Updated 30 Oct 2026
If you want to know how to get beat placements, the short version is this: make beats a specific artist would actually use, get them to the people around that artist (not just the artist), and keep sending consistently for months. Nobody lands placements from one perfect DM. They land them from a system they run every single day.
A placement is when an artist records on your beat and releases the song. Most producers count it as a placement when the artist is signed to a label, though plenty of people count any released song. Either way, the goal is the same: your beat ends up on something that comes out.
Here's the part nobody tells you early. You almost never get there by hitting up the artist directly. Future already has Wheezy and Southside. EST Gee has Forever Rolling. Even underground guys have a go-to producer. The move is to tap the people around the artist: the main producer, the loop maker who feeds that producer, the engineer, the manager, the A&R, even the videographer or the homie in the room. One producer got a Sexy Red placement through her videographer. Someone else got in a So Faygo and Osama Son session because a Cactus Jack team member texted him to pull up.
Working the team beats working the artist for one simple reason: everyone around that one artist is also around ten other artists. One good connect opens a dozen doors.
Every producer says this and 99% skip it. If the first pack someone opens from you is trash, they block you or never open your emails again. So don't start reaching out to big people until your sound is actually ready, or you'll burn the exact bridges you want.
Two ways to test yourself. One, play your beats for producer friends who aren't afraid to tell you the truth. Two, pull up the last project from the artist you want to work with, listen to four or five songs, and honestly compare your drums, your melodies, and your mix to theirs. If it doesn't line up, go back and cook until it does.
And make beats for artists, not for producers. The beats that get used are simple, repetitive, catchy, and leave room for vocals. One UK producer went nowhere for eight months posting type beats, then studied the most-viewed beats on other channels and found the same pattern every time: simple, easy to rap on, still fire. Simple doesn't mean one piano note. It means clear structure, room for the vocal, and a few sounds that hit.
A lot of talented producers kill their own momentum by genre-hopping. Detroit one week, Atlanta the next, New York drill after that. You end up a six out of ten at everything instead of a ten out of ten at one thing.
One producer locked onto the Chicago sound for a full year: studying the artists, the keys, the BPMs, and how the other producers in that lane made their beats. That focus got him a 7-million-view record and in-person sessions, then more Chicago placements rolled off it. Teams hire specialists. Be the obvious call for one sound before you try to be everything.
Genius.com is the cheat code. Go to an artist's page, open their latest album, scroll to the credits, and you'll see every producer, mixing engineer, recording engineer, songwriter, and often the distributor and videographer. That's a list of real people who were in the room. Pull their Instagrams and start a contact list. Aim for the connected-but-not-huge names, because the biggest guys won't reply yet.
Second spot: the artist's Instagram following list. The accounts they follow that don't have big followings are often the videographers, A&Rs, managers, and friends who can actually play your beats for them.
Third, if you just want that first placement from a smaller paying artist: search your type beat on YouTube (for example 'future type beat'), sort by views, and go through the comments. Artists hunting for beats hang out in those comments. Hit them up. They already need beats and will often pay.
Also follow the whole scene. Every time a producer posts a new placement, go follow everyone tagged in it. Do that enough and you're basically following the entire camp behind every song dropping right now.
The worst way to network, and the one most people do, is DMing 'what's the loop email.' Those people get that message a hundred times a day and it builds no relationship. Instead, give them a reason to work with you before you ask for anything.
Value can be simple: 'I've got crazy loops, starters, and FLPs for what you're working on.' Or it can be a split: offer a producer a 70/30 in their favor, or tell a manager or engineer you'll split 50/50 on anything they place, like they co-produced it. The second people have a stake, they reply faster and start telling you exactly what they need.
People also get creative with value: free cover art for producers dropping kits, graphic design, video editing, a live instrument, original soul samples with cleared session musicians. Anything that makes you useful and not just another DM.
One more that's slept on: get loops or starters from loop makers who are getting motion, flip them into new ideas, and send them back as collabs. You're giving them more to send out without them lifting a finger, and you ride their connections.
Strip all of this back and the real currency is melodies. The loop you send to a producer, the starter a loop maker flips, the FLP a big producer finishes in ten minutes before a session: it all starts with a melody that's actually good. Weak melodies mean you have to network ten times harder to get the same result.
This is where ndacompany fits in. It's free, hand-played melody loops you can use in your beats. No login, no subscription. Grab a loop, build your beat around it, flip it into a starter, export the FLP, and send it out. If you're trying to send three to five fire ideas a day to your list, having a stack of real played melodies ready removes the one excuse that stops most producers: not having anything good to send today.
And leverage every idea you make. From one beat you can export the melody as a loop for drum guys, the FLP for producers who want project files, the stems as starters for loop makers, and the MIDI and chords for packs. One idea, five things in five more laptops.
Quality over quantity in the pack. Sending 20 beats is overwhelming. Pick your best three to five (max seven) that fit that artist, so each one feels intentional.
Name your files clearly: your name, artist type, key, and BPM. Something like 'YourName Travis Scott type Cmin 140.' Put your info everywhere, not just the email body: name, Instagram, email, and number in the folder title and the file names too, because they might open that folder three months later.
Send MP3 so they can preview and drag in fast. WAV sounds better but is a bigger, slower download, so send WAV too or hand it over if they ask. Use Dropbox or Google Drive, or attach directly if it's only a few files. Avoid weird links, broken zips, and jumbled names.
When someone finally sends their email, that means they need loops now. Have a pack ready and send it from your phone immediately, not in a week. Write a short, personalized subject like 'loops from [you] for [them].'
Keep the DM short, specific, and valuable. Mention something real they worked on, say their name, and lead with what you can give: 'Yo, I'm on your work on [song]. I've got crazy loops, starters, and FLPs I can send your way.' Don't ask for feedback or a placement up front. Always put a call to action in that first message so you at least get the contact info.
Optimize your Instagram first, because that's your resume when you slide in. A picture of you, a studio shot, cover arts of songs you've worked on, a couple of simple reels that clearly show you make music. No black-screen recordings, no rapper reposts. Mutual followers matter a lot: if big names follow you, people reply.
Most producers give up after one DM. Don't. A follow-up rhythm: day 1 the DM, day 4 reply to their story or like a post, day 6 a short voice note, day 10 a fresh message. Stay persistent, not desperate. The line between them is that you're consistently bringing value, not begging.
Placements are a volume game and a patience game at once. One approach: DM 15 people a day (15 minutes before bed), make at least one great beat a day, keep a simple spreadsheet (name, IG, what they need, status, last contacted) so you follow up instead of spraying and praying.
There's an honest split on list size. Some say blast as many people a day as you can, pure volume. Others say a small list of people you're genuinely locked in with beats a list of 3,000 strangers. Both are true: cast wide to find your people, then go deep with the handful who respond and deliver.
Push your music everywhere, because a lot of placements come indirectly. Sample packs (one producer says 60 to 70% of his records come from people using his kits, and putting them out free gets them in more hard drives), type beats on YouTube, reels and TikTok, Discord servers, even Reddit. Tagging artists in your stories has turned into real relationships.
Then play the long game. Artists can take one to three months to reply, and some producers still get placements off loops they made years ago. Do your daily work, hit send, and move on to the next move.
One business note: once a signed artist uses your beat, you'll give your info, sign a contract (never without a lawyer, expect a fee around $250, a manager takes about 20%), and register the song. Standard terms are often around three master points and 50% publishing. Sign up with a PRO like BMI or ASCAP to get your IPI number so you can collect your royalties.
Sending before your sound is ready and burning bridges. Chasing one big artist all day and getting discouraged when it doesn't hit. Genre-hopping every week. DMing 'what's the loop email' with nothing to offer. Spamming random scraped emails. Sending 20 beats with messy file names. Giving up after one DM. And leaving money on the table by never registering your songs.
On paid collabs, producers disagree. Some have seen them lead to real placements. Others would never buy one and warn it's full of scammers with no connects. If you try it, only spend money you're fully okay losing, because nothing is guaranteed.
The producers who land placements are the ones who send good ideas every day and never run out of material. So stock up: grab free hand-played melody loops at ndacompany, no login and no subscription, and use them in your beats. Join the Telegram to get new loops the second they drop, and subscribe on YouTube for more. Now go send your three to five, follow up, and keep it moving.
Make beats a specific artist would use, find that artist's team on Genius (producers, engineers, managers), DM the mid-level names with a clear value offer, send 3 to 5 tailored loops fast when they reply, and follow up on a schedule instead of quitting after one message.
The team. The main producer, loop maker, engineer, manager, A&R, even the videographer are far easier to reach than the artist, and each of them works with many other artists, so one connect opens multiple doors.
Three to five, seven max. A small pack tailored to that artist beats a 20-beat dump of filler. Name files with your name, key, and BPM, send MP3 (plus WAV if asked), and put your contact info in the folder and file names.
Longer than you think. Artists can take one to three months just to reply, and producers still place loops years after making them. Treat it as a daily habit you run for a year or two, not a quick win.
Short and specific. Reference their actual work, then lead with what you can give: 'I've got crazy loops, starters, and FLPs for you, where can I send?' Don't ask for feedback or a placement up front, and include a call to action so you get their contact.
You need both, but weak melodies make you network ten times harder for the same result. Good, played melodies are the raw material for every loop, starter, and FLP you send. ndacompany gives you free hand-played melody loops so you always have something strong to build with.
They are not royalty-free. Free in your own beats; a 50/50 publishing split with NDA Company applies to every commercial release. License Terms
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