Updated 30 Oct 2026
A rich amiri type beat is melodic rage with a glossy top end: a bright guitar or synth line, high pitched and blissful, over hyperactive hats and a driving 808. The Boston rapper came up through Internet Money and 10K Projects, and his sound stretches from cloudy R&B to synth heavy trap. One Call, his Billboard breakout, stacked apocalyptic horn blasts over restless 808s, that mix of pretty and aggressive is the lane. Producers who flip his style keep it simple: one strong melody, bouncy drums, and room for the vocal.
You do not need a finished beat to start. The Rich Amiri loops sit in step 1 and again at the bottom, ready to play.
His beats sit in the fast melodic trap pocket, roughly 140 to 160 BPM. A lot of producers start the project around 155 and pull it back a touch if the melody needs more air. Quick enough to feel energetic, open enough for a sung melody on top.
The key is minor. Keep the melody bright and emotive rather than dark, Amiri sings over blissful harmonies more than menacing ones. If you flip a loop, pitch it until it sits in that high, airy range and recheck the 808 against the new key.
The loops in step 1 stream right here and the mp3 is free. Then run the six steps.
Rich Amiri, born 2004 in Boston, is signed to Internet Money Records and 10K Projects. His debut album Evolution was produced entirely by Internet Money, so their bright, melodic trap template is baked into his sound. Producers chasing the glow side often start from an Evolution style melody and build out from there.
One Call, produced by Rio Leyva and Zuko, was his first Hot 100 entry and peaked at number 60. That beat is basically a strong bassline, a simple two step hat pattern and heavy snare rolls, which tells you how much of the sound is groove and vibe rather than busy programming. Rio Leyva also worked on Drake and Lil Tecca records, which hints at how clean and radio aware the production is.
His later album War Ready pushed into a rougher, more distorted soundscape, so the melodic side and a harder rage side both live under the name. His named influences are Future, Speaker Knockerz, Lil Keed and YoungBoy.
The melody is the hook. A plucked guitar or a bell like synth, high in the register, ringing and a little nostalgic. For the ambient side layer a pad under it, for the glow side stack brass and strings on top and let a pad glue the spaces together.
Build it off the bassline. Lock a bright bass note first, then grow chords and a lead over it, the way the One Call style is put together. One arpeggiated bell plus a lead can carry a whole loop.
Add light reverb and a touch of delay so the top line floats. Drop in a synthy post effect or a pitched vocal chop as an accent, stretch it to time, and the beat sounds like the album. Amiri sings in a high, airy register, the beat should match that.
Keep the progression simple and loop friendly. One four bar idea that repeats beats a busy riff every time.
The drums push hard even when the melody is pretty. Layer a snare with a counter snare, drop snare rolls into the transitions, and let open hats hit on the one and on the clap to open up the pattern.
Keep the main hi hat fairly simple when there is a lot going on, then chop it with a time multiply and randomize the velocity a little so it bounces instead of sitting flat. Busy where it counts, not everywhere.
The 808 drives the track. Keep the pattern repetitive and give it short glides to stay melodic, but keep it loud enough to move the song forward.
For the harder War Ready side, clip the 808 and add a little distortion so the contrast with the bright melody gets sharper.
A dark, heavy melody. Amiri leans bright and blissful, a gloomy loop fights the vocal register he sings in.
A bass and 808 fighting for the low end. Automate the melody bass down or out once the 808 comes in so the two do not clash.
Lazy or overcooked hats. The rolling hat energy is central, but the pattern reads best when the main hat stays simple and the rolls and open hats carry the movement.
A wall of sound with no room. He sings a lot, so leave gaps in the arrangement for the vocal to sit.
Every loop here is played by hand, no AI, and free as an mp3. Pitch them, chop them, build your bassline and drums around them, they are made to be flipped into a rich amiri type beat.
Pick a loop and drag it into your DAW. 808 under it, clap on top, your first Rich Amiri beat is running.
All Rich Amiri loopsTempo, key and mood of the Rich Amiri loops, straight from our catalog.
| Loop | BPM | Key | Vibe |
|---|---|---|---|
| Monkeyball | 140 | Bmin | Dark, Hard, Virtual |
| Nasty | 140 | Cmin | Dark, Hard, Virtual |
| Big | 148 | Cmin | Dark, Virtual |
| Levels | 140 | Dark, Virtual | |
| Graduate | 130 | Amin | Dark, Sad |
| Landing | 140 | F#min | Dark, Hyper, Virtual |
| Mosquitos | 140 | D#min | Dark, Hard, Hyper, Virtual |
| Heavy | 148 | Fmin + F# | Dark, Virtual, Hard |
| Karusel | 150 | Cmin | Dark, Virtual |
| SuperAlienWalk | 135 | F#min | Dark, Virtual |
Fast melodic trap, roughly 140 to 160 BPM. A lot of producers start around 155.
Minor, but kept bright and emotive rather than dark. Take the key from your loop and recheck the 808 if you pitch it.
A bright guitar or synth melody up top, a pad or brass to fill it out, a driving 808 and fast rolling trap hats with snare rolls.
Build off a bright bassline, keep the top line high and airy with light reverb and a delay, add a bell or arp accent, and leave space in the arrangement for vocals.
They are clashing in the low end. Automate the melody bass to duck or cut when the 808 drops in, the way the One Call style keeps the low end clean.
Yes. Pitching the melody up gives the glossy top end, then recheck the 808 key.
Yes, every loop is a free mp3. Not royalty free though: a commercial release means a 50/50 split with NDA Company.
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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