Updated 30 Oct 2026
Slayr sits in the new rage and plugg wave coming out of the Opium world, close to OsamaSon, Ken Carson and Yeat, and his beats, a lot of them produced by Wa, are louder and more chaotic than they first look. The surprising part is that the chords usually sit in a major key rather than the dark minor you expect from rage, which is where that bright, almost nostalgic bounce comes from. Most of the work lives in the chords and the layers, not in a busy melody, because the whole point of these beats is to stay catchy and repetitive while leaving room for a rapper. The trick most producers miss is that the drums stay dead simple on purpose and everything repeats every two bars with tiny variations. Get the major seventh chords layered, the 808 following them and the mix loud and clipped, and your loop stops sounding like a clean preset demo and starts sounding like something Slayr could actually jump on. Here is how the sound is built, step by step.
You do not need a finished beat to start. The Slayr loops sit in step 1 and again at the bottom, ready to play.
Tempo sits fast. Producers recreating Slayr keep it anywhere in the 140 to 160 range, and a tutorial from Wa, who produces a lot of Slayr's catalog, lands at 150 as a safe default. Pick a tempo in that window and let it run, because the energy comes from the chords and the 808 rather than from the drums working overtime. At this speed a simple hat pattern already feels frantic, so you do not need rapid fire for the beat to hit.
The key is where Slayr breaks from typical rage. Where a lot of rage beats stay in a dark minor, the W and Slayr sound usually sits in a major key, and the Wa tutorial builds the whole beat in D major using seventh chords. If you struggle to stay in key, run an auto key plugin to detect the scale, then lock your piano roll to that root in a major or major pentatonic layout so every note you place stays in key. Keep the loop short, usually a two bar progression that repeats, because the mood comes from the sound and the layering, not from constant movement.
Start with seventh chords, which are four note chords built by stacking every other note in the scale. A common underground move is to drop one random starting note, then build the chord by going down three keys, down four, then down three again, and repeat that shape for the next chords. The wider rage lane often leans on a one six seven or a one seven six progression, so borrow that movement, keep it to two bars, and let it loop. To break the repetition, add a single note on top of the last chord on the fourth bar, a tiny change that keeps the loop from feeling static.
Then invert and tweak to taste. In the Wa tutorial one chord gets its bottom note pushed up an octave simply because it sounds better, and that kind of small inversion is worth chasing by ear. End the progression on the seventh chord if you can, because the seventh resolves neatly back into the one and makes the four bar loop repeat cleanly. The progression itself is simple on purpose, since the character is going to come from how you layer and process these chords, not from complex harmony.
Layering the chords is the single most important step, and nearly every rage and plugg tutorial repeats it. Build your main progression once, then stack two or three different sounds playing the exact same chords. Producers pull these from Serum, Vital, Purity, Zenology and even the stock 3x oscillator, mixing an ambient, spacey pad for width with a shorter, punchier chord sound for attack, plus bells or keys on top for sparkle. One layer can keep the original note gaps while another gets stretched so the notes hold through, which thickens the progression without adding new notes.
Clean up each layer so the stack does not turn to mush. EQ out the harsh high hiss you often get from synth presets, add a touch of reverb for space, and cut the low end off the chords so they do not clash with the 808. For the classic slightly detuned, nostalgic rage tone, run a layer through a detune or elastic pitch plugin and push it a tiny amount, around half a cent, so it drifts just enough to sound like the W records. The goal is a wide, rich chord bed, not more melody.
Leads in this lane are usually held longer than the chords rather than played as busy runs. Pick a note from the chord, often the fifth, and use the empty space around the chords to drop in a few extra notes until you find a phrase you like. Once the first phrase works over the first chord, copy it and shift the notes so it fits the next chord, keeping the same melodic shape across the loop. A reliable way to find counter melodies is to lock the piano roll to the scale and play the lead in live with your typing keyboard, which keeps everything in key and feels more natural than clicking notes.
Layer the lead the same way you layered the chords. Copy the lead an octave up for a crispy top end, or remake a signature W style lead in a simple synth like the 3x oscillator and stack it under the bright version. Keep any siren or glide lead buried in the mix so it adds flavor without overpowering the beat, and treat the lead with a stereo widener and a short delay, for example a free Kilohertz widener and a delay set around three eighths, to push it wide without clutter.
Keep the drums simple on purpose so there is room for a rapper and the beat stays catchy. A common base is a one step hat pattern, which is just a two step pattern double timed, with some notes cut out so it breathes, plus a trap open hat that follows where the chords hit. Add a clap and layer it with little accent notes that act like snares, and let the 808 follow the root of each chord. Build a two or four bar pattern, then copy it with only slight variations at the end rather than reinventing every bar, because repetition with small switch ups is the whole point.
The details that sell it are chants, snare rolls and a bit of darkness. Drop a chant or a vocal chop at the start of every four bars to catch the ear, and add a fast snare roll in the last two bars so the turnaround slams when the loop repeats. For the 808, a caustic, hard hitting sample with a clipper for saturation and a short tail works well, following the chords down and back up. Pitch your claps and snares down a little for a darker tone, and accent the snare in the spaces the 808 is not occupying so the low end stays clean.
The vibe lives in a loud, slightly overblown mix that still leaves the 808 room to hit. Keep your chord and melody layers free of low end by EQing out the lows, so nothing fights the bass. A key trick from the Wa tutorial is to automate an EQ on the bass sound, cutting most of its low end whenever the 808 is playing so the two never clash, then letting it back in during the intro or the parts where the drums drop out.
Add saturation and clip for grit rather than volume alone. Turn on a clipper on the 808 and push a little saturation into it so it reads as hard and present, and keep the sample short so it stays tight. Use subtle automation to build the arrangement, cutting layers in and out for the intro, dropping a sound effect at the very start to grab attention, and automating a volume fade on the master for the outro. The aim is dirty and energetic, not destroyed.
Once the major chords, the layered synths and the simple clipped drums sit together, the hardest part of the sound is done. The part that eats the most time is building and layering that bright, in key chord progression, so instead of fighting the piano roll you can grab a free hand-played loop in exactly this rage and plugg lane, drop it straight into your session, and build the 808, the leads and the drums around a progression that was actually performed.
Every loop on ndacompany.de is hand-played by real producers, free to download and never AI generated, so you can audition ideas fast and keep the ones that spark something. There is no login wall to hear them, and a free account simply lets you save your favorite loops and come back whenever inspiration hits, so your next slayr type beat starts with a real idea instead of a blank arrangement.
Pick a loop and drag it into your DAW. 808 under it, clap on top, your first Slayr beat is running.
All Slayr loopsTempo, key and mood of the Slayr loops, straight from our catalog.
| Loop | BPM | Key | Vibe |
|---|---|---|---|
| Expertise | 140 | D#min | Virtual |
| Midget | 140 | Ambient, Hyper, Virtual | |
| Dome | 155 | Hyper, Virtual | |
| Enhanced | 157 | Bmin | Ambient, Hyper, Virtual |
| Crazy Life | 140 | Emin | Happy, Hyper, Virtual |
| Crashed | 140 | Fmin | Hyper, Virtual |
| Hex Hex | 147 | Happy, Hyper, Virtual | |
| Flossin | 140 | Ambient, Hyper, Virtual | |
| Hunter | 154 | Happy, Hyper, Virtual | |
| Jalapeno | 140 | Emin | Ambient, Happy, Virtual, Hard |
Slayr beats sit fast, anywhere from 140 to 160 BPM, and a tutorial from Wa, who produces much of Slayr's music, lands at 150 as a safe default. The energy comes from the chords and the 808, so the drums can stay simple.
Usually major, which is where Slayr breaks from darker rage. The Wa tutorial builds the beat in D major using seventh chords. Run an auto key plugin to find the scale, lock your piano roll to a major or major pentatonic layout and keep the loop short.
Seventh chords, built by stacking every other note in the scale, often moving down three then four keys. The wider rage lane leans on one six seven or one seven six progressions. Keep it to a repeating two bar loop and add one note on top of the last chord for variation.
Simple on purpose. A one step hat pattern with notes cut out, a trap open hat following the chords, a clap with snare accents, and an 808 following the chord roots. Add a chant every four bars and a fast snare roll in the last two bars, and pitch claps and snares down for a darker tone.
Keep the chords and leads free of low end, and automate an EQ on the bass to cut its lows whenever the 808 plays so they do not clash. Clip and saturate the 808 for grit, keep it short, and use automation to cut layers in and out and fade the outro.
You can download free hand-played loops in this rage and plugg lane on ndacompany.de and build your beat around them. The loops are never AI generated, there is no login to listen, and a free account just lets you save your favorites and return anytime.
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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