn a massless open. I have at the same. We're peaking out of it. That grew feels good to me that he was coming up 4.5 because there's plenty of owner clear guitar. Here's what we're gonna do is we're actually going to source these vocals up because I think it's so distracting. So we're going to go, there is some Internet Explorer, that's something that let's see, I think sound with your ears with a limiter arm sitting somewhat a little bit of a limiter on him. Yeah. Were you at where you went, where you add stuff of the poets who is my go-to? I love this bad boy. And he doesn't care though too loud. No ambitious goal. So that's pretty much going to be, I'm going to come in here, I'm going to mess around with these, get the snares to be the same as they're over here. But for the most part, that's going to be the beat for the mixing and mastering. I'm going to arrange these, are going to fix the snares and they're going to jump into the arrangement. So I'm not going to bore you with these snares right here. We'll fast forward, jump into arrangement next. 8. Final Touches: And what I wanted, it's a mellow, it's in these in these keys. It's sounds to optimize just a little bit of a Rhodes piano. Let's get it. Sweet RSV got these, are going to do the same thing that we did before. I actually don't care this time if we don't have these keys because they're just estab, so I'm not going to come back to them. So we're gonna freeze them. We're going to flatten them. Typical fashion. And then we're going to bring them up to the vocals at these keys. And we're going to add similar stack, but a little bit less, little bit less intense on knees and less low-end unless you live as a verb. Okay. Now we're in business. Let's arrange this. Gets yada, yada.