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KlangFunke

Your Assistant for Perfect Music Prompts

Create professional prompts for Suno AI in 6 simple steps

Features

6-Step Wizard

6-step wizard for structured prompt creation

AI Generator

AI-powered lyrics generator

Templates

Save and share your templates

Power Prompts

Professional templates for every music style – from cinematic to metal

*Style-inspired templates – no official affiliation with the artists mentioned

Buddy Guy Style – Chicago Blues
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Artist

Buddy Guy Style – Chicago Blues

Chicago blues / electric blues / modern blues / blues rock in Buddy Guy style (modern Chicago blues era, 1960s–1990s): Buddy Guy's iconic Fender Stratocaster (polka-dot signature, 57/58 sunburst reissues) through a fully cranked Fender '59 Bassman 4x10 tweed (volume as a gain stage, controlled via the guitar's volume knob), Fender Super Reverb and Victoria 45410, later era also Marshall JCM800. Dunlop BG-95 Buddy Guy signature Cry Baby wah, Ibanez TS9 Tube Screamer, Dunlop Rotovibe and Electro-Harmonix Holy Grail reverb for aggressive, dynamically percussive blues leads with fingernail picks, extreme bending and controlled feedback sustain (from intimate pianissimo to screaming feedback). Gibson Les Paul Custom (Black Beauty) for cutting fills and call-and-response, Guild Starfire IV for warm, airy semi-hollow vintage blues rhythms. Running walking blues bass (Fender Precision through Ampeg SVT-CL 8x10, fingerstyle, pure DI/tube without effects). Ludwig/Gretsch vintage kit (22" kick, deep snare) with Zildjian A-Custom: laid-back Chicago blues shuffle, dynamic hi-hat accents, ghost notes on the snare, also slow blues in 12/8 feel. Hammond B3 + Leslie 122, Wurlitzer 200A and acoustic upright piano. Optional horn section (trumpet, tenor saxophone). Raw, highly dynamic Chicago blues tenor (aggressive shouting to intimate falsetto, gritty chest voice with rasp and twang, blues cry). PRODUCTION SECRETS: volume as a gain stage (loudly cranked tweed amps via the volume knob), close miking (SM57 + large-diaphragm Neumann U87 / Royer R-121 in the room), minimal track layering, live-in-the-studio, barely any click track (organic micro-timing variations), call-and-response dynamics.

Chicago BluesElectric Blues110 BPM
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Saliva Style – Nu Metal / Post-Grunge
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Artist

Saliva Style – Nu Metal / Post-Grunge

Post-grunge / nu-metal / alternative metal / hard rock in Saliva style (late 1990s to mid-2000s, peak era 2001–2004): a brutal quad-tracked rhythm guitar wall from a Gibson Les Paul Standard through a Mesa/Boogie Dual Rectifier and a baritone guitar through a Bogner Uberschall, plus a lead guitar (PRS Singlecut / Gibson Les Paul) through a Marshall JCM2000 DSL100. Heavy percussive palm-muting, riff-driven drop-tuned power chords (Drop-D/Drop-C), grooving. Pedals: Dunlop Cry Baby wah, Ibanez TS9 Tube Screamer as a clean boost in front of the amp, Boss DD-3 delay, MXR Phase 90, Digitech Whammy. Bass (Dave Novotny): Music Man StingRay 4/5-string and Fender Precision through Ampeg SVT-CL + SVT-810E "Fridge" and Tech 21 SansAmp Bass Driver DI – pick playing, driving, doubled exactly to the kick drum, heavily compressed and overdriven (parallel bass distortion). Drums (Paul Crosby): Pearl Masters Custom maple kit with deep shells, 14"x6.5" brass/phosphor-bronze snare, Zildjian A-Custom/K-Custom plus sample triggering – punchy, straight, powerful backbeat drumming, cymbal accents on beats 1 and 3. Electronics: Akai MPC (sampling elements, sub-drops), Roland Fantom (subtle industrial pads), Roland sampler/synth (sub-bass drops, noise risers), sparse vinyl scratches. Vocals (Josey Scott): raw, punchy baritone, seamless transition from rhythmic rap-rock talk-singing in the verses to aggressive distortion belting, screaming and guttural falsetto-growl in the chorus (Shure SM7B). Backing: raw group shouts and harmony octaves in the refrain. PRODUCTION SECRETS: quad-tracking the rhythm guitars (2 left / 2 right, Marshall JCM2000 bite + Mesa Rectifier low-end), drum sample triggering/layering (snare + kick), parallel bass distortion (clean sub-DI beneath a distorted SVT/SansAmp track), vocal layering (3–4 chorus doubles + a lower whisper/growl track + hard octave doublings).

Nu MetalPost-Grunge120 BPM
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Godsmack Style – Alternative Metal / Nu Metal
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Artist

Godsmack Style – Alternative Metal / Nu Metal

Alternative metal / nu-metal / post-grunge / hard rock in Godsmack style (late 1990s to 2000s): a brutal quad-tracked rhythm guitar wall from a McNaught Singlecut Custom through a Mesa/Boogie Triple Rectifier (low-end power, hard left) and an ENGL Powerball / Marshall 1967 Plexi (mid-bite, hard right), Mesa 4x12 Recto cabs. Plus a cutting lead guitar (Gibson Les Paul Custom / PRS Custom 24) through a Marshall Plexi. Percussive palm-muting, riff-driven drop-tuned power chords (Drop-D / Drop-C, almost exclusively minor), a Boss NS-2 Noise Suppressor for dead-silent tight chugs. Pedals: Dunlop Cry Baby DCR-1SR/2SR rack wah, Boss PH-2 Super Phaser, Boss DD-3 digital delay, Dunlop Rotovibe. Bass (Robbie Merrill): Spector Euro 4LX and Spector NS-2 (EMG PJ) through SWR 750x / Gallien-Krueger Fusion 550 / SWR Goliath 4x10 with a Darkglass B7K preamp – fingerstyle plus pick, doubled exactly to the kick drum, a wiry percussive overdriven grind. Drums (Shannon Larkin): Yamaha Oak Custom kit, Iron Cobra double-bass pedals, Sabian cymbals – 2x bass drum, snare, rack toms, floor tom, hi-hat, ride, crash, china, tribal tom-heavy fills parallel to the modern hard-rock kit, SSL G-Master Buss Compression for an aggressive snare crack. Keys: Hammond B3 organ and Korg Triton synth pads as sporadic dark background textures. Hand percussion: djembe, bongos and talkbox as percussive doubling over kick/snare (Sully Erna). Vocals (Sully Erna): an aggressive, guttural and percussive low baritone with a gritty chest voice, compressed throat rasp, raw twang and a hard-hitting driving cadence; Alice-in-Chains-inspired modal minor harmonies in the chorus. PRODUCTION SECRETS: quad-tracking the down-tuned guitars (2 Mesa Triple Rectifier low-end left + 2 ENGL Powerball / Marshall Plexi mid-bite right, hard L/R), tribal percussion parallel to the modern kit, SSL G-Master Buss Compression for the snare crack, percussive doubling (talkbox/bongos/djembe over kick/snare), vocal thickening (centered main + tight compressed whisper track + low baritone third).

Alternative MetalNu Metal120 BPM
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The Black Keys Style – Garage Blues Rock
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Artist

The Black Keys Style – Garage Blues Rock

Garage rock / blues rock / indie rock / lo-fi / psychedelic blues in The Black Keys style (2000s–2010s indie/garage rock revival): Dan Auerbach’s raw, lo-fi vintage guitars – Harmony H78 (DeArmond gold-foil pickups) and Danelectro 56 U2 (lipstick pickups) plus Gibson Les Paul Goldtop, Supro Dual Tone and Fender Telecaster – through Fender Tweed Deluxe (5E3), Marshall JTM45 and Ampeg Gemini I (cranked for creamy tube breakup). Fuzz layering from EHX Big Muff (Russian green & op-amp), Shin-ei Companion FY-2 and Analog Man Sun Face, plus Boss OC-2 octave for fat sub-octave riffs, Dunlop Cry Baby wah, Ibanez TS9 and Echoplex EP-3 tape delay (slapback). Riff-driven, heavy, pentatonic-bluesy playing with syncopated groove and raw palm-muting. Monophonic bass (1970s Fender Precision / Guild Starfire) follows the guitar riff exactly, through Ampeg SVT-CL and B-15 Portaflex. Ludwig Vistalite / vintage 60s maple kit (22" kick, 13" rack tom, 16" floor tom) with Acrolite / Supraphonic snare: dry, punchy, unpolished 4/4 stomp groove with heavy snare backbeat, Glyn-Johns mono-overhead miking. Vintage keys: Mellotron M400, Wurlitzer 200A e-piano, Farfisa Compact combo organ, Moog Sub 37. Gritty blues-rock baritone with chest voice and nasal edge (Dan Auerbach), falsetto backing choirs. PRODUCTION SECRETS: heavy tape saturation, dry mono-overhead drum miking (Glyn Johns), fuzz layering with parallel clean DI transients, spring/slapback echo chambers, slapback delay on vocals, raw lo-fi garage sound.

Garage RockBlues Rock115 BPM
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Sacred Music / Church Music – Liturgical
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Genre

Sacred Music / Church Music – Liturgical

Sacred / church music from Gregorian chant to the present (Renaissance vocal polyphony, Baroque oratorio, classical mass, modern worship). Central instrument: the pipe organ – Baroque Silbermann organ (clear, silvery) or symphonic Cavaillé-Coll (grand, romantic), stops such as Principal 8', Gedackt 8' and Trumpet 8', from quiet continuo to full organ (tutti). Plus a Baroque orchestra (violin, viola, cello, double bass arco, Baroque flute, oboe da caccia, natural trumpets), positive organ and harpsichord continuo, subtle digital pads and classical guitar for modern worship. Solemn rhythm: orchestral timpani, ceremonial cymbal swells and – only in modern worship – a discreet brush/cajón kit. Vocals: mixed SATB choir (classically/operatically trained, pure intonation, straight low-vibrato early-music tone or full romantic operatic sound) plus a pure soprano/tenor soloist; alternatively intimate undistorted pop vocals in modern worship. PRODUCTION SECRETS: natural cathedral reverb (2–6 seconds), Decca-tree main miking plus spot mics (Neumann U87, Schoeps Colette) through Avalon/Neve tube preamps, COMPLETE avoidance of hard compression and brickwall limiting – the full dynamic range from whispered pianissimo to organ tutti fortissimo is preserved. Era: medieval to modern. Key: mostly C/D major (solemn) with a strong D-minor and church-mode presence (Dorian, Mixolydian). 60–120 BPM, 4/4 or 3/4, also free-metre chant. Languages: Latin, German, English. Themes: faith, praise, spirituality, comfort, eternity.

Sacred MusicBaroque Oratorio80 BPM
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Savoy Brown Style – British Blues Rock
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Artist

Savoy Brown Style – British Blues Rock

British Blues Rock / Electric Blues / Boogie Rock in Savoy Brown style (late 60s & 70s British blues boom): Kim Simmonds' iconic Gibson Flying V through Marshall Super Lead / JTM45 100W Plexi (fully cranked British power-tube crunch) with Dallas Arbiter Fuzz Face (germanium + silicon), Vox V846 wah-wah, Colorsound Power Boost / Treble Booster and Echoplex EP-3 tape echo (slapback on solos) for singing blues sustain, expressive bending and melodic lead picking. Gibson Les Paul Custom for heavy boogie riffs and bottleneck slide, Gibson ES-335 for warm semi-hollow British blues leads, Fender Stratocaster for brighter funk-blues licks. Hammond B3 / C3 with Leslie 122 for percussive blues comping and glissandi, boogie-woogie / honky-tonk piano. Amplified, overdriven blues harp (harmonica) through a bullet microphone. Running walking bass (Fender Precision / Jazz Bass through Marshall Bass / Ampeg SVT Classic 8x10, driving root-note eighths, light tube saturation). Ludwig Super Classic kit (22" kick, 14" Supraphonic snare) with Paiste 2002 and Zildjian Avedis: dynamic open blues shuffle, syncopated backbeats, dynamic ghost notes. Powerful, hoarse bluesy baritone-to-tenor (Chris Youlden sonorous and raw, Dave Walker driving and earthier classic-rock shout). PRODUCTION SECRETS: live-in-studio tracking (natural bleed, organic room sound), stereo panning (rhythm guitar hard left, organ hard right, lead guitar and vocals center), tape saturation on the drum buses and tape delay on the lead guitar for a dense, earthy 70s sound.

Blues RockElectric Blues120 BPM
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Freddie Dredd Style – Memphis Phonk
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Artist

Freddie Dredd Style – Memphis Phonk

Dark underground / drift / Memphis phonk (Freddie Dredd style). Pitch-shifted Roland TR-808 kick & sub-bass, punchy dry cowbell melody, extremely short Memphis snares, heavily sidechained hi-hats (bouncy, staccato, hard-edged, boom-bap/trap intersection). Long-sustain 808 sub-bass slides. Pitched lo-fi vinyl sample slices (blues/bossa nova/dark jazz chops), dark Fender Rhodes chops, dark retro synth pads, mellotron flutes. E-mu SP-1200 vintage sampler grit. Distorted, dull-monotone rap baritone (F2–D4, ~110 Hz), band-pass filtered (HP 150–200 Hz, LP 5–6 kHz), heavily compressed & sidechained, VHS/cassette tape saturation, bitcrusher. Root key C minor (also F minor), 4/4, ~130 BPM (often rapped in half-time).

Underground PhonkDrift Phonk130 BPM
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Hans Zimmer Style - Cinematic
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Artist

Hans Zimmer Style - Cinematic

Epic orchestral sounds with pulsating synths and dramatic strings

Film Score100 BPM
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Billie Eilish Style - Dark Pop
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Artist

Billie Eilish Style - Dark Pop

Bedroom production (Finneas): Whisper vocals with ASMR intimacy, Moog Sub 37 for extreme sub-bass, Omnisphere 2 for dark pads, Strymon BigSky for ethereal reverb. Minimalism: often just sub-bass, dry snare and voice.

Dark PopElectropop80 BPM
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Daft Punk Style - French Touch
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Artist

Daft Punk Style - French Touch

French Touch (Homework to Discovery, 1997-2003). Roland TR-909 (THE kick/snare), TR-808, LinnDrum. Roland Juno-106 (pads/bass), TB-303 (acid lines), Sequential Prophet-5, Oberheim OB-8, Minimoog (lead sounds). Fender Stratocaster direct-in (spiky funk sound), Gibson Les Paul (heavier textures). Mackie mixer pre-amp overdrive for crunch. Alesis 3630 sidechain pumping ("secret weapon"). DigiTech Talker/Sennheiser VSM201 vocoder, talkbox. Roland RE-201 Space Echo. Low-pass filter on disco samples (Chic, George Duke). Mixolydian scales for funk flavor.

French HouseFilter House120 BPM
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Chicago House (Classic Era)
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Genre

Chicago House (Classic Era)

Classic Chicago House (1984–1992) - Roland TR-909 (pumping kick, cutting rimshots), TR-707 for cowbells. Roland TB-303 for squelching acid lines. Korg M1 "Organ 2" and house piano, Roland Juno-106 for warm pads. Sampled Fender Rhodes for deep house vibe. Akai S1000/MPC60 for soul vocals and disco loops. Lexicon PCM70 reverb, Boss DD-3 delay. Soulful diva vocals or spoken word. Parallel compression for pumping drums, ghost notes for swing, lo-fi 12-bit sampling texture.

Chicago HouseDeep House122 BPM
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Metallica Style - Thrash Metal
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Artist

Metallica Style - Thrash Metal

Wall of Sound - Quad-tracked rhythm guitars, Mesa Mark IIC+ / Diezel VH4, Roland JC-120 for cleans. Kirk Hammett Wah solos. Scooped Mids (V-Shape EQ). Lars Ulrich double bass with drum triggering.

Thrash MetalHeavy Metal180 BPM
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Taylor Swift Style - Eras
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Artist

Taylor Swift Style - Eras

Diary songwriting with Jack Antonoff production: Gibson J-180 acoustic (star inlays), Fender Telecaster through Vox AC30. Sequential Prophet-5 for Midnights synth pads, Strymon BlueSky shimmer reverb. Fender Precision Bass + Roland TR-808 beats. Mezzo-soprano "talk-singing" with 10+ vocal layers. Famous "Swiftian Bridge" as emotional climax.

Synth-PopIndie-Folk110 BPM
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AC/DC Style - Hard Rock
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Artist

AC/DC Style - Hard Rock

No effects, straight into the amp: Angus Young Gibson SG (1961/62) → Marshall 1959 Super Lead (Plexi) + Schaffer Replica Boost. Malcolm Young Gretsch Jet Firebird ("The Beast", bridge humbucker only) → Marshall Super Bass. Fender Precision Bass, Sonor Drums (Phil Rudd "Human Metronome"). L/R stereo panning. Less gain than expected - hardness from pick attack and power tube saturation. Vocals: Bon Scott – hard, raspy tenor with nasal coloring, aggressive grit technique, extremely dry mix without reverb.

Hard RockBlues Rock130 BPM
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Rock'n Roll - Classic Style
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Genre

Rock'n Roll - Classic Style

Classic blues-infused Rock & Roll from the 60s/70s Golden Era: Fender Telecaster (Open-G tuning) → tube amps with fuzz-tone. Gibson Les Paul → Vox AC30 for lead/slide. Fender Precision Bass → Ampeg SVT (melodic driving). Laid-back swing drums, snare slightly behind the click. Vox Continental organ, honky-tonk piano, blues harmonica. "The Weave" - interlocking guitars where rhythm and lead blend. Raspy energetic baritone vocals with blues phrasing.

Blues RockRock and Roll120 BPM
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Nirvana Style - Grunge
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Artist

Nirvana Style - Grunge

Quiet-loud dynamics: Kurt Cobain Fender Jaguar 1965 (DiMarzio Super Distortion + PAF humbucker) → Mesa/Boogie Studio .22 + Crest 4801 + Marshall 4x12. Boss DS-1 (Nevermind) / DS-2 (In Utero). EHX Small Clone "underwater" chorus. Krist Novoselic Gibson Ripper through Ampeg SVT. Dave Grohl Tama Artstar II (Bonham drums). Double-tracking (Butch Vig), room ambience (Steve Albini). Eb standard tuning.

Seattle GrungeAlternative Rock115 BPM
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Rage Against the Machine Style - Rap Metal
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Artist

Rage Against the Machine Style - Rap Metal

Revolutionary rap-metal without synthesizers/samples: Tom Morello Custom "Arm the Homeless" Stratocaster (EMG 81/85) + Fender Telecaster → Marshall JCM800 2205. Killswitch technique (toggle-switch DJ scratches instead of turntables). DigiTech WH-1 Whammy for siren sounds & pitch-shifting. Dunlop Cry Baby Wah, Boss DD-3 Digital Delay, MXR Phase 90, DOD FX40B EQ. Tim Commerford: Music Man StingRay → Ampeg SVT-II Pro, heavily distorted (fingerstyle + pick). Brad Wilk: Tama Artstar, Bell Brass Snare, funk-rock groove with ghost notes. Zack de la Rocha: Aggressive staccato rap-shouting, spoken-word with Shure SM58. Drop-D tuning, E minor. Production: GGGarth Richardson (Evil Empire), Brendan O'Brien.

Rap MetalFunk Metal96 BPM
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The Machine - Heavy Psych
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Artist

The Machine - Heavy Psych

The Machine (Solar Corona): Heavy Psych / Stoner Rock from the Netherlands. David Eering: Fender-style guitars (Mastery bridge/vibrato) → Vintage Fender Twin Reverb + Vintage Ampeg V4B → Custom Matamp-style 4x12 cabs. Wave Cannon (fuzz), JHS Morning Glory (clean/overdrive), Octavio, Wah, volume pedals, massive delays and modulations. No synthesizers – synth-like textures via extreme guitar modulation. Hans van Heemst: Heavy fuzz bass as stoic deep foundation. Drums: DrumCraft acrylic shells (24" kick, 12"/16" toms), 14" Gretsch wood snare, huge washy Meinl cymbals (22" ride, 20" crashes). David Eering Vocals: Laid-back, distant, dreamy, drenched in reverb and delay – voice as mystical instrument. Jam-based style, tracks over 17 minutes. Recorded at studio "De Zolder", Dirksland. C minor.

Heavy PsychPsychedelic Stoner72 BPM
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Rammstein Style - NDH
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Artist

Rammstein Style - NDH

March-like industrial precision - Richard Kruspe: ESP RZK-1/RZK-2 (EMG 81) → Mesa Dual Rectifier Rev C (quad-tracking up to 8 tracks). Paul Landers: Gibson Paul Landers Signature → Kemper (SansAmp PSA-1 profile). Flake: Roland A-37, Ensoniq ASR-10, Kontakt (industrial synths, orchestra samples). Sonor SQ2 drums (sample-layered for machine-like perfection). Till Lindemann: bass-baritone with rolling R, theatrical-operatic articulation.

Industrial Metal130 BPM
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Eminem Style - Detroit Rap
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Artist

Eminem Style - Detroit Rap

Hardcore hip-hop / horrorcore / mid-west chopper / pop-rap / rap-rock from the golden era 1999–2004 (Shady Records / Aftermath – The Slim Shady LP, Marshall Mathers LP, The Eminem Show). Producers: Dr. Dre, The Bass Brothers (Jeff & Mark Bass). Vocals through the iconic Sony C800G (present, brilliant highs) plus a Shure SM7B for the most aggressive takes, into an Avalon VT-737sp tube preamp/compressor. Drum core: Akai MPC 3000 (Dr. Dre backbone) plus E-mu SP-1200 for gritty, laid-back boom-bap grooves with MPC-quantized swing, Roland TR-808 for sub-bass and the short, dry, clap-layered "Dre snare", Roland TR-909 for driving accents. Keys: Rhodes Mark I stage piano, Yamaha Motif, Minimoog for deep basslines and Mellotron M400 for dark choirs and strings. Guitars/bass: Fender Stratocaster Custom Shop through a Fender Twin Reverb (rhythmic/staccato/funky-muted, Boss CE-2 chorus, MXR Carbon Copy slapback, EHX Big Muff), Gibson Les Paul Standard through a Marshall JCM800 for the rock-rap crossover, Fender Jazz Bass and Precision Bass through an Avalon U5 DI. VOCALS: a percussive, hyper-dynamic nasal tenor with complex internal rhyme schemes, staccato flows, hard consonants and abrupt dynamic shifts (quiet mumbling ↔ aggressive screaming). PRODUCTION SECRETS: excessive triple-tracking (lead precisely doubled – 1 normal track + 1 with a raised hysterical head voice; 1 center + 2 hard L/R for rhymes/accents), Dr. Dre high-end polish (10–12 kHz air band + SSL 4000 E Series compression, in-your-face), hard sidechain ducking of snare/kick against the bass, analog saturation via Neve preamps and an SSL G-Master bus compressor.

Hardcore RapHorrorcore92 BPM
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Amy Winehouse Style - Neo-Soul
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Artist

Amy Winehouse Style - Neo-Soul

Retro soul with jazz influences and Dap-Kings sound: Wurlitzer 200A, Gibson ES-335 through Vox AC30, Fender P-Bass with flatwounds through Ampeg B-15, vintage Ludwig kit, baritone sax foundation. Contralto vocals with slurring and laid-back phrasing.

SoulJazz100 BPM
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Soul - Modern R&B
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Genre

Soul - Modern R&B

Modern soul/R&B with warm emotive tenor: Steinway piano (ballad foundation), Fender Rhodes (shimmering legato pads), acoustic guitar (fingerpicking arpeggios), Fender Stratocaster (subtle R&B licks), jazz bass (melodic fill), drums (groovy, laid-back), string section (legato pads). Soulful tenor with melismas, stacked backing vocals, tube compressor, cathedral reverb.

SoulSoul88 BPM
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Aerosmith Style - Toxic Twins
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Artist

Aerosmith Style - Toxic Twins

Sleazy hard rock with blues and funk groove - Joe Perry (Les Paul 59, B.C. Rich Mockingbird) & Brad Whitford (Les Paul Goldtop) through Music Man HD-130 and Marshall Plexi

Hard RockBlues Rock110 BPM
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Mother's Finest Style - Funk-Rock
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Artist

Mother's Finest Style - Funk-Rock

Funk-rock fusion with gospel-infused power duet (1977). Moses Mo: Gibson Les Paul Custom → Marshall JMP 2203, Fender Stratocaster for clean funk. Vox Wah in verses, MXR Distortion+/Tube Screamer for solos. Wyzard: Fender Precision Bass (slap/pop) → Ampeg SVT, heavily compressed. B.B. Queen: Ludwig drums with dry snare. Fender Rhodes for rhythmic beds. Joyce Kennedy (gospel-rock belting) + Glenn Murdock (soul baritone) in call-and-response. Dry acoustics, vocal double-tracking, DI+amp bass blend.

Funk RockHard Rock115 BPM
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ZZ Top Style - Texas Boogie
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Artist

ZZ Top Style - Texas Boogie

Texas blues boogie with pinch harmonics and behind-the-beat timing - Billy Gibbons (Pearly Gates 59 Les Paul) through Magnatone Super 59 / Marshall Super Lead / Vox AC30. Peso coin for metallic attack. Doubled rhythm guitars (distorted + clean).

Blues RockBoogie Rock120 BPM
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Psychedelic Folk
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Genre

Psychedelic Folk

Psychedelic folk-rock with space atmosphere (1969) - Harptone 12-string acoustic for chorus-like rhythm, Gibson ES-335 for jazzy leads. Stylophone (pocket synth), Mellotron M400 for strings/flutes. Watkins Copicat tape echo. Fender Jazz Bass with flatwounds. Gretsch/Ludwig drums with extensive cymbal work. Extreme stereo panning.

Psychedelic FolkSpace Rock100 BPM
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David Bowie Style - Art Rock
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Artist

David Bowie Style - Art Rock

Theatrical art rock with linear escalation - Mick Ronson (Gibson Les Paul Custom) through Marshall Major 200W. Stylophone, EMS VCS 3, Chamberlin for alien textures. Gated reverb (Visconti technique).

Glam RockTheatrical Rock110 BPM
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Snoop Dogg Style - G-Funk
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Artist

Snoop Dogg Style - G-Funk

West Coast G-Funk (Dr. Dre production): Minimoog whistle leads with portamento glide, Oberheim OB-8 & Roland Juno-106 pad carpets, Akai MPC 3000 swing drums + LinnDrum layer, Fender Jazz Bass through Ampeg SVT. Fender Stratocaster clean funk through Roland JC-120. Sony C800G tube microphone → Neve 1073 → Teletronix LA-2A. 12kHz air boost. Extreme frequency splitting: sub-bass + whistle highs, mids scooped for Snoop's baritone presence. Rhyme doublings panned L/R (punch-ins).

G-FunkGangsta Rap92 BPM
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Everlast Style - Urban Blues
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Artist

Everlast Style - Urban Blues

Hick-Hop / Urban Blues - Martin 000-15M (Mahogany blues tone) & D-28 (strumming) → Fishman Aura Spectrum DI. Gibson ES-335 → Fender Twin Reverb + Boss BD-2 Blues Driver. MPC 2000XL swing drums. Smoky baritone, "street-weary" attitude, lazy phrasing. Vinyl crackle on live instruments.

Blues RockAlternative Hip-Hop85 BPM
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80s Synthwave
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Era

80s Synthwave

Retro-futuristic sound with analog synths and pulsating arpeggios

Synthwave118 BPM
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90s Seattle Grunge
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Era

90s Seattle Grunge

Raw, distorted sound with dynamic contrasts between quiet and loud

Grunge130 BPM
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70s Disco Fever
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Era

70s Disco Fever

Glitter ball era (Chic, Bee Gees, Donna Summer): Fender Stratocaster "chucking" (Nile Rodgers) through Fender Twin Reverb, Hohner Clavinet D6, Solina String Ensemble, ARP Odyssey. Four-on-the-floor kick, dry Ludwig drums, octave bass. Falsetto or soul diva vocals.

DiscoEuro-Disco124 BPM
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Seeed Style - Dancehall / Reggae
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Artist

Seeed Style - Dancehall / Reggae

Berlin Dancehall-Reggae powerhouse (Peter Fox, Boundzound, Dellé): Fender Stratocaster (skank chucking, middle position) and Gibson Les Paul Studio (rockier riffs) through Roland JC-120 / Marshall JCM800. Boss DD-7 dub delay, wah-wah, Ibanez TS9, EHX Small Stone Phaser. Nord Stage 3 (Rhodes/Hammond), Clavia Nord Lead 2X (dancehall leads), Moog Subsequent 37 (sub-basses + synth effects). Solina String Ensemble (brass doubling). Fender Jazz Bass / Music Man StingRay through Ampeg SVT-CL (analog-digital hybrid bass with 808 sub). Tama Starclassic drums + Roland SPD-SX trigger pads (808 kicks, dancehall claps). Fat brass layering: up to 12x doubled brass (trumpet, trombone, saxophone) with Empress Compressor. Dub delay shifting: Roland RE-201 Space Echo with manual feedback. Trio alternating vocals: punchy rap (Peter Fox), melodic tenor (Boundzound), rough patois toasting (Dellé).

DancehallDub95 BPM
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The Weather Girls Style - Disco / Hi-NRG
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Artist

The Weather Girls Style - Disco / Hi-NRG

Ecstatic Disco powerhouse (Martha Wash & Izora Armstead): Fender Stratocaster (bridge pickup, percussive funk chucking) and Gibson ES-335 (warm rhythm guitar) through Roland JC-120 / Fender Twin Reverb. Wah-wah, MXR Phase 90, Mu-Tron III Envelope Filter. Hohner Clavinet D6 (funky accents) + Fender Rhodes MK I. Sequential Circuits Prophet-5 (synth pads, leads). Minimoog (fat basslines + synth bass). ARP String Ensemble (orchestral carpet). Steinway Grand Piano (bright mix). Fender Jazz Bass (slap/octave bassing) through Ampeg SVT + Minimoog synth bass layering. Ludwig Classic Maple drums layered with Simmons SDS-V e-drums (disco tom sound). Four-on-the-floor, whipping snare on 2 and 4, open hi-hat on off-beat. Massive vocal layering: 4-8x doubled backing vocals, wide stereo panorama (Wall of Sound). Gated reverb on snare, plate reverb on vocals.

DiscoHi-NRG132 BPM
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ABBA Style - Swedish Pop
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Artist

ABBA Style - Swedish Pop

Swedish pop perfectionism: "Stacking" technique with Agnetha (Lyric Soprano, brilliance) and Anni-Frid (Mezzo, foundation). Polar Studios sound with 48-track Neve console. Fender Rhodes through Roland JC-120. Fender Stratocaster (clean, percussive). Moog Minimoog for basslines. Solina String Ensemble for orchestral shimmer. LinnDrum/Simmons drums (later hits). Studer A80 tape for saturation. Crystal clear production, boost 10kHz for shimmer.

Euro-PopDisco120 BPM
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Usher Style - R&B (Confessions Era)
🎤
Artist

Usher Style - R&B (Confessions Era)

Contemporary R&B of the 2000s (Confessions era). Producers: Jermaine Dupri, Bryan-Michael Cox, Lil Jon. Yamaha Motif 8, Roland Phantom (pianos, orchestral hits). Moog Minimoog Voyager for fat basslines. Korg Triton for lead synths. Fender Stratocaster / PRS Custom 24 (clean, funky) through Avalon VT-737sp DI. Akai MPC 3000/4000 as the heart. Layered snares (acoustic + 808 snap). Usher: Sony C-800G tube mic → Neve 1073 → Teletronix LA-2A. Extreme vocal stacking (20-40 tracks in chorus). Dry lead vocals upfront, backings with lots of reverb.

Contemporary R&BPop-Soul85 BPM
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Lo-Fi Study Beats
📚
production

Lo-Fi Study Beats

Relaxed beats with vinyl crackle and jazz samples for focused work

Lo-Fi Hip-Hop80 BPM
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Hard Trap Banger
🔥
production

Hard Trap Banger

Hard 808s, fast hi-hats and dark melodies

Trap145 BPM
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Meditation Music (Ambient Healing)
🧘
production

Meditation Music (Ambient Healing)

Deep soundscapes for meditation and healing - Roland Juno-106 (warm analog pads) / Spectrasonics Omnisphere (Patch: Inner Space). Yamaha DX7 for bell-like tones. Tibetan Singing Bowls (Peter Hess heart bowl for deep frequencies). Rav Vast Handpan in D-Celtic Minor. Strymon BigSky (Cloud mode) or Eventide Space (Blackhole algorithm) for infinite reverb tails (10+ seconds). Moog Minitaur for deep sine sub-bass. Binaural beats (Alpha/Theta). 432 Hz tuning for natural healing frequency. Structure: Grounding (Drone) → Ascension → Core (repetitive pattern for trance) → Stillness → Return.

AmbientNew Age60 BPM
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Classic Jazz Trio
🎷
Genre

Classic Jazz Trio

Intimate jazz with piano, double bass and brush drums

Bebop140 BPM
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Modern German Rap
🇩🇪
Genre

Modern German Rap

Hard 808s and trap beats for German hip-hop

TrapRap140 BPM
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EDM Festival Anthem
🎆
Genre

EDM Festival Anthem

Energy-packed drops and euphoric melodies for the main stage

EDM128 BPM
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Guns N' Roses Style - Hard Rock
🔫
Artist

Guns N' Roses Style - Hard Rock

Appetite-era sleaze rock - Slash (Gibson Les Paul 1959 replica) → modified Marshall JCM800 / Silver Jubilee + Dunlop Cry Baby Wah + Boss DD-3. Izzy (Gibson ES-175 / Fender Telecaster) → JCM800. Duff McKagan (Fender Precision Bass) → Gallien-Krueger 800RB + Ibanez CS9 Chorus. Ludwig Rocker drums. Extremely dry production (Mike Clink), hard L/R panning, octave vocal doubles.

Hard RockSleaze Rock125 BPM
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James Brown Style - Funk
🎤
Artist

James Brown Style - Funk

The Godfather of Funk - Jimmy Nolen's "chicken scratching" on Gibson ES-175/L-5 (hollowbody, ultra-thick strings, no sustain) → Fender Twin Reverb/Dual Showman (100% clean). "The One" - radical emphasis on beat 1. Hammond B3 organ. Fender Precision/Jazz Bass → Ampeg B-15 Portaflex. Ludwig kits with high-tuned, dampened snare ("crack" sound). Horn section (Maceo Parker, Fred Wesley): Extremely short staccato riffs. Live in studio, minimal post-production.

FunkSoul115 BPM
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The Cure Style - Post-Punk
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Artist

The Cure Style - Post-Punk

Post-Punk / Gothic Rock atmosphere - Robert Smith: Fender Bass VI (melodic hooks), Schecter UltraCure, Fender Jazzmaster (lo-fi texture) → Roland JC-120 (clean stereo chorus) / Vox AC30 (crunch). Boss BF-2 Flanger (KEY effect!), Boss DD-3 Delay, Boss CH-1 Chorus. Simon Gallup: Gibson Thunderbird → Ampeg SVT (growling bass). Roland JX-8P / Solina String Ensemble for orchestral synth pads. Gated reverb on snare. Extremely long atmospheric intros.

Post-PunkGothic Rock115 BPM
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U2 Style - Arena Rock
🏟️
Artist

U2 Style - Arena Rock

Arena Rock / Post-Punk with "Sonic Landscapes" - The Edge: Gibson Explorer (1976) / Fender Stratocaster / Gretsch White Falcon → Vox AC30 (vintage) + Fender Deluxe Tweed. KEY EFFECT: Korg SDD-3000 + EHX Deluxe Memory Man (dotted-eighth-note delay). DigiTech Whammy, Ibanez TS9. Adam Clayton: Fender Precision/Jazz Bass → Ampeg SVT. Larry Mullen Jr.: Yamaha Recording Custom + Ludwig 402 snare. Brian Eno/Daniel Lanois production: layering, big rooms, bright guitars.

Arena RockPost-Punk115 BPM
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T.Rex Style - Glam Rock
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Artist

T.Rex Style - Glam Rock

Glam Rock / Boogie Rock - Marc Bolan: Gibson Les Paul (1950s Goldtop, repainted orange) / Veleno Aluminum Guitar → HH Electronic IC100 (solid state) / Vox AC30. Dallas-Arbiter Fuzz Face, Colorsound Power Boost, WEM Watkins Copicat (slapback echo). Steve Currie: Fender Precision Bass → Ampeg. Bill Legend: Ludwig kit (dampened with tea towels). Tony Visconti production: Flo & Eddie backing vocals, strings vs. dry drums, guitar layering (clean + distorted).

Glam RockBoogie Rock125 BPM
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Uriah Heep Style - Heavy Progressive Rock
🔮
Artist

Uriah Heep Style - Heavy Progressive Rock

Heavy Progressive Rock - Mick Box: Gibson Les Paul Custom (Black Beauty) → Marshall JMP 100W Stack. Vox Wah-Wah in "cocked" position for nasal lead sound. Ken Hensley: Hammond B3 → Leslie 122 Cabinet + Marshall (distorted like rhythm guitar!). Mellotron, Minimoog. Gary Thain: Fender Precision Bass → Acoustic Control Corp. Lee Kerslake: Ludwig kit with double bass drum. David Byron: Operatic high tenor with extreme vibrato. 5-part backing harmonies as wall of sound.

Progressive RockHard Rock120 BPM
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Kiss Style - Glam Rock / Hard Rock
💋
Artist

Kiss Style - Glam Rock / Hard Rock

Arena Rock Legends - Ace Frehley: Gibson Les Paul Custom (3 pickups, Budokan model) → Marshall Super Lead 100W Stack. Vox Wah-Wah, EHX Big Muff for sustain in solos. Paul Stanley: Ibanez Iceman / Gibson Flying V → Marshall Super Lead. Gene Simmons: Axe Bass / Punisher → Ampeg SVT refrigerator cabinet. Peter Criss: Pearl Drums (70s setup), dry-tuned for rock punch. Massive guitar layering (left/right), gang vocals in hooks for stadium choir effect.

Hard RockGlam Rock125 BPM
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Helene Fischer Style - Schlager-Pop / Euro-Dance
🎤
Artist

Helene Fischer Style - Schlager-Pop / Euro-Dance

Modern Schlager-Pop with Dance/EDM/Country-Pop influences. Electric Guitars: Fender Stratocaster (clean/funky rhythm) → Kemper Profiling Amp, Gibson Les Paul (Schlager-Rock solos) → Vox AC30 Clean. Acoustic: Taylor 800 Series. Keys: Nord Stage 3, Yamaha Montage. Synths: Serum (VST), Spectrasonics Omnisphere for dance pads. Bass: Fender Precision Bass. Drums: Superior Drummer 3 + Live Drums, Straight 4-on-the-floor. Steinway Piano for ballad moments. String Ensemble for emotional arcs. Pedals: Ibanez TS9, Boss DD-7 Delay, Strymon BigSky Reverb. Vocal Layering: 10-16x doubled vocals in chorus (Wall of Voices). Sidechain Compression: Bass/synths duck on kick. Massive 12kHz air boost for high-end polish.

Schlager-PopEuro-Dance130 BPM
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B.B. King Style - Electric Blues
👑
Artist

B.B. King Style - Electric Blues

Electric Blues Legend - Gibson ES-355 "Lucille" (no F-holes, Varitone Pos. 2) → Lab Series L5 (solid state) / Fender Twin Reverb (Treble: 10, Bass: 0, Middle: 10). NO pedals - direct amp sound. "Butterfly Vibrato" as signature technique. Strict call-and-response: vocals and guitar NEVER simultaneously. Gospel baritone with dynamic shouts.

Electric BluesChicago Blues75 BPM
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Pink Floyd Style - Progressive Rock
🌈
Artist

Pink Floyd Style - Progressive Rock

Progressive Rock / Art Rock Legend - Fender Stratocaster "Black Strat" (Seymour Duncan SSL-5) → Hiwatt DR103 through WEM 4x12 + Yamaha RA-200 Rotary. Big Muff Pi (Ram's Head), Colorsound Power Boost, Binson Echorec. Hammond RT-3 with Leslie 122, EMS VCS 3 for alien sequencer effects. Breathy, melodic baritone with lots of reverb. Extremely slow tempo for "space" feeling.

Progressive RockPsychedelic Rock75 BPM
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Mike Oldfield Style - Progressive
🔔
Artist

Mike Oldfield Style - Progressive

Progressive Rock / New Age Legend - Multi-instrumentalist. 1969 Fender Stratocaster → Vox AC30 / Mesa Boogie Mark III. Gibson SG Junior (P90) for aggressive 70s leads. PRS Custom 24 for modern parts. Martin D-28 for folk passages. MXR Dynacomp for endless sustain. E-Bow for violin-like textures. Fairlight CMI, Roland D-50, Korg M1, Mellotron. Farfisa Organ. Tubular Bells, Mandoline, Bodhrán. Excessive overdubbing (hundreds of tracks by one person). Cyclic, modular structure. Frequent time signature changes (7/8 to 4/4).

Progressive RockNew Age115 BPM
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RAYE Style - Cinematic Soul
🎤
Artist

RAYE Style - Cinematic Soul

Orchestral R&B / Cinematic Soul - Massive vocal layerings (up to 50 harmony tracks). Steinway Piano → Telefunken ELA M 251. Fender Rhodes (jazz-soul sound). Gibson ES-335 → Fender Twin Reverb (clean, spacious guitars). Fender Precision Bass (funk-oriented). Gretsch Drums + MPC (hip-hop/swing hybrid). Live orchestra: Selmer Saxophone, Bach Trumpet (through Coles 4038 ribbon mic). Deliberate avoidance of Auto-Tune. "Wall of Sound" arrangements with extreme dynamics.

Cinematic SoulContemporary R&B100 BPM
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Bob Marley Style - Roots Reggae
🦁
Artist

Bob Marley Style - Roots Reggae

Roots Reggae Legend (PDF Deep Dive) - Bob Marley: Gibson Les Paul Special (P-90 pickups, aluminum pickguard) → Fender Silverface Twin Reverb/Showman (100% clean, percussive "snap"). Junior Marvin/Al Anderson: Fender Stratocaster/Gibson Les Paul Standard for bluesy leads + Ibanez TS9 (subtle). Muted guitar layer doubles bassline. Aston "Family Man" Barrett: Fender Jazz Bass (flatwound strings) → Acoustic 370/371 stacks, round muffled tone. Carlton Barrett: Ludwig kit with extremely high-tuned snare (no wires = "timbales" effect). Hammond B3 "bubble" with Leslie 122 (fills rhythmic gaps). Hohner Clavinet D6 + Mu-Tron III auto-wah. Fender Rhodes (atmospheric). Roland RE-201 Space Echo: heart of dub influence, tape delay ridden live. Vox Wah occasionally. "One Drop": kick on 3, beat 1 stays empty → feeling of weightlessness.

Roots ReggaeDub80 BPM
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Caribbean Jazz - Ska-Jazz Fusion
🌴
Genre

Caribbean Jazz - Ska-Jazz Fusion

Caribbean Jazz / Ska-Jazz / Reggae-Fusion - Gibson ES-175 or Hofner Verythin for warm, hollow jazz tone with percussive attack → Fender Twin Reverb (Silverface) or Roland JC-120 for crystal clear definition. Steinway Grand Piano or Fender Rhodes Mark I for harmonic filling. Fender Jazz Bass (flatwound strings) → Ampeg B-15 Portaflex. Ludwig Vintage Kit with bright, high-tuned snare. Hammond B3 "bubbling" on off-beat. Congas and Latin percussion. Mostly instrumental, if vocals: relaxed soulful baritone with Caribbean accent. "One Drop" or up-tempo "Skank" define the rhythmic foundation. Live-in-studio feeling with minimal overdubbing.

Ska-JazzReggae Fusion120 BPM
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Swing - Big Band Era
🎺
Genre

Swing - Big Band Era

Big Band Jazz of the Swing Era (1935-1945) - Gibson L-5 Archtop (acoustic) for percussive "four-to-the-bar" rhythm, Gibson ES-150 (first successful electric guitar, Charlie Christian) for solos → Gibson EH-150 (warm tube saturation). Steinway Grand Piano for stride piano or comping. Upright bass with gut strings for typical "thump" without sustain (walking bass). Ludwig/Gretsch vintage kit with 26-inch bass drum, calfskin heads, Zildjian sizzle cymbals, swing beat on ride, hi-hat on 2&4, bass drum "feathering". Horn section: Selmer saxophones, Conn trumpets, King trombones (section voicing in close harmonies). Vocals: Elegant crooning (soft baritone/soprano with light vibrato) and scat singing, phrasing "behind the beat" for laid-back feel. Recording with RCA 44-BX ribbon microphones, balance achieved through physical musician placement.

JazzSwing150 BPM
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Blues Unplugged - Clapton Style
🎸
Genre

Blues Unplugged - Clapton Style

Acoustic Blues in MTV Unplugged style (1990s) - Martin 000-42 (vintage 1939, crystal clear overtones) for fingerpicking and hybrid picking, Martin 000-28 as alternative. Dobro Resonator for slide parts. Fishman Acoustic Matrix pickup → direct to mixing console or subtle into Fender Twin Reverb. Light gauge phosphor bronze strings (.012-.054) for brilliant overtones. Steinway Grand Piano for bluesy fills, subtle Hammond B3 in background. Upright bass with walking bass elements. Ludwig Black Beauty snare with brushes, muted bass drum, minimal percussion. Vocals: Earthy, slightly raspy baritone switching between chest voice (storytelling) and head voice (emotional outbursts), gentle vibrato. Neumann U87 microphones for natural room acoustics, bleeding between instruments is desired, minimal processing.

BluesAcoustic90 BPM
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Die Toten Hosen Style - German Punk
🤘
Artist

Die Toten Hosen Style - German Punk

German Punk / Anthem Rock (1990s to present) - Kuddel: Gibson Les Paul Goldtop / ES-335 → Marshall JCM 800/900, Diezel VH4 for precise high-gain structures, Ibanez Tube Screamer TS9 for solo kicks. Breiti: Gibson SG / ES-335 → Marshall JCM 800/900, complementary voicings (open chords while Kuddel plays power chords). Andi: Fender Precision Bass → Ampeg SVT stacks, straight eighth-note bass. Vom Ritchie: Tama/DW drums with Paiste cymbals, driving punk beat, precise snare. Vocals (Campino): Energetic, slightly raspy baritone switching between almost spoken verses and anthemic shouting in choruses, nasal coloring, strong emphasis on German consonants. Gang vocals from band members for stadium atmosphere. Vocal doubling in choruses.

PunkRock160 BPM
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Falco Style - Austro-Pop
🎹
Artist

Falco Style - Austro-Pop

Austro-Pop Legend - Music Man StingRay/Fender Precision Bass (percussive, octave jumps). Roland Jupiter-8 & Juno-60 (wide pads, arpeggios). Yamaha DX7 (metallic, glassy e-piano sounds). Fairlight CMI (orchestral hits, vocal snippets). LinnDrum LM-2 (standard beat "Rock Me Amadeus"). Simmons SDS-V (hexagonal e-drums, "piu-piu" fills). Fender Stratocaster → Roland JC-120 (clean funk). Arrogant baritone speech-singing with operatic falsetto. Bolland layering: 10-20 vocal tracks in chorus. Gated reverb on snare. Viennese dialect/German/English mix.

80sAustropop118 BPM
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Modern German Pop-Schlager
🎤
Genre

Modern German Pop-Schlager

Pop-Schlager / Discofox - Fender Stratocaster (clean pickings with chorus/delay) → Kemper Profiling Amp (Vox AC30 profile). Gibson Les Paul (chorus powerchords) → Kemper (Marshall JCM800 profile). Tailor acoustic (percussive strumming, low in mix). Roland TR-909 kicks (hard, short, 4-on-the-floor). Spectrasonics Omnisphere (trance arpeggios). Roland Phantom/Yamaha Montage (piano, strings). Massive vocal stacking (10-20 tracks, VocAlign). Sidechain compression on master bus. Loudness war: Extremely loud mastering.

Modern Pop-SchlagerDiscofox-Schlager125 BPM
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Justin Timberlake Style - Pop R&B
🎤
Artist

Justin Timberlake Style - Pop R&B

Contemporary R&B / Funk-Pop - Gibson J-45 & Gibson Hummingbird (acoustic sets). Fender Stratocaster 60s Reissue / Telecaster (percussive funk sound) → Fender Twin Reverb (crystal clean), Vox AC30 (more bite). Ibanez TS9 (subtle drive), Dunlop Cry Baby Wah, Boss DD-7 (spaciousness). Fender Rhodes (chorus effect), Moog Voyager (fat synth bass lines), Roland Juno-106. MPC drums + Roland TR-808. Human beatbox layering under digital drums. Percussive tenor with extreme falsetto and beatbox elements. Extremely dry, intimate vocal production. 10-12x vocal stacking for synth-like choir effect. Long outros with ad-libs.

Contemporary R&BFunk-Pop100 BPM
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Chris Stapleton Style - Outlaw Country
🎸
Artist

Chris Stapleton Style - Outlaw Country

Soul-Country / Southern Rock - 1962 Fender Jazzmaster (unusual for country, thick bell-like tone) → 1962 Fender Princeton Brownface (cranked for warm tube saturation). Gibson J-45 (acoustic). Xotic EP Booster (solo boost). Fender Precision Bass → Ampeg SVT. Vintage Ludwig drums (large 24" kick). Occasional Hammond B3 organ (live). Dave Cobb production: live in room, band + vocals simultaneously, organic "dirt". Gritty powerful baritone with soul phrasing, extreme dynamics (whisper to scream). Slow vibrato. Morgane Stapleton as essential harmony layer.

Soul-CountrySouthern Rock75 BPM
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Michael Jackson Style - Pop
🎤
Artist

Michael Jackson Style - Pop

80s Pop / Funk / R&B Legend - Yamaha DX7 (FM e-pianos, bell-like textures). Synclavier II (cinematic sound effects, complex sequencing). Roland Jupiter-8 (warm pads, lead sounds). Minimoog (legendary bass lines like "Thriller", "P.Y.T."). Fender Stratocaster (Paul Jackson Jr., chunky funk rhythms) → Fender Twin Reverb (clean). Mesa Boogie (leads, Steve Lukather). LinnDrum LM-2 + Roland TR-808. "Billie Jean" snare: plywood isolation technique. Acusonic Recording Process (Bruce Swedien): hundreds of tracks. Extremely agile tenor with vocal hiccups, percussive breathing, beatboxing, and falsetto. Dozens of backing vocal layers at varying mic distances for natural choir effect without reverb. No compression for full dynamics.

80s PopPost-Disco117 BPM
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Gothic Rock (Classic Era)
🦇
Genre

Gothic Rock (Classic Era)

Post-Punk / Gothic Rock aesthetic of darkness - Fender Telecaster/Jaguar: Bright, cutting twang that cuts through reverb → Vox AC30 (natural compression) / Roland JC-120 (extremely clean stereo sound). Boss BF-2 Flanger (KEY effect!), EHX Clone Theory (shimmering chorus), Roland RE-201 Space Echo (dub-like delays in intros). Sequential Circuits Prophet-5 / ARP Odyssey for long, cold synth pads. Fender Precision Bass with pick, flanger on bass. Oberheim DMX drum machine or high-tuned snares with gated reverb. Theatrical deep baritone with heavy reverb, incantatory and lamenting (cf. Andrew Eldritch, Peter Murphy). Extremely long intros (2-3 min), repetitive bass lines, guitars as textures rather than chords.

Gothic RockPost-Punk115 BPM
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Indian Classical (Hindustani)
🪷
Genre

Indian Classical (Hindustani)

North Indian Classical Music - Sitar (Hiren Roy, Kolkata Style): 18-20 strings with sympathetic strings (Taraf) for characteristic shimmer → Neumann U87/KM184 or AKG C411. Tabla set: Dayan (Shisham wood) + Bayan (copper/brass), heads by Mukta Das. Tanpura (Miraj): Essential drone instrument for harmonic carpet. Harmonium (Paloma/Bina): Melodic support or drone. Bansuri flute and Sarangi for additional textures. Vocals: Microtonal Raga singing with extreme Meend (glissandi) and Gamaka (fast ornaments/vibrato). Structure: Alap (meditative introduction without rhythm) → Jor (pulse without Tabla) → Jhala (fast rhythmic accents) → Gat/Bandish (main section with Tala cycle).

Indian Classical80 BPM
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Centhron Style - Aggrotech
⚡
Artist

Centhron Style - Aggrotech

Aggrotech / Harsh EBM stomp sound: Access Virus TI2 (saw leads, 3-4 oscillator layering, detune for width) + Sylenth1 + NI Massive. Roland TR-909 kicks through FabFilter Saturn 2 distortion for metallic stomp. Synth bass arpeggiated, mono-centered under 150Hz. Vocals: Shure SM7B → ProCo Rat distortion + bitcrusher for robotic harsh shouts. Extreme sidechain pumping (everything ducks to kick). Dark pads with Roland JP-8000 supersaws.

AggrotechHarsh EBM140 BPM
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Amr Diab Style - Arabic Pop
🏜️
Artist

Amr Diab Style - Arabic Pop

Arabic Pop / Al-Jil / Mediterranean Music (Amr Diab Style): Oud (handcrafted, Nahat/Zeryab) for melodic intros and solos. Kanun (quarter-tone runs). Fender Stratocaster with Boss DD-3 Delay for singing lead lines or Cordoba GK Studio (nylon) for rhythmic-percussive playing. Vox AC30 clean or Neve 1073 preamp for maximum clarity. Korg Pa4X / Yamaha Genos (oriental quarter-tone extensions), Roland JV-1080/2080 string sounds. Yamaha TRB 5-string bass (melodic, playing around root notes). Darbuka (Gawharet El Fan, aluminum/plastic head), Riq (tambourine). Violin section (20+ synchronized musicians, heavily doubled for massive "Arabic String Sound"). Strong sidechain between kick and bass. Micro-tuning to Maqam system (quarter-tones). Percussion hard panned L/R, vocals dry and present in center. Maqsoum rhythm (DT-TD-T) in 4/4 time.

Middle EasternPop115 BPM
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Liora Twani Style - Ethno-Pop
🌙
Artist

Liora Twani Style - Ethno-Pop

Ethno-Pop / World Fusion / Spiritual Chill-out (Liora Twani Style): Taylor 814ce acoustic guitar (fingerpicking, glistening arpeggios) through Avalon VT-737sp tube preamp for silky warm tone. Fender Stratocaster (clean) with Ibanez TS9 Tube Screamer for gentle saturation, drenched in Strymon BigSky Cloud reverb and Eventide Blackhole for infinite sacred reverb tails, plus Strymon Timeline for rhythmic atmospheric delays. Saz and Oud (handcrafted) for oriental Maqam Bayati melodies, ornamental tremolo runs and mystical atmosphere. Nord Stage 3 as atmospheric pad layer, Spectrasonics Omnisphere and Roland Cloud for ethereal spherical textures. Fender Precision Bass (warm, melodic, refined through Waves CLA Bass plugin). Roland TR-8S programs soft spherical downtempo kicks and hi-hats for spiritual chill-out. Darbuka (Sufi-inspired Maqsoum rhythm, hypnotic 4/4 pulse) and Frame Drums (meditative trance-inducing pulsation) as organic world percussion. Vocals: ethereal mezzo-soprano (G3-Bb5, 280 Hz) with breathy delivery, oriental melismas, intimate and sacred. PRODUCTION SECRETS: 12kHz air boost on vocals, 100Hz low-cut, shimmer reverb tails, sidechain pad-to-kick for breathing flow, stereo width through hard L/R panning of world percussion, vocal layering in chorus.

Ethno-PopWorld Fusion90 BPM
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Son Cubano (Buena Vista Social Club)
🌴
Genre

Son Cubano (Buena Vista Social Club)

Son Cubano / Buena Vista Social Club (1940s-1950s Golden Era & 1990s Revival) - Tres Cubano (modified guitarra-tres with double-string courses), Martin 00-18 Acoustic → Direct or Fender Tweed Deluxe. Piano: Steinway Concert Grand for percussive montunos (octave rhythmic arpeggios). Bass: Ampeg Baby Bass (electric upright for typical "thump" without sustain) → Ampeg SVT. Percussion: LP Patato Model Congas (Quinto, Conga, Tumba), Bongos with natural skins for martillo rhythm, Claves (2-3 or 3-2 son clave), Maracas, Guiro. Brass: Trumpet through Ribbon Mic. Vocals: Nasal baritone (Ibrahim Ferrer) or deep storytelling tenor (Compay Segundo) in sonero style with improvised "inspiraciones" and call-and-response (coro-pregón). Structure: Largo (narrative) → Montuno (energetic with solos). PRODUCTION SECRETS: Live recording at Egrem Studios Havana, natural room reverb, Ribbon mics (RCA 44) for warm vintage blanket, minimal overdubs, spillover bleeding between mics.

Son CubanoBolero-Son105 BPM
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Afrobeat (Fela Kuti / Tony Allen Style)
🌍
Genre

Afrobeat (Fela Kuti / Tony Allen Style)

Afrobeat Golden Era (1970s) - Polyrhythmic funk-jazz mix. Tony Allen drums (human drum machine, four rhythms simultaneously). Fender Stratocaster "muted scratch" → Roland Jazz Chorus-120 (clean). Fender Jazz Bass → Ampeg SVT (melodic ostinato). Hammond B3 + Leslie, Farfisa Compact Duo, Hohner Clavinet. Massive brass section: Tenor sax, Baritone sax, Trumpet (staccato lines, dry recording). Percussion: Congas, Shekere, Ogene (bell). Declamatory lead vocals (Pidgin English) with large female background choir (call-and-response). Hypnotic layering over 10-15 minutes.

Classic AfrobeatAfro-Funk115 BPM
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Symphonic Metal (Tarja Turunen Style)
🎭
Genre

Symphonic Metal (Tarja Turunen Style)

Symphonic Metal with Gothic Rock and classical opera influences. Tarja Turunen: Lyrical soprano (3-octave range) with controlled vibrato. Fender Stratocaster/Gibson Les Paul → Marshall JCM800/Diezel Herbert. Warwick Thumb Bass → Ampeg SVT-CL. Pearl Masters Drums with double-bass pedal. Korg Kronos/Nord Stage for piano and orchestral pads. Vienna Symphonic Library (Strings, Horns). Excessive vocal layering (up to 20 tracks), Convolution Reverbs for cathedral sound.

Symphonic MetalGothic Metal120 BPM
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Country (Modern Nashville)
🤠
Genre

Country (Modern Nashville)

Modern Nashville Country - Fender Telecaster 50s Reissue → Fender '65 Twin Reverb + Keeley Compressor + Nobels ODR-1 Nashville Overdrive + Slapback Delay (80-120ms). Martin D-28 (Nashville Tuning) & Gibson J-45 "Workhorse". Pedal Steel Guitar for yearning twang. Fiddle for emotional interjections. Wurlitzer Electric Piano & Hammond B3 with Leslie. Fender Precision Bass through Ampeg SVT. Ludwig Classic Maple (dry tuned, strong 2&4 snare focus). Twangy storytelling baritone with emotional vibrato at phrase endings. Nashville harmony vocals with tight thirds.

Nashville SoundNew Traditionalist110 BPM
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Indie Rock Post-Punk Revival
🎸
Genre

Indie Rock Post-Punk Revival

Post-Punk Revival (The Strokes, Interpol, Franz Ferdinand): Fender Stratocaster 60s Reissue or Fender Telecaster through Vox AC30 ("chime") or Fender Twin Reverb (clean). Epiphone Casino for semi-hollow feedback control. Ibanez Tube Screamer TS9 for crunch, EHX Big Muff for fuzzy solos, EHX Holy Grail Reverb. Korg MS-20 or Prophet-5 for modern synth influences. Upright Piano with slight detune. Fender Precision Bass with pick through Ampeg SVT. Ludwig Classic Maple drum kit with dry-tuned snare and hi-hat focus (disco-punk 8ths). Guitar double-tracking (hard L/R panning), room mics for garage sound, subtle organ layers under choruses.

Indie RockPost-Punk Revival135 BPM
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Fontaines D.C. Style – Post-Punk / Irish Indie Rock
🎸
Artist

Fontaines D.C. Style – Post-Punk / Irish Indie Rock

Modern post-punk revival / Irish indie rock / art punk / dark wave (2018–present). Live ensemble tracking for natural room bleed. Guitar 1 (lead/texture): Fender Jaguar / Jazzmaster through Fender Twin Reverb with EHX Holy Grail Reverb & EHX Small Clone Chorus – melodic single-note hooks, dissonances, tremolo picking (single-coil twang, hard-panned). Guitar 2 (rhythm): Fender Telecaster Custom through Vox AC30 with ProCo Rat & Boss BD-2 – fast down/up strokes (eighth/sixteenth chords, fuzz layers, hard-panned opposite). Bass: Fender Precision Bass / Rickenbacker 4003 through Ampeg SVT, driven SansAmp bite, percussive pick playing (eighth-note pumping). Keys: Mellotron flutes & strings, warm Roland Juno pads – analog, minimalist. Drums: acoustic Gretsch/Ludwig kit, post-punk/motorik beat, 4/4, dry room sound, spot tape-delay on the snare. Lead vocal: dry, close-miked mono baritone (Dublin accent, Sprechgesang), centered, 1176 peak limiting, analog saturation. Backing: group vocals / unison shouts in the chorus, slightly overdriven, spread across the stereo panorama. Analog spring reverb & tape slapbacks instead of digital reverb chambers.

Post-PunkIrish Indie Rock130 BPM
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Cream Style - Blues Rock Power Trio
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Artist

Cream Style - Blues Rock Power Trio

Blues Rock / Psychedelic Rock / Hard Rock (Proto-Metal) from the late 1960s. Eric Clapton: Gibson SG Standard "The Fool" (psychedelically painted) / Gibson ES-335 / Gibson Firebird → Marshall JTM45 100W Stacks (cranked for natural tube distortion). Vox Clyde McCoy Wah-Wah, Dallas Arbiter Fuzz Face, Dallas Rangemaster Treble Booster. "Woman Tone": Gibson tone knob rolled to zero, volume on 10, singing midrange almost flute-like distortion sound. Jack Bruce: Gibson EB-3 Short-Scale Bass / Fender Bass VI → Marshall 100W Stacks, extremely distorted "lead bass" functioning like a second lead guitar, melodic with many fills. Ginger Baker: Ludwig Double-Bass Drum Kit (20" and 22" kicks, Silver Sparkle) with Zildjian cymbals, jazz polyrhythmics and African rhythms in blues rock. Studio overdubs: Mellotron, Hammond organ, acoustic piano (producer Felix Pappalardi). Vocals (Jack Bruce): Dramatic high tenor with powerful blues belting, wide vibrato. Second voice (Clapton): Softer, earthier baritone/tenor.

Blues RockPsychedelic Rock115 BPM
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Prog Rock Acoustic - Dynamic Contrasts
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Genre

Prog Rock Acoustic - Dynamic Contrasts

Acoustic-driven Progressive Rock with dynamic contrasts - Martin D-35 steel-string acoustic guitar (fingerpicking, natural harmonics) via LR Baggs Anthem pickup as foundation. Gibson Les Paul Standard through Orange Rockerverb 50 only as accent instrument for dramatic interjections, EHX POG2 Octaver for orchestral width. Moog Taurus bass pedals for hypnotic low-end grounding. Sonor SQ2 drum kit with Zildjian K Dark cymbals: brushed snare for gentle passages, tom-heavy breakdowns for explosive moments. Hand percussion (cajón, LP shaker, Remo frame drum) for organic groove. Tape saturation for warm analog warmth, room reverb for natural spatial quality. Swung triplet feel in mid-tempo march. Dramaturgy: Slow dynamic build-ups followed by sudden dropouts (silence as instrument). Mood: Brooding yet defiant.

Progressive RockAcoustic95 BPM
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Iron Maiden Style - NWOBHM
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Artist

Iron Maiden Style - NWOBHM

New Wave of British Heavy Metal (NWOBHM) - Three guitarists: Dave Murray & Janick Gers (Fender Stratocaster HSS with Seymour Duncan Hot Rails), Adrian Smith (Jackson SDX Signature / Gibson Les Paul) → Marshall JMP-1 Rack + 9200 Power Amps / Marshall JCM800. Ibanez TS9 for solos, MXR Phase 90, Cry Baby Wah. Steve Harris: Fender Precision Bass Signature with flatwound strings → Custom Marshall Bass Amps, percussive "clack" sound (strings hitting frets). Nicko McBrain: Sonor SQ2 Custom Kit WITHOUT double-bass pedal (single-pedal triplets!). Triplet gallop from bass and drums as rhythmic core. Harmony guitars in thirds (two/three voices). Bruce Dickinson: Operatic tenor with air raid siren screams. Live feel, dry but present bass mix.

Heavy MetalNWOBHM160 BPM
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Billy Idol Style - 80s Rebel Rock
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Artist

Billy Idol Style - 80s Rebel Rock

80s Rebel Rock / New Wave / Punk-Rock - Characteristic sound: Dry, aggressive guitar riffs contrasting with wide synth pads. Gated reverb snare for 80s punch. Slapback echo on vocals. Danceable new wave beats with rock attitude. Nasal baritone with Elvis-style crooning and aggressive punk snarl. Switching between breathy low passages and energetic shouts. Massive synth layering meets hard rock riffs.

New WavePunk Rock128 BPM
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LEA & AYLIVA - German Pop / R&B
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Artist

LEA & AYLIVA - German Pop / R&B

German Pop / Contemporary R&B / Soul duet (2020s). LEA: Gibson J-45 acoustic, Yamaha C7 Grand Piano, Nord Stage 3 for keys. AYLIVA: Spectrasonics Omnisphere for atmospheric pads, Keyscape for soul piano sounds. Fender Stratocaster (clean) through Fender Twin Reverb or Vox AC30. Strymon BigSky reverb, Ibanez Tube Screamer TS9 for minimal warmth. Fender Precision Bass for organic warmth. Hybrid drums: acoustic samples + electronic 808 kicks. String ensemble (cello/violin). Vocal layering: massive doubles in choruses (chorus stacking) with wide panning. "Dry & Close" in verses, large plate reverbs on ad-libs. 12kHz air band boost for brilliance.

Deutsch-PopContemporary R&B95 BPM
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Radiohead Style - Art Rock / Experimental
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Artist

Radiohead Style - Art Rock / Experimental

Art Rock / Experimental with orchestral electro fusion - Jonny Greenwood: Fender Telecaster Plus (Lace Sensor) → Vox AC30 + Fender Eighty-Five. KEY EFFECT: Marshall ShredMaster (main distortion), Digitech Whammy (pitch shift), EBow (ambient sustain). Ed O'Brien: Fender Stratocaster → Vox AC30 + EHX Deluxe Memory Man (delay textures, shimmer). Thom Yorke: Fender Jazzmaster '63 → Fender Twin Reverb (arpeggios, clean). Colin Greenwood: Fender Precision Bass (melodic-driving). Phil Selway: Ludwig drums (laid-back, syncopated, polyrhythmic) + Roland TR-909 (glitch electronics). Jonny: Ondes Martenot (unique electronic textures). Sequential Circuits Prophet-5 + Fender Rhodes MK I + Moog Synthesizer. Nigel Godrich production: 24-track tape, extreme panning, found-sound collages.

Art RockExperimental110 BPM
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Radiohead – Creep (1993)
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Artist

Radiohead – Creep (1993)

Alternative Rock / Grunge-Influenced – The sound of "Creep" is defined by the extreme dynamic between the fragile verse and the massive chorus. Jonny Greenwood: 1991 Fender Telecaster Plus (Lace Sensor Blue at neck, Dually Red at bridge) → Fender Eighty-Five (solid-state distortion) + Marshall ShredMaster. The famous "dead notes" (K-chunk) before the chorus: Jonny tried to sabotage the song – producer Sean Slade found it genius. Clean sounds through Vox AC30 (pearly, glassy). Thom Yorke: Fender Acoustic (Guild/Dreadnought) as rhythmic foundation. Colin Greenwood: Fender Precision Bass (root-focused, supportive). Phil Selway: Ludwig rock kit with dry-tuned snare, short plate reverb. Minimal upright piano layer in the outro.

Alternative RockGrunge Rock92 BPM
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Laid Back – Balearic Synth-Pop / Dub-Funk
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Artist

Laid Back – Balearic Synth-Pop / Dub-Funk

Balearic Synth-Pop / Dub-Funk (Early 80s) – Minimalist groove with extreme space in the mix. Fender Stratocaster (70s) → Roland JC-120 (crystal-clear chorus clean). Gibson ES-335 for warm jazzy textures. Boss CE-2 Chorus + Roland RE-201 Space Echo. Roland TR-808 as drum machine (step-sequenced, cowbell as rhythmic lead). Roland Juno-60 (warm pads) + Sequential Circuits Prophet-5 (synth stabs). Fender Precision Bass with flatwound strings (muffled percussive thump). Fender Rhodes as subtle layer. Monotone whisper-baritone, distant, nasal, extremely laid-back. Tape delay on vocals in transitions. Focus on percussive gaps instead of filling the mix.

Synth-PopDowntempo115 BPM
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Turkish Fusion – Anadolu Rock / Psychedelic Rock
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Artist

Turkish Fusion – Anadolu Rock / Psychedelic Rock

Anadolu Rock / Psychedelic Rock / Turkish Pop from the 1970s (Barış Manço era). Electric Bağlama (Saz) with DiMarzio humbuckers through Vox Wah, Ibanez TS9 and EHX Big Muff for singing solos. Gibson Les Paul Custom → Marshall JMP Stack (distorted riffs, psychedelic licks). Ovation Legend for acoustic parts. Minimoog (pads/solos, quarter-tone simulations), Korg 700 (atmospheric textures), Roland Jupiter-8 (orchestral poly pads). Fender Precision Bass → Ampeg SVT (melodic driving). Ludwig/Gretsch drums (groovy backbeat, syncopated percussion). Bongos and Darbuka as oriental accents. Theatrical dramatic baritone with heavy vibrato and spoken-word passages. D minor (Phrygian). Massive synth layering, natural echo, early digital delays.

Anadolu RockSpace Rock115 BPM
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Styx Style - Pomp Rock / Arena Rock
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Artist

Styx Style - Pomp Rock / Arena Rock

Pomp Rock / Progressive Rock / Arena Rock from late 1970s to early 1980s. James Young & Tommy Shaw: Gibson Les Paul Standard / Fender Stratocaster 70s / Gibson Explorer → Marshall JMP 100W Stacks, Hiwatt Custom 100. MXR Phase 90, Dunlop Crybaby Wah, Boss CE-1 Chorus. Aggressive power chords and harmonic twin guitar solos. Dennis DeYoung: Oberheim OB-X (bombastic chord pads), Roland Jupiter-8 (warm pads), ARP Odyssey (monophonic leads), Hammond B3 (organ foundation), Yamaha Grand Piano (classic ballad intros). Chuck Panozzo: Fender Precision Bass / Rickenbacker 4001 → Ampeg SVT. Tight fingerpicking, leaving room for keys. John Panozzo: Tama Imperialstar with Zildjian cymbals, driving progressive accents. Massive vocal layering for stadium-filling choirs (Queen level). Hard-panned twin guitars (L/R), wide synth pads in center. Epic reverb on snare and vocals.

Progressive RockArena Rock125 BPM
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Limón-Calypso - Walter Ferguson Style
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Genre

Limón-Calypso - Walter Ferguson Style

Afro-Costa Rican Calypso from Limón Province in the style of Walter Ferguson. Purely acoustic, organic instrumentation: Classical nylon-string guitar (syncopated calypso strumming) as center, banjo for percussive twang. Upright bass (double bass) acoustic, percussive and dancing. No drum kit — rhythm carried by congas, bongos, claves, maracas and ralladera (güiro). No keys, no effects, no amplifiers. Vocals: Relaxed storytelling Calypsonian baritone in Limonese Creole (Mekatelyu), call-and-response choruses. Production: "Field recording" character, natural microphone bleed, no artificial reverb. Cheerful and inviting, yet often with profound social messages.

Limón-Calypso110 BPM
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Greek Music – Laïkó / Rebetiko
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Genre

Greek Music – Laïkó / Rebetiko

Laïkó / Rebetiko from the golden era (1960s/70s). The centerpiece is the Bouzouki (Tetrachordo) with characteristic tremolo picking and doubled tracks. Greek accompaniment guitar for percussive-dry rhythmic foundation. Baglamas as bright upper voice. Fender Precision Bass with root-five alternation. Acoustic drums with snare focus in 9/8 Zeybekiko rhythm. Korg Triton keyboard for quarter-tone string pads. Vocals: Guttural-emotional dramatic mezzo-soprano with melismatic vibrato and lamenting Amané quality. Production: Doubled bouzouki tracks panned stereo for width, plate reverb on vocals. D minor (Dromoi).

Laïkó / Rebetiko95 BPM
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Nuevo Flamenco – Art Pop / Urban (Rosalía Style)
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Genre

Nuevo Flamenco – Art Pop / Urban (Rosalía Style)

Nuevo Flamenco meets modern urban production in the Rosalía style. The centerpiece is the Conde Hermanos Flamenco guitar with Rasgueado strumming and percussive Golpe (body tapping). Roland TR-808 provides the urban sub-bass foundation, separated from guitar via high-pass at 200Hz. Spectrasonics Omnisphere for atmospheric synth pads, Moog Sub 37 for monophonic bass lines. Palmas layering: Sordas (muted) left/right + Claras (bright) center. Vocals: Female flamenco lyric soprano (E3–C#6, 164–1100Hz) with melisma, rhythmic staccato and Quejío lamenting expression. Auto-Tune as stylistic tool, not correction. 12kHz air boost. Production: Neve 1073 preamp warmth, sidechain compression on pads, vocal doubling. F# Phrygian (Phrygian Dominant).

Nuevo Flamenco100 BPM
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Nina Hagen – Operatic Punk (Nina Hagen Band Era)
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Artist

Nina Hagen – Operatic Punk (Nina Hagen Band Era)

German Punk / New Wave / Avant-garde Opera (1978-1983, Nina Hagen Band era) – Bernhard Potschka: Fender Stratocaster (70s) for wiry punk licks + Gibson SG for fat crunch riffs → Marshall JMP / Super Lead stacks, Ibanez Tube Screamer TS9 (lead boost), MXR Phase 90, Cry Baby Wah for psychedelic excursions. Manfred Praeker: Rickenbacker 4001 / Fender Precision Bass → Ampeg SVT stacks (growling, present, pick attack). Herwig Mitteregger: Ludwig drums with very dry-tuned snare (typical German new wave production), tight 4/4 with cymbal accents. Prophet-5 (disharmonic synth pads), Fender Rhodes, Piano (punky chords). Trained opera singer: Extreme jumps between guttural growling, snotty "Berlin Göre" speech-voice and crystal-clear dramatic coloratura soprano passages. NunSexMonkRock (1982): Massive vocal layering for multiple personalities effect. Production: dry (punk roots), but sacral plate reverb on operatic passages. Excessive double-tracking, pitch-shifting effects, dry drum compression.

DeutschpunkNew Wave140 BPM
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New Order – Temptation (Synth-Pop / Alternative Dance)
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Artist

New Order – Temptation (Synth-Pop / Alternative Dance)

Synth-Pop / Post-Punk / New Wave / Alternative Dance (1982) – Bernard Sumner: Shergold Masquerader (clear brittle clean sound, rhythmic-percussive) → Vox AC30 "Chime" / Roland JC-120 (extremely clean, Chorus). Electro-Harmonix Clone Theory (shimmering chorus) as signature pedal. Peter Hook: Shergold Marathon 6-String Bass → Alesis/Hiwatt setup + EHX Clone Theory. Signature "High-Melodic Bass" - played high in guitar frequency range, driving lead-like basslines, chorus-drenched. Oberheim DMX drum machine: stoic 4/4 drive with human sequencer feel, manual trigger ("sync struggle") creates tiny organic timing variations. Sequential Circuits Prophet-5 for cold atmospheric pads. ARP Quadra for signature sequencer lines and string-section textures. Moog Source for monophonic analog bass foundations. Bernard Sumners untrained vocals: vulnerable baritone/tenor, slightly pressed at edge of range, earnest and slightly breathless, emotional but flat phrasing, minimal vibrato. Production: Short dense vocal reverb (distant yet present), boost 5kHz for clarity. Structure: hypnotic long fading outro with dance-groove repetition. Iconic "oh-oh-oh" vocal adlibs in intro and outro.

Synth-PopAlternative Dance136 BPM
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The Temptations – Papa Was a Rollin' Stone (Psychedelic Soul / Cinematic Funk)
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Artist

The Temptations – Papa Was a Rollin' Stone (Psychedelic Soul / Cinematic Funk)

Psychedelic Soul / Cinematic Funk (1972, Norman Whitfield Production) – Dark narrative Motown epic with cynical storytelling. Guitar: Gibson ES-335 / ES-355 Lucille with Maestro Boomerang Wah-Wah pedal (percussive, "speaking") → Fender Twin Reverb. Bass: 1962 Fender Precision Bass with Flatwounds → Ampeg B-15, iconic 3-note ostinato carrying the entire track architecture. Drums: Ludwig kit + Rogers Snare in stoic 4/4 groove, extremely dry with whipping backbeat - no fills, pure discipline. Keys: Fender Rhodes (warm accents) + Hammond B3 (dark organ stabs). Strings with cinematic arrangement density. Trumpet as emotional caesura. Handclaps with heavy echo (Echoplex EP-3). Vocals: Male ensemble - Gritty Lead Baritone (Dennis Edwards style) with soulful tenor harmonies, cynical narrative delivery, dry vocal texture. Iconic ~4 minute instrumental intro before first verse. Structure: Intro → Verse → Chorus → Verse → Chorus → Verse → Chorus → Outro (Fade). Key: B-Flat Minor - dark melancholic. 95-105 BPM stoic 4/4.

Psychedelic SoulCinematic Soul105 BPM
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Techno – Peak-Time / Industrial Influence (90s Revival)
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Genre

Techno – Peak-Time / Industrial Influence (90s Revival)

Peak-Time Techno / Industrial Influence (Modern / 90s Revival) – Hypnotic, high-pressure techno with analog hardware identity. Drums: Roland TR-909 as gold standard for kick and hi-hats, supplemented by Roland TR-8S for modern sequencing or Elektron Analog Rytm MKII for analog layers. Synths: Roland TB-303 for acid lines, Moog Mother-32 for percussive sequences, Roland Juno-106 / Access Virus TI2 for wide chords and pads, Ableton Operator for FM sounds. Bass: Moog Minitaur or Arturia MicroBrute for sub-frequency rumble beneath the kick. Effects: Mackie 1604 VLZ mixer driven "hot" (preamp saturation, 90s sound), ProCo Rat for distortion, Eventide Space / Strymon BigSky for reverb. Production secrets: The Rumble (kick → short reverb → low-pass filter → sidechain compression), parallel distortion on drums, LFO automation over 16-32 bars for hypnosis. Vocals: Dark spoken word / vocal chops, deep monotone, cold, heavily processed. DJ-optimized additive structure. Key: A minor or F# minor. 130-145 BPM, 4/4.

Peak-Time TechnoIndustrial Techno138 BPM
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Cyberpunk – Darksynth / Industrial Mid-Tempo
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Genre

Cyberpunk – Darksynth / Industrial Mid-Tempo

Cyberpunk / Darksynth / Industrial Mid-Tempo – Dystopian future music with analog brutality and digital coldness. Guitars: Ibanez RG7421 (7-string) and Steinberger GT-Pro (headless, sterile) through Neural DSP Quad Cortex (high-gain captures, Gojira archetype) and Kemper Profiler for clinically extreme distortion. Industrialectric Incinerator for chaotic harmonics, Strymon NightSky for metallic infinite reverb spaces, Digitech Whammy for pitch-shifting. Synths: Sequential Prophet-6 for dark pads, Moog Matriarch for aggressive semi-modular basslines, Access Virus TI2 for supersaw leads. Bass: Moog Minitaur (bass synth), sidechained, distorted through Ampeg SVT (sim). Drums: Roland TR-8S with 808/909 sounds, heavily distorted, layered with acoustic industrial samples (metal hits, rain). Vocals: processed baritone (E2-G4, 82 Hz) with bitcrushing, vocoder, aggressive whispering, monotone delivery – dehumanized and cybernetic. PRODUCTION SECRETS: Sidechain massacre (everything ducks to kick), granular layering (organic sounds → granular synthesis), distortion stacking (3-4 saturation stages: saturation, overdrive, fuzz in series). Key: D minor or C minor. 100-125 BPM, 4/4.

CyberpunkDarksynth110 BPM
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Pavarotti Style – Bel Canto / Operatic Pop
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Artist

Pavarotti Style – Bel Canto / Operatic Pop

Pavarotti Style – Bel Canto / Operatic Pop / Classical Crossover. Microphones: Neumann U47, Neumann M49, Neumann U87 for forward-seated Italian vocal presence. Pre-Amp: Neve 1073 Channel Strip for warm tube coloration. Strings: Stradivari and Guarneri models (Violin 1 & 2, Viola, Cello, Double Bass arco). Piano: Steinway & Sons Model D-274 (concert grand). 80-piece classical orchestra with woodwinds (flute, oboe, clarinet, bassoon), brass (horn, trumpet, trombone, tuba), timpani and harp. Vocals: Lyric Tenor (C3-C5, 523 Hz), bright timbre with squillo (penetrating power), masculine forward-seated resonance, passaggio mastery, high C5 with full chest resonance, Italian diction, Bel Canto technique. PRODUCTION SECRETS: Natural room reverb (churches/concert halls, NO plugin reverb), microphone distance 1.5–2m for authentic operatic dimension, NO vocal layering (purity of a single take). Era: Late Romantic. Key: G major. 4/4. Legato & arpeggio.

OperaRomantic Classical72 BPM
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Beastie Boys Style – Rap-Rock / Alternative Hip-Hop
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Artist

Beastie Boys Style – Rap-Rock / Alternative Hip-Hop

Beastie Boys – Rap-Rock / Alternative Hip-Hop / Hardcore Punk-Funk hybrid from the 90s Golden Era. Sampler/Drums: E-mu SP-1200 (classic 12-bit sound, vinyl crackle), Roland TR-808, Akai MPC60. Acoustic: Ludwig Drum Kits with heavy compression. Guitar (Ad-Rock): Fender Stratocaster or Gibson ES-335 → Marshall JCM800 for gritty punk vibe, Wah-Wah in bridge. Bass (MCA): Fender Precision Bass + Univox Super-Fuzz pedal for massive distorted sound (like "Sabotage"), Ampeg SVT, aggressive pick playing. Keys (Money Mark): Hammond B3 organ with Leslie, Fender Rhodes, Moog Voyager / Minimoog. Scratching: Turntables (DJ cuts and samples). PRODUCTION SECRETS: Lo-fi aesthetic (vinyl crackle + 12-bit sampling noise), layering (live drums over drum-machine samples), parallel compression on drums, heavy saturation (tape saturation), mix of sampling and live instrumentation. Rooms: Short dry "Dead Room" vocals, long spring reverb on instruments, slapback delay on vocals, radio filter (high pass at 400Hz). Key: C minor or Eb major. 90–105 BPM, 4/4. Mood: Aggressive, euphoric, ironic.

Old School Hip-HopBoom Bap95 BPM
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Samba (Classic Pagode)
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Genre

Samba (Classic Pagode)

Samba / Classic Pagode – Golden Age of the 1970s-1980s. Batucada ensemble: Surdo (bass thump, strong beat 2 accent), Pandeiro (frame drum, syncopated), Tamborim (high accents), Cuíca (talking friction drum), Agogô (double bell), Ganza (shaker). Bass: Violão de 7 cordas (7-string guitar, Di Giorgio, nylon strings) – melodic "baixaria" runs as bass substitute, clean, no EQ pumping. Guitar: Cavaquinho (steel strings, Rozini) – percussive strumming "palhetada". Keys: Acoustic piano (Bechstein/Yamaha Grand) – optional, accented chords. Amp: Roland JC-120 (Clean DI). Pedals: Boss CE-2 Chorus (subtle), Plate Reverb. Effects: Minimalist, occasional light chorus or short plate reverb. Vocals: Warm baritone (male) or strong alto (female), "conversational" – as if telling a story at the table, call-and-response with large backing choir, chorus in group style. PRODUCTION SECRETS: Percussion layering (5–10 tracks), batucada layered with individual microphones, pan model (cavaquinho slightly offset in panorama, 7-string guitar centered with vocals, choir wide in stereo field). Roda de Samba feeling. Key: D major. 95–110 BPM, 2/4 time.

SambaPagode100 BPM
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Ben Harper Style – Roots Blues / Folk Soul
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Artist

Ben Harper Style – Roots Blues / Folk Soul

Roots Rock / Blues Rock / Folk Soul / Reggae – Weissenborn hollowneck lap steel as signature sound, virtuoso slide playing, dual signal layering (acoustic + amp drive). Tight folk-rock rhythm section with djembe percussion. Analog studio vibe through live room recordings, no digital tuning. Gritty, earthy soulful baritone with fluid switch between vulnerable folk whisper and powerful gospel-like blues shouting.

Roots RockBlues Rock92 BPM
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Gothic Gangsta Blues – Dark Street Blues Fusion
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fusion

Gothic Gangsta Blues – Dark Street Blues Fusion

Dark genre fusion of Gangsta Rap, Blues Rock and Gothic Rock (90s). ESP Eclipse → Music Man HD-130 (power chords, MXR Blue Box octave fuzz, EHX PolyChorus, close-mic'ed). Gibson Les Paul → Fender Twin Reverb (heavy blues-rock lead, EHX PolyChorus, ping-pong delay). Fender Bass VI (fingerstyle) → compressor + ProCo Rat pedal (extremely fuzzy doom bass). Oberheim DMX (gangster rap beats, dry 90s backbone). Acoustic drums (saturation, ghost notes, organic blues groove). Synth Pads (dark) + Moog Synthesizer (atmospheric) for gothic fog. Double talkbox vocals: custom persona lead (hard rap) + raspy tenor (blues grit). Cm, 95 BPM, colloquial.

Gangsta RapBlues Rock95 BPM
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Blues Saraceno Style – Dark Country
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Artist

Blues Saraceno Style – Dark Country

Dark Country / Gothic Americana in Blues Saraceno style (2010s–today): Dobro resonator guitar for metallic twang and slide. Yamaha RGZ Custom electric guitar for heavy riffs through Marshall JCM800. Gibson Les Paul Junior (P-90) for earthy dirt through Dirty Boy Combo amp. Keeley Compressor for extreme twang attack, Boss DD-3 slapback delay. Fender Precision Bass through Ampeg SVT with tube overdrive. Custom Ludwig kit with down-tuned 14x6.5 snare and massive 24" bass drum for maximum thump. Stompbox and chain rattle for cinematic percussion. Old, detuned upright piano for dark staccato accents. Rough, smoky baritone vocals with lo-fi radio filter and tube saturation. Mixed gospel choir with cathedral reverb in chorus.

Dark CountryGothic Americana82 BPM
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Livin' Blues Style – Heavy Blues Rock
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Artist

Livin' Blues Style – Heavy Blues Rock

Electric Blues Rock / Heavy Blues in Livin' Blues style (late 60s / early 70s): Gibson Les Paul Custom through Marshall JTM45 / Super Lead Plexi (fully cranked British tube compression) with Dallas Arbiter Fuzz Face, Dunlop Cry Baby / VOX Wah-Wah and tape echo (WEM Copicat) for fat, singing fuzz solos and riff-oriented pentatonic playing with heavy bending. Fender Stratocaster for wiry rhythm and slide parts, Gibson ES-335 for warm semi-hollow leads. Hammond B3 organ with Leslie 122 for rhythmic chord beds and percussive comping. Amplified, overdriven blues harp (harmonica) through bullet microphone and small tube amp. Root-note walking bass (Fender Precision Bass through Ampeg SVT, light tube saturation), groovy and tonally thick. Ludwig Super Classic kit with Zildjian cymbals: heavy blues shuffle, dynamic 4/4 drive, powerful snare accents, open hi-hat. Raw, throaty blues-shout baritone (Nico Christiansen), intimate-aggressive and raspy with throat distortion. PRODUCTION SECRETS: live tracking in the studio for saturated analog compression, amplified distorted blues harp via bullet mic and tube amp, natural room sound via bleed on analog tape.

Electric BluesBlues Rock100 BPM
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Northern Lite Style – Electropop / Electro-Rock
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Artist

Northern Lite Style – Electropop / Electro-Rock

Electropop / Electro-Rock / Synthpop in Northern Lite style (modern era, 2000s–today): Access Virus TI2 for the signature techno/trance pads and leads, Moog Subsequent 37 for punchy, pointed and driving analog basslines, Clavia Nord Lead 2X for arpeggios and pads. Gibson Les Paul Standard through Marshall JCM800 with Ibanez Tube Screamer and Boss DD-7 Digital Delay for driving, groovy-rhythmic and slightly overdriven riffs; Fender Telecaster Thinline through Vox AC30 with Strymon BigSky for refined, expansive clean textures. Hybrid drum setup: Yamaha Custom acoustic kit combined with Roland SPD-SX pads, straight 4/4 dance beat with sidechained kick and building hi-hats. Synthesizer bass (Moog) as the main foundation, complemented by electric bass (Fender Precision Bass via Ampeg SVT-CL). Distinctive, deep, slightly nasal baritone (Andreas Kubat) with melancholic head-voice dynamics and rhythmic spoken word, doubled in the chorus. PRODUCTION SECRETS: guitar layering of heavily compressed slightly overdriven electric guitar and an extremely dry synthetic bassline, vocal doubling in the chorus (octaving/detune), excessive sidechain compression on the synth pads for the signature club drive, very dry vocals with short precise stereo delays.

SynthpopElectro-Rock122 BPM
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Turkish Music – Modern Turkish Pop / Arabesque Fusion
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Genre

Turkish Music – Modern Turkish Pop / Arabesque Fusion

Modern Turkish Pop / Arabesque-Pop Fusion / Anadolu Rock (modern era 2010–2026): electric saz (bağlama) with magnetic DiMarzio/Lollar pickups through a Vox AC30 and Fender Twin Reverb for a clean but biting tone, complemented by acoustic oud and cümbüş textures with microtonal koma intervals. Fender Stratocaster 60s Reissue through Vox AC30 with Ibanez Tube Screamer TS9 and EHX Holy Grail reverb for brilliant clean sounds (arpeggiated in the verse), Gibson ES-335 through Fender Twin Reverb with wah-wah, Boss DD-7 delay and Strymon BigSky for groovy rhythmic chorus riffs. Korg Pa5X (Oriental) and Yamaha Genos / Yamaha Motif XF8 with microtuning for pads and fast quarter-tone runs. Fender Precision Bass played melodically, following the melismas of the saz. DW Collector’s Series drums with layered Roland TR-808 snare snaps, straight 4/4 with 9/8 aksak elements in the bridge, plus Meinl darbuka and bendir right on the house beat. Turkish strings with 12–24 players and micro-interval tuning, Turkish G-clarinet and violin for intro solos. Dramatic mezzo-soprano with melismatic Turkish ornaments (Kahbe), fast vibrato and a lamenting, highly emotional delivery. PRODUCTION SECRETS: quarter-tone tuning of the string sections for the silky yet intense sound, extremely dry present lead vocal with widely panned heavily compressed doubles in the choruses, organic darbuka/bendir layered on a hard 4/4 house beat, sidechain compression between kick and traditional percussion, strong 12kHz air boost on the vocals.

Modern Turkish PopArabesque-Pop Fusion104 BPM
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Ludovico Einaudi Style – Cinematic Neo-Classical
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Genre

Ludovico Einaudi Style – Cinematic Neo-Classical

Ambient Neo-Classical / Cinematic Film Music in Ludovico Einaudi style: Steinway & Sons Model D-274 concert grand as main instrument, Yamaha U1 upright with felt moderator (Felt Piano) for intimate close-miking atmosphere. Roland Juno-60 and Sequential Prophet-6 for ambient pads and textures. Legato strings (violins/cellos) as counter-melody, fast arpeggios in crescendo. Adams Symphonic Timpani and Gran Cassa for cinematic accents. Moog Sub 37 for synthetic sub-bass (40 Hz). Fender Stratocaster (neck pickup, clean bell-like sound) through Vox AC30 with shimmer reverb and tape delay for floating ambient textures. Double bass with legato bow. Wordless ethereal soprano vocalise as atmosphere. PRODUCTION SECRETS: Extreme close-miking of piano including mechanical noises, massive string layering (overdubbing), sub-bass coupling with sine wave at 40 Hz.

Ambient Neo-ClassicalCinematic Modern Classical70 BPM
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Udo Lindenberg Style – German Rock / Funk Rock
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Artist

Udo Lindenberg Style – German Rock / Funk Rock

German Rock / Funk Rock in Udo Lindenberg Panik Orchestra style (Sonderzug nach Pankow era 1983): Fender Telecaster (Standard 70s) and Gibson Les Paul Deluxe through Marshall JCM800 (gritty rock edge) and Fender Twin Reverb (crisp clean rhythms). Martin D-28 for acoustic nuances. MXR Phase 90, Ibanez Tube Screamer TS9, Dunlop Cry Baby Wah. Hohner Clavinet D6 (percussive funk chord jabs), Fender Rhodes Mark I (warm comping chords). Roland Jupiter-8 (80s synth pads, brass imitations). Fender Jazz Bass through Ampeg SVT (driving syncopated funk lines). Ludwig Classic Maple kit with deep-tuned fat snare, Paiste 2002 cymbals, gated reverb on snare. Panik Horn Section: Saxophone (bridge solo), Trumpet and Trombone (layered brass, overdubbing). Gritty nasal speech-singing baritone with vocal doubling in chorus. PRODUCTION SECRETS: Bone-dry drum sound with gated reverb on snare, rhythm guitars hard-panned left/right, vocal doubling in chorus.

DeutschrockFunk Rock122 BPM
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Paco de Lucía Style – Spanish Flamenco Guitar
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Artist

Paco de Lucía Style – Spanish Flamenco Guitar

Flamenco Nuevo / Flamenco Jazz / Spanish Gypsy Folk in Paco de Lucía sextet style (late 1970s / 1980s era): The centerpiece is the Hermanos Conde Media Luna flamenco guitar (Spanish cypress + spruce, 1970s) close-miked with Neumann KM84/U87 – hyper-fast picado, aggressive rasgueado, thumb-driven alzapúa and percussive golpes on the body. A second flamenco guitar (Lester DeVoe, later era) for rhythm and counterpoint. Pure acoustic, no pedals, only minimal Lexicon reverb. Percussion in Rumba Flamenca / Afro-Cuban Fusion style: Cajón (Rubem Dantas) with syncopated driving slaps, Bongos (Martillo), Palmas (Sordas muted L/R + Claras bright center) and Shaker. Electric hollowbody bass (Gibson EB-2 style, Carles Benavent) through Trace Elliot solid-state amp: melodic counter-melodies, fast fingerstyle, percussive thumping. Flute and Saxophone (Jorge Pardo style) for flamenco jazz colors in solos and bridge. Vocals: Male solo cantaor in Cante Jondo (raw, deeply emotional, microtonal inflections, Quejío lamenting cry) plus Jaleos/shouts (¡Olé!, ¡Eso es!). PRODUCTION SECRETS: Pure acoustic recording with minimal compression, precise L/R panning of percussion, intimate close-miking of the guitars (12th fret brilliance + bridge golpe punch), short plate reverb on Cajón. Key A Phrygian / D minor, 120 BPM 4/4 (traditional Bulerías in 12/8).

Flamenco NuevoFlamenco Jazz120 BPM
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Benny Goodman Style – Swing / Big Band Jazz
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Artist

Benny Goodman Style – Swing / Big Band Jazz

Big Band Swing in the Benny Goodman Orchestra style (Golden Era of Swing 1935–1945, "King of Swing"): The centerpiece is the virtuosic lead clarinet (Selmer Centered Tone "Benny Goodman Model" / Balanced Tone, hard reeds strength 4-5, closed "Circle BG" mouthpiece) – extremely fast, crystal-clear runs, light glissando, purely acoustic through RCA 44-BX / 77-DX ribbon microphones. Horn sections in close harmonies: 4 saxophones (2 alto, 2 tenor, Selmer), 3 trumpets (Conn) and 2 trombones (King) in powerful call-and-response. Rhythm section: Gene Krupa on the Slingerland Radio King kit (26" bass drum, Zildjian sizzle cymbals) with driving swing ride, bass drum "feathering" and explosive tom-tom solos; Allan Reuss on the Gibson L-5 archtop (purely acoustic, strict percussive "four-on-the-floor" quarter-note chords); upright bass (Kay, gut strings) with walking bass and slap technique; Steinway grand piano (Jess Stacy / Teddy Wilson) stride style with pearling boogie-woogie runs. Vocals: Female swing chanteuse (Helen Ward / Martha Tilton / Peggy Lee type) – clear lyrical soprano or warm intimate alto, elegantly phrased, laid-back slightly behind the beat, subtle controlled vibrato, subtle vintage plate reverb. PRODUCTION SECRET: No overdubs – the whole band plays live simultaneously in the studio / Carnegie Hall, balance achieved purely through physical musician placement relative to the microphone (soloists step close, horn sections stand further back). Preferred keys F major and Bb major, uptempo 120–220 BPM 4/4.

SwingBig Band170 BPM
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Comedian Harmonists Style – Close Harmony / Weimar Republic Schlager
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Artist

Comedian Harmonists Style – Close Harmony / Weimar Republic Schlager

Close harmony of the Golden Twenties (1928–1935, Weimar Republic): a five-part all-male vocal quintet with solo piano accompaniment only – no drums, no bass instrument, no guitar, no synthesizer. The five voices: Ari Leschnikoff as 1st tenor (clear operatic head voice, leggero with falsetto entries), Erich Collin as 2nd tenor, Harry Frommermann as 3rd tenor and vocal arranger (sound imitations, vocally imitated brass and percussion), Roman Cycowski as baritone, and Robert Biberti as basso profondo carrying the entire bass line as a sung upright-bass substitute in walking-bass style. Rhythm: a purely vocally phrased 4/4 foxtrot and march – mouth percussion instead of a kit. Keys: virtuosic stride piano and ragtime accompaniment on an acoustic concert grand (Steinway & Sons Model D or C. Bechstein Model C). Vocal style: highly precise contrapuntal ensemble singing, bel canto technique, falsetto entries, scat and sound imitations, crisp 1930s German diction. PRODUCTION SECRET: direct mono recording cut to wax via one or two large-diaphragm microphones (early condenser mics, e.g. Neumann CMV 3 “Neumann bottle”) through historic tube preamps (Telefunken/Blaupunkt era). Depth staging is created exclusively by millimetre-precise physical placement of the singers around the grand piano: Biberti and Frommermann close to the mic for bass and percussion effects, the tenors slightly offset behind them. Natural room reverb of historic Berlin halls (including the Sing-Akademie zu Berlin). No overdubs, no layering, no stereo. Predominantly major keys with a light-footed humorous character, most often F major followed by C major, occasionally G major, 4/4 time.

Vocal EnsembleVocal Jazz120 BPM
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Video tutorial – How the Power Prompts work

Learn more about our Suno Prompt Generator – with a tag library, FAQ and quick tags for instant results.

Your songs, your pace

Start for free with 5 songs. When you want more, choose the plan that fits you – your created songs stay forever.

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€0
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  • Templates & power prompts

Basic

Creative tools

€4.90 / month

or €49 per year

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  • 5 MP3 downloads
  • Fusion Lab & audio optimization
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€14.90 / month

or €149 per year

  • 100x2 songs per month
  • 100 MP3 downloads
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€24.90 / month

or €249 per year

  • 250x2 songs per month
  • 250 downloads (MP3 + WAV)
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  • Cancel monthly

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