#guitar trap

[indepthjaybeats]

Time Goes Bye (instrumental)

"Time Goes Bye" by Indepthjaybeats is a modern trap beat that stands out with its guitar-driven sound, absence of samples, and hard 808 bassline. This instrumental exemplifies the evolving landscape of trap music, blending organic and electronic elements to create a track that is both unique and compelling.

The core of "Time Goes Bye" is its guitar-driven sound. The guitar provides a rich, melodic foundation that gives the track a warm, emotional depth. Unlike many trap beats that rely heavily on synthesized sounds and samples, the use of a live guitar adds a distinctive organic touch. The guitar riffs are skillfully played and seamlessly integrated into the mix, offering a refreshing contrast to the electronic elements that dominate modern trap music. The melodic lines played on the guitar are expressive and soulful, giving the track a contemplative and somewhat nostalgic feel.

One of the standout aspects of "Time Goes Bye" is the decision to forego samples entirely. This choice emphasizes originality and showcases Indepthjaybeats’ ability to craft compelling music from scratch. The absence of samples allows the natural tones of the guitar to shine through, unencumbered by any external audio elements. This approach results in a cleaner, more focused sound that highlights the creativity and musicianship involved in the production process.

Complementing the guitar is a hard 808 bassline that provides a powerful low-end punch. The 808s in "Time Goes Bye" are deep and resonant, delivering the kind of bass that hits hard and is felt as much as it is heard. The bassline is meticulously programmed to create a solid rhythmic foundation, syncing perfectly with the beat’s overall groove. The hard-hitting 808s ensure that the track maintains the energy and intensity characteristic of trap music, while also providing a robust counterpoint to the melodic guitar lines.

The drums in "Time Goes Bye" are sharp and impactful, featuring crisp snares, rapid hi-hats, and punchy kicks. The percussive elements drive the rhythm forward with a relentless momentum, maintaining a high level of energy throughout the track. The drum patterns are complex and dynamic, featuring well-timed breaks and variations that keep the listener engaged. The interplay between the drums and the 808 bassline creates a powerful rhythmic synergy that underpins the entire beat.

The structure of "Time Goes Bye" is thoughtfully arranged to maintain interest and flow. The track features well-timed transitions and breaks that allow different elements to shine while ensuring a cohesive overall sound. Each section of the beat is crafted to highlight the interplay between the guitar, 808 bassline, and drums, creating a dynamic and engaging listening experience. The arrangement ensures that the track remains fresh and interesting, avoiding the pitfalls of repetition and monotony.

The production quality of "Time Goes Bye" is top-notch, with each element clearly defined and balanced within the mix. The guitar sounds natural and expressive, the 808s are powerful and punchy, and the drums are sharp and precise. This level of production excellence ensures that the track sounds polished and professional, making it suitable for a variety of applications, from background music to the foundation for a full song.

In summary, "Time Goes Bye" by Indepthjaybeats is a standout modern trap beat that combines a guitar-driven sound, the absence of samples, and a hard 808 bassline to create a track that is both unique and compelling. It captures the essence of contemporary trap music while also incorporating distinctive elements that set it apart. Indepthjaybeats’ skillful blending of these components results in a dynamic and engaging instrumental that will resonate with fans of modern trap and beyond

[mobaplus62]

MusicTaste99 - Beauty In You (No Copyright Music)

[cubbihue]

have a quick doodle of chimmy changa using an inaccurately drawn guitar or smnth.

[tavolgisvist]

By the end of the 1950s Rory Storm and The Hurricanes were Liverpool’s top band. The great peculiarity of Storm’s character was that he spoke with a severe stammer, which always disappeared when he was performing. A flamboyant Teddy Boy, he had a vast blond quiff that he would ostentatiously comb on stage: in old black-and-white photographs he seems to be built entirely of silver. He was an athletic man, a natural extrovert, given to daredevil stage leaps (he once broke a leg jumping from a balcony for a photograph). He’d wave the mike stand around and, strangely, pour lemonade over himself.

I’m told he was once apprehended by a railway porter on Bootle station for writing ‘I Love Rory’ on a wall. The other groups worshipped him; George Harrison longed to join the Hurricanes but was told he was too young.

Rory found a local drummer, another refugee from skiffle, called Richard Starkey. He lured the boy with promises of a summer season at Butlins holiday camp in Pwllheli, where each week brought a fresh coach-load of excitable girls. In line with the Hurricanes’ big-thinking policies the drummer was allocated a new name, Ringo Starr. (This era would be lovingly re-created in a 1973 him featuring Ringo with Billy Fury and David Essex, That’ll Be the Day.) Starr’s reputation grew so fast in his time with Rory, that he was eventually poached by the Beatles to replace Pete Best. <…> Gerry Marsden, like Ringo, came from the docklands of Dingle. He got a job on the railways, he played skiffle and then got himself a beat group, the Pacemakers, who served their time in Hamburg. They were game entertainers, these boys, who could play anything in that week’s Hit Parade if it’s what the crowd wanted. Having a piano-player made them a bit different, too, and offered them some range. Gerry had a funny way of holding his guitar high on his chest: it was so he could see his fingers.

Brian Epsten watched them in action at the Cavern, and saw in Gerry something of the same star potential he perceived in the Beatles and Cilia Black. He brought George Martin to see them play in Birkenhead, and they were duly signed to an EMI label, Columbia.

Once in the studio they were more compliant than Lennon and McCartney, and readily agreed to cover the song, ‘How Do You Do It?’, that the Beatles had rejected. Good thing, too. It got them to Number 1 straight out of the traps, and a month before the Beatles at that.

Paul McCartney would recall much later: ‘The hrsj: really senous threat to us that we felt was Gerry and the Pacemakers. When it came time for Mersey Beat to have a poll as to who was the most popular group we certainly bought and filled in a lot of forms, with very funny names , . . I’m not saying it was a fix, but it was a high-selling issue, that.’ <…> …Cilia’s first job in show business was to make the tea in the Cavern office. She was in fact the quintessential Scouser: a docker’s daughter from the Catholic enclave Scotland Road. In the family parlour stood a piano from the Epsteins’ North End Music Stores, just up the road.

When the 60s started she was a typist in town who spent her lunch hours watching the beat groups at the Cavern, where she picked up some spare-time work. Soon she was to be found on stage as well, performing guest spots with Kingsize Taylor and the Dominoes, the Big Three and Rory Storm and the Hurricanes. (Sometimes she would duet with Ringo on his big number ‘Boys’, but turned down a chance to go with the band to Hamburg.)

One night at the Iron Door her girlfriends urged the Beatles to give Cilia a go. ‘OK Cyril,’ John Lennon said. ‘Just to shut your mates up.’ She sang Sam Cooke’s version of ‘Summertime’, and her career was on its way. It was Lennon who recommended ‘Cyril’ to Epstein. ‘I fancied Brian like mad,’ she recalled. ‘He was gorgeous. He had the Cary Grant kind of charisma, incredibly charming and shy. He always wore a navy-blue cashmere overcoat and a navy spotted cravat. I know now it was a Hermes but then I still knew it was expensive.’ She failed an early audition for him, backed by the Beatles, but he saw her again at the Blue Angel and changed his mind.

(Liverpool - Wondrous Place by Paul Du Noyer, 2002)

Part (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI), (XII), (XIII), (XIV), (XV), (XVI), (XVII), (XVIII), (XIX), (XX), (XXI), (XXII)

[possibly-in-wonderland]

*Hotel California is playing in the background of an early emh video*

Me: HM.

[dontstopindiepop]

Rose Melberg at the International Pop Underground Convention, 1991

[lilacerull0]

I heard telephones, opera house, favorite melodies

I saw boys, toys, electric irons and TV's

My brain hurt like a warehouse, it had no room to spare

I had to cram so many things to store everything in there

[geee-three]

also i still think kohanes oshi mark should be the camera not the hamster

[peachyseen]

Shoutout to Reverse 4 You for giving us the first realistic guy with a guitar scene.

[savage-kult-of-gorthaur]

INDIE GIRLS JUST WANNA PLAY IN A TWEE BAND -- CLASS OF '93.

PIC(S) INFO: Spotlight on Sacramento, CA-based indie/twee-pop band TIGER TRAP, performing live at Brownies in NYC, c. Autumn 1993. 📸: @lauren_a_krohn.

Source: www.picuki.com/media/3308515145981337498.

[lasvegastrillgod]

I mixed this track for Shan sometime last year but it lead to me writing a good amount of material that lead to the concept for that became Sermon For Sinners.

Addiction is a weird thing. I used to think I couldn’t live without certain things or certain people… all I really need is my sense of self and my common sense. I’m addicted to working on art and music instead of codiene. I have a lot of friends who are still lost and do both. This whole year has been fuel by drugs. Next year I’m slowing down. SFS is probably gonna be the most unique emo project I make due to circumstances I won’t ever be in again.

Rose Gold Oleander is a trill project. Hope it brings you some peace when I finally drop it.

[yellowsubiesdance]

don’t love this bitch, she’s pissing me off with her shitty responses and lack of thorough communication

[indepthjaybeats]

"Think About It - Free Guitar Trap Beat | Freestyle Rap Instrumental 2024"

Looking for a fresh beat to inspire your next freestyle? "Think About It" is a captivating guitar-driven trap instrumental, perfect for freestyle sessions and recording new tracks. 

 ✅ Free for non-profit use (please credit in title/description) 

🔥 Purchase a license for profit use: [Your Purchase Link] 📧 Contact: jason@indepthjaybeats.com **Don't forget to Like 👍, Comment 💬, and Subscribe 🔔 for more free beats!

[mitamicah]

I see a lot of people have made covers of the snippet of Everybody's Waiting (the new JO track)

I may do it too but at the same time I am hesitant given that I am 90% sure they won't see it (since everything else I'd ever made have never been noticed by them - Bojan's big share yesterday included) and if by chance it is getting seen I am not sure how I'd feel having the first thing noticed by them be just another cover

I am probably overthinking things again

[02zhoonie]

i have no words besides FUCK