From Memphis to the World: My 25-Year Beat Making Journey

I made my first beat in 1997 on a Pentium II computer with 32MB of RAM. I was using a cracked copy of FruityLoops (before it was called FL Studio), a pair of $20 headphones from Walgreens, and pure obsession. Twenty-five years later, I'm still at it — and the journey has been wilder than any beat I've ever made.

The Early Days (1997-2003)

Memphis in the late 90s was ground zero for a certain kind of sound. Three 6 Mafia, 8Ball & MJG, and Project Pat were defining Southern hip hop, and the energy was electric. Every kid in my neighborhood was either rapping or making beats. I chose beats.

My setup was laughable by today's standards. I'd sample sounds from CDs, record them through the computer's built-in microphone, and chop them up in FruityLoops. The quality was terrible, but I didn't care. I was learning, and every beat was better than the last.

I posted my beats on Mp3.com — the original one, before the lawsuits killed it. To my shock, people actually downloaded them. I hit #1 on the platform and stayed there for three years. That validation changed everything for me.

The Grind (2003-2010)

After Mp3.com shut down, I moved to SoundClick and Myspace. These platforms were the beat-selling marketplace before BeatStars existed. I was selling beats for $25-$50 each, working a day job, and spending every free moment in the studio.

The highlight of this era was my work getting placed on TV shows — VH1, MTV, BET, and Oxygen all used my instrumentals. Hearing your beat on national television for the first time is a feeling I'll never forget. It validated years of grinding.

I also earned a Grammy nomination during this period, which opened doors I didn't even know existed. Labels called. Artists reached out. Opportunities appeared. But I stayed independent because I loved the freedom of being my own boss.

Going Digital (2010-2020)

The 2010s were about building a brand. I launched my YouTube channel (@chemiZtry) and started uploading beats consistently. At first, nobody watched. But I kept going — one beat a week, every week, for years.

I also moved to Broadjam, where I hit #1 and stayed for over three years. The platform connected me with music supervisors, ad agencies, and film producers looking for instrumentals. Sync licensing became a significant revenue stream.

The production game changed dramatically during this decade. FL Studio went from a "toy" to the most popular DAW in hip hop. Plugin quality skyrocketed. A kid with a laptop could now produce tracks that rivaled major studio recordings.

The Present (2020-Now)

Today, I've got over 600 tracks in my catalog spanning hip hop, R&B, and everything in between. My focus is on building this website as a direct-to-artist platform, cutting out the middleman platforms and their fees.

I'm also more active than ever on YouTube, breaking down my production process, sharing beat-making tutorials, and connecting with the next generation of producers. The community aspect of music production is something I value deeply.

What I've Learned

1. Consistency beats talent. I've seen incredibly talented producers give up after a year. I've also seen average producers become great through sheer persistence. Show up every day.

2. Adapt or die. The platforms change. The sounds change. The technology changes. The producers who survive are the ones who evolve while staying true to their core sound.

3. Relationships matter more than beats. The best opportunities in my career came from relationships, not cold submissions. Build genuine connections with artists, other producers, and industry people.

4. Never stop learning. I've been making beats for 25 years and I still watch tutorials. The day you think you know everything is the day your music starts dying.

5. Protect your art. Register your beats with a PRO (ASCAP, BMI, SESAC). Use proper licensing agreements. Keep records of everything. The business side isn't glamorous, but it's what turns a hobby into a career.

What's Next

I'm working on expanding the beat catalog on this site, offering more custom production services, and growing the YouTube channel. The goal is the same as it was in 1997: make the best beats I can, connect with artists who need them, and keep pushing the craft forward.

If you're a producer just starting out, know this: the path is long, but it's worth every step. Keep making beats.