Chords for The Making Of Lil Pump's "Designer" With Zaytoven | Deconstructed
Tempo:
102.7 bpm
Chords used:
Gm
Cm
F#m
C
A#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
You know, the generation I come from is a little bit [C#] more musical than [F#m] the generation
that's here now.
And I think it's due to technology, the way things are being produced.
A lot of the music don't have a lot of heart and soul in it no more, because it's not really
being made by human hands, it's being made by computers.
I think this was my chance to kind of bridge the gap.
[Cm]
The reason why I even got [Gm] into music [C] is my mom is a choir director, my [Gm] dad's a preacher,
so that [C] means we at church [Gm] four days out the week.
You know, as a child, you [Cm] need something to do, you need some [Gm] involvement to keep you
excited [G] about where you're going.
If [Gm] I'm going to be here at church, I want to do something.
[Cm] I started off [G] playing the drums, [C] and it seemed like every boy in the church wanted to play the [Gm] drums.
[Cm]
I see one [A#] nobody really trying to play the keyboard or the organ, [G] so I start migrating
over to [Gm] the organ and [G] the piano [Gm] and start learning that.
And I just got [Cm] addicted to it.
[Gm] [Cm]
[Gm] [Cm]
[Gm] [Cm] [Gm]
[C] The sound that [A#] I developed through just working over the [Cm] years, a lot of [D] people take it [Gm] as
the Zaytoven [Cm] signature sound, is the [A#] piano.
It used to be the organs, I used to [Cm] rev up the organs in my beats and [Gm] everybody was like,
oh, this is the Zaytoven sound.
[Cm] I think [Gm] when I did a project with [Cm] Future is when I really used a lot of [Gm] pianos.
And it was just me kind of [A#] trying to separate myself from [C] all the other [A#] producers.
[B] I didn't really know about Lil Pump.
I didn't know that much about his music or who he was, but my son knew.
If it wasn't for him, I wouldn't be keeping up with what's going on.
So when he called me, I automatically knew who he was.
Oh, you Lil Pump, you the one my son been talking about.
I need to work with you.
I can't wait to work with you.
So I go back and listen to him and see what he's on.
Then I create beats that I felt like that'll fit him.
And I was right on the money.
My first step in creating this designer beat, I started off with the pad just to kind of
get the groove [F#m] going.
It was a pad that came out of the plug-in Omnisphere.
I feel like it brings a certain racing feel.
It just kind of feels like it's building up to something.
It's subtle, but then it's kind of mysterious.
It's like, okay, what's [C#] going to happen?
It gives you that [G#] type of feeling.
[F#] Now after I used this pad, now I think about sounds that I can just add to kind of sprinkle
on top of it to kind of bring some different elements to the beat.
So what I added in next was a bell sound.
I love to use bells because [B] bells are not harsh.
They just tickle your [F#] ears a little bit.
They just add some different flavor.
Just something about [C#] bells that make it be like, okay, [F#] this is a trap [N] beat.
Since I'm so old school, I really don't add a lot of effects.
I don't add a lot of stuff to change the real texture of the sound.
And I move fast.
So that means I don't have a lot of time to manipulate the sound or change it or make
it sound different.
After I got me two good full sounds in the beat that I feel like can set the mode, then
I start adding drums.
I might add the claps first.
Sometimes I might add the kick first, but 90% of the time it's the hi-hat.
Now I'm in my zone of, okay, let's add all the drums in it now.
So after I add the hi-hat, I come on back and I add the clap.
Now once you add the hi-hat and the clap, every rapper, every artist, what's going to
really get them excited or make them feel like, okay, I'm ready to go in the booth right
now, stop making the beat, is when you add the drop.
When you add the 808s, it's time to rap.
[F]
[A] I want to say most important sound in the beat.
I didn't understand it until I got to Atlanta.
And that became a major part of me making beats.
If you listen to the beat now, it pretty much sounds full.
It sounds like it's ready to go.
I work with artists like Gucci Mane or Future or even Migos that they're impatient.
When you're in the studio, once they start hearing something they like, okay, I'm ready
to go in the mic booth, I'm ready to rap.
I don't want you to sit here for another 30 minutes making the beat because then I'm going
to lose my energy, I'm going to lose what I had in my mind, what I wanted to say.
So now it's like, hurry up, finish the beat so we can go ahead and do the song.
I'm like, well, hold on, give me one more minute.
Give me just one quick minute to add all these different little extra spices in it.
So the next thing I added was a snare.
The snares don't do nothing but enhance the movement.
It's moving almost like how the hi-hat's moving.
It just helped build the adrenaline.
I always look at a song as in there's a verse and there's a chorus.
In the music, something has to change when the chords come on.
So it defines, okay, that's the chorus and that's the verse.
So I went on, I said, you know what, let me add this last sound, [F#m] then this beat will be done.
Even though this was the last sound that I put in the beat, I felt like it just made
everything just gel together.
It just made it complete.
So now, after breaking down each instrument and everything I put in the beat and the reason
why I put it in the beat, let me give you what the grand finale sounds like.
[C#m] I feel like Lil Pump definitely follows the rock star image.
It's almost like no cares in the world.
And that's the type of music that make other people feel good.
Other people that probably have problems or got a nine to [F#m] five and they stressed out,
these are the artists that can [F#]
kind of free them up and make [F#m] them feel alive.
So when they go out or when they listen to the music, they just feel pumped up and excited.
That's definitely the new generation.
Guys like that have respect for producers like me.
Just the different generations coming together.
And I think that's what makes it powerful.
[C#]
Woo!
Damn!
Woo!
[N]
that's here now.
And I think it's due to technology, the way things are being produced.
A lot of the music don't have a lot of heart and soul in it no more, because it's not really
being made by human hands, it's being made by computers.
I think this was my chance to kind of bridge the gap.
[Cm]
The reason why I even got [Gm] into music [C] is my mom is a choir director, my [Gm] dad's a preacher,
so that [C] means we at church [Gm] four days out the week.
You know, as a child, you [Cm] need something to do, you need some [Gm] involvement to keep you
excited [G] about where you're going.
If [Gm] I'm going to be here at church, I want to do something.
[Cm] I started off [G] playing the drums, [C] and it seemed like every boy in the church wanted to play the [Gm] drums.
[Cm]
I see one [A#] nobody really trying to play the keyboard or the organ, [G] so I start migrating
over to [Gm] the organ and [G] the piano [Gm] and start learning that.
And I just got [Cm] addicted to it.
[Gm] [Cm]
[Gm] [Cm]
[Gm] [Cm] [Gm]
[C] The sound that [A#] I developed through just working over the [Cm] years, a lot of [D] people take it [Gm] as
the Zaytoven [Cm] signature sound, is the [A#] piano.
It used to be the organs, I used to [Cm] rev up the organs in my beats and [Gm] everybody was like,
oh, this is the Zaytoven sound.
[Cm] I think [Gm] when I did a project with [Cm] Future is when I really used a lot of [Gm] pianos.
And it was just me kind of [A#] trying to separate myself from [C] all the other [A#] producers.
[B] I didn't really know about Lil Pump.
I didn't know that much about his music or who he was, but my son knew.
If it wasn't for him, I wouldn't be keeping up with what's going on.
So when he called me, I automatically knew who he was.
Oh, you Lil Pump, you the one my son been talking about.
I need to work with you.
I can't wait to work with you.
So I go back and listen to him and see what he's on.
Then I create beats that I felt like that'll fit him.
And I was right on the money.
My first step in creating this designer beat, I started off with the pad just to kind of
get the groove [F#m] going.
It was a pad that came out of the plug-in Omnisphere.
I feel like it brings a certain racing feel.
It just kind of feels like it's building up to something.
It's subtle, but then it's kind of mysterious.
It's like, okay, what's [C#] going to happen?
It gives you that [G#] type of feeling.
[F#] Now after I used this pad, now I think about sounds that I can just add to kind of sprinkle
on top of it to kind of bring some different elements to the beat.
So what I added in next was a bell sound.
I love to use bells because [B] bells are not harsh.
They just tickle your [F#] ears a little bit.
They just add some different flavor.
Just something about [C#] bells that make it be like, okay, [F#] this is a trap [N] beat.
Since I'm so old school, I really don't add a lot of effects.
I don't add a lot of stuff to change the real texture of the sound.
And I move fast.
So that means I don't have a lot of time to manipulate the sound or change it or make
it sound different.
After I got me two good full sounds in the beat that I feel like can set the mode, then
I start adding drums.
I might add the claps first.
Sometimes I might add the kick first, but 90% of the time it's the hi-hat.
Now I'm in my zone of, okay, let's add all the drums in it now.
So after I add the hi-hat, I come on back and I add the clap.
Now once you add the hi-hat and the clap, every rapper, every artist, what's going to
really get them excited or make them feel like, okay, I'm ready to go in the booth right
now, stop making the beat, is when you add the drop.
When you add the 808s, it's time to rap.
[F]
[A] I want to say most important sound in the beat.
I didn't understand it until I got to Atlanta.
And that became a major part of me making beats.
If you listen to the beat now, it pretty much sounds full.
It sounds like it's ready to go.
I work with artists like Gucci Mane or Future or even Migos that they're impatient.
When you're in the studio, once they start hearing something they like, okay, I'm ready
to go in the mic booth, I'm ready to rap.
I don't want you to sit here for another 30 minutes making the beat because then I'm going
to lose my energy, I'm going to lose what I had in my mind, what I wanted to say.
So now it's like, hurry up, finish the beat so we can go ahead and do the song.
I'm like, well, hold on, give me one more minute.
Give me just one quick minute to add all these different little extra spices in it.
So the next thing I added was a snare.
The snares don't do nothing but enhance the movement.
It's moving almost like how the hi-hat's moving.
It just helped build the adrenaline.
I always look at a song as in there's a verse and there's a chorus.
In the music, something has to change when the chords come on.
So it defines, okay, that's the chorus and that's the verse.
So I went on, I said, you know what, let me add this last sound, [F#m] then this beat will be done.
Even though this was the last sound that I put in the beat, I felt like it just made
everything just gel together.
It just made it complete.
So now, after breaking down each instrument and everything I put in the beat and the reason
why I put it in the beat, let me give you what the grand finale sounds like.
[C#m] I feel like Lil Pump definitely follows the rock star image.
It's almost like no cares in the world.
And that's the type of music that make other people feel good.
Other people that probably have problems or got a nine to [F#m] five and they stressed out,
these are the artists that can [F#]
kind of free them up and make [F#m] them feel alive.
So when they go out or when they listen to the music, they just feel pumped up and excited.
That's definitely the new generation.
Guys like that have respect for producers like me.
Just the different generations coming together.
And I think that's what makes it powerful.
[C#]
Woo!
Damn!
Woo!
[N]
Key:
Gm
Cm
F#m
C
A#
Gm
Cm
F#m
You know, the generation I come from is a little bit [C#] more musical than [F#m] the generation
that's here now.
_ And I think it's due to technology, the way things are being produced.
A lot of the music don't have a lot of heart and soul in it no more, because it's not really
being made by human hands, it's being made by computers.
_ I think this was my chance to kind of bridge the gap.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Cm] _ _ _ _ _
_ _ _ The reason why I even got [Gm] into music [C] is my mom is a choir director, my [Gm] dad's a preacher,
so that [C] means we at church [Gm] four days out the week.
You know, as a child, you [Cm] need something to do, you need some [Gm] involvement to keep you
excited [G] about where you're going.
If [Gm] I'm going to be here at church, I want to do something.
[Cm] I started off [G] playing the drums, [C] and it seemed like every boy in the church wanted to play the [Gm] drums.
_ _ _ [Cm]
I see one [A#] nobody really trying to play the keyboard or the organ, [G] so I start migrating
over to [Gm] the organ and [G] the piano [Gm] and start learning that.
And I just got [Cm] addicted to it.
[Gm] _ _ _ _ [Cm] _
_ _ [Gm] _ _ _ [Cm] _ _ _
[Gm] _ _ _ _ [Cm] _ _ _ [Gm] _
_ _ [C] The sound that [A#] I developed through just working over the [Cm] years, a lot of [D] people take it [Gm] as
the Zaytoven [Cm] signature sound, is the [A#] piano.
It used to be the organs, I used to [Cm] rev up the organs in my beats and [Gm] everybody was like,
oh, this is the Zaytoven sound.
[Cm] I think [Gm] when I did a project with [Cm] Future is when I really used a lot of [Gm] pianos.
And it was just me kind of [A#] trying to separate myself from [C] all the other [A#] producers.
_ [B] I didn't really know about Lil Pump.
I didn't know that much about his music or who he was, but my son knew.
If it wasn't for him, I wouldn't be keeping up with what's going on.
So when he called me, I automatically knew who he was.
Oh, you Lil Pump, you the one my son been talking about.
I need to work with you.
I can't wait to work with you.
So I go back and listen to him and see what he's on.
Then I create beats that I felt like that'll fit him.
And I was right on the money.
_ _ My first step in creating this designer beat, I started off with the pad just to kind of
get the groove [F#m] going.
_ _ _ _ _ It was a pad that came out of the plug-in Omnisphere.
I feel like it brings a certain racing feel.
It just kind of feels like it's building up to something.
It's subtle, but then it's kind of mysterious.
It's like, okay, what's [C#] going to happen?
It gives you that [G#] type of feeling.
[F#] Now after I used this pad, now I think about sounds that I can just add to kind of sprinkle
on top of it to kind of bring some different elements to the beat.
So what I added in next was a bell sound. _ _ _ _ _
_ _ I love to use bells because [B] bells are not harsh.
They just tickle your [F#] ears a little bit.
They just add some different flavor.
Just something about [C#] bells that make it be like, okay, [F#] this is a trap [N] beat.
Since I'm so old school, I really don't add a lot of effects.
I don't add a lot of stuff to change the real texture of the sound.
And I move fast.
So that means I don't have a lot of time to manipulate the sound or change it or make
it sound different.
After I got me two good full sounds in the beat that I feel like can set the mode, then
I start adding drums. _ _
_ _ I might add the claps first.
Sometimes I might add the kick first, but 90% of the time it's the hi-hat.
Now I'm in my zone of, okay, let's add all the drums in it now.
So after I add the hi-hat, I come on back and I add the clap. _ _ _
_ _ _ Now once you add the hi-hat and the clap, every rapper, every artist, what's going to
really get them excited or make them feel like, okay, I'm ready to go in the booth right
now, stop making the beat, is when you add the drop.
When you add the 808s, it's time to rap.
[F] _
_ _ [A] _ I want to say most important sound in the beat.
I didn't understand it until I got to Atlanta.
And that became a major part of me making beats.
If you listen to the beat now, it pretty much sounds _ full.
It sounds like it's ready to go.
I work with artists like Gucci Mane or Future or even Migos that they're impatient.
When you're in the studio, once they start hearing something they like, okay, I'm ready
to go in the mic booth, I'm ready to rap.
I don't want you to sit here for another 30 minutes making the beat because then I'm going
to lose my energy, I'm going to lose what I had in my mind, what I wanted to say.
So now it's like, hurry up, finish the beat so we can go ahead and do the song.
I'm like, well, hold on, give me one more minute.
Give me just one quick minute to add all these different little extra spices in it.
So the next thing I added was a snare.
_ The snares don't do nothing but enhance the movement.
It's moving almost like how the hi-hat's moving.
It just helped build the adrenaline.
I always look at a song as in there's a verse and there's a chorus.
In the music, something has to change when the chords come on.
So it defines, okay, that's the chorus and that's the verse.
So I went on, I said, you know what, let me add this last sound, [F#m] then this beat will be done.
_ _ _ Even though this was the last sound that I put in the beat, I felt like it just made
everything just gel together.
It just made it complete.
_ So now, after breaking down each instrument and everything I put in the beat and the reason
why I put it in the beat, let me give you what the grand finale sounds like. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[C#m] I feel like Lil Pump definitely follows the rock star image. _
It's almost like no cares in the world.
And that's the type of music that make other people feel good.
Other people that probably have problems or got a nine to [F#m] five and they stressed out,
these are the artists that can [F#]
kind of free them up and make [F#m] them feel alive.
So when they go out or when they listen to the music, they just feel pumped up and excited.
That's definitely the new generation.
Guys like that have respect for producers like me.
Just the different generations coming together.
And I think that's what makes it powerful.
_ _ [C#]
Woo!
Damn!
_ _ _ Woo!
_ _ _ _ _ _ _ [N] _
that's here now.
_ And I think it's due to technology, the way things are being produced.
A lot of the music don't have a lot of heart and soul in it no more, because it's not really
being made by human hands, it's being made by computers.
_ I think this was my chance to kind of bridge the gap.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Cm] _ _ _ _ _
_ _ _ The reason why I even got [Gm] into music [C] is my mom is a choir director, my [Gm] dad's a preacher,
so that [C] means we at church [Gm] four days out the week.
You know, as a child, you [Cm] need something to do, you need some [Gm] involvement to keep you
excited [G] about where you're going.
If [Gm] I'm going to be here at church, I want to do something.
[Cm] I started off [G] playing the drums, [C] and it seemed like every boy in the church wanted to play the [Gm] drums.
_ _ _ [Cm]
I see one [A#] nobody really trying to play the keyboard or the organ, [G] so I start migrating
over to [Gm] the organ and [G] the piano [Gm] and start learning that.
And I just got [Cm] addicted to it.
[Gm] _ _ _ _ [Cm] _
_ _ [Gm] _ _ _ [Cm] _ _ _
[Gm] _ _ _ _ [Cm] _ _ _ [Gm] _
_ _ [C] The sound that [A#] I developed through just working over the [Cm] years, a lot of [D] people take it [Gm] as
the Zaytoven [Cm] signature sound, is the [A#] piano.
It used to be the organs, I used to [Cm] rev up the organs in my beats and [Gm] everybody was like,
oh, this is the Zaytoven sound.
[Cm] I think [Gm] when I did a project with [Cm] Future is when I really used a lot of [Gm] pianos.
And it was just me kind of [A#] trying to separate myself from [C] all the other [A#] producers.
_ [B] I didn't really know about Lil Pump.
I didn't know that much about his music or who he was, but my son knew.
If it wasn't for him, I wouldn't be keeping up with what's going on.
So when he called me, I automatically knew who he was.
Oh, you Lil Pump, you the one my son been talking about.
I need to work with you.
I can't wait to work with you.
So I go back and listen to him and see what he's on.
Then I create beats that I felt like that'll fit him.
And I was right on the money.
_ _ My first step in creating this designer beat, I started off with the pad just to kind of
get the groove [F#m] going.
_ _ _ _ _ It was a pad that came out of the plug-in Omnisphere.
I feel like it brings a certain racing feel.
It just kind of feels like it's building up to something.
It's subtle, but then it's kind of mysterious.
It's like, okay, what's [C#] going to happen?
It gives you that [G#] type of feeling.
[F#] Now after I used this pad, now I think about sounds that I can just add to kind of sprinkle
on top of it to kind of bring some different elements to the beat.
So what I added in next was a bell sound. _ _ _ _ _
_ _ I love to use bells because [B] bells are not harsh.
They just tickle your [F#] ears a little bit.
They just add some different flavor.
Just something about [C#] bells that make it be like, okay, [F#] this is a trap [N] beat.
Since I'm so old school, I really don't add a lot of effects.
I don't add a lot of stuff to change the real texture of the sound.
And I move fast.
So that means I don't have a lot of time to manipulate the sound or change it or make
it sound different.
After I got me two good full sounds in the beat that I feel like can set the mode, then
I start adding drums. _ _
_ _ I might add the claps first.
Sometimes I might add the kick first, but 90% of the time it's the hi-hat.
Now I'm in my zone of, okay, let's add all the drums in it now.
So after I add the hi-hat, I come on back and I add the clap. _ _ _
_ _ _ Now once you add the hi-hat and the clap, every rapper, every artist, what's going to
really get them excited or make them feel like, okay, I'm ready to go in the booth right
now, stop making the beat, is when you add the drop.
When you add the 808s, it's time to rap.
[F] _
_ _ [A] _ I want to say most important sound in the beat.
I didn't understand it until I got to Atlanta.
And that became a major part of me making beats.
If you listen to the beat now, it pretty much sounds _ full.
It sounds like it's ready to go.
I work with artists like Gucci Mane or Future or even Migos that they're impatient.
When you're in the studio, once they start hearing something they like, okay, I'm ready
to go in the mic booth, I'm ready to rap.
I don't want you to sit here for another 30 minutes making the beat because then I'm going
to lose my energy, I'm going to lose what I had in my mind, what I wanted to say.
So now it's like, hurry up, finish the beat so we can go ahead and do the song.
I'm like, well, hold on, give me one more minute.
Give me just one quick minute to add all these different little extra spices in it.
So the next thing I added was a snare.
_ The snares don't do nothing but enhance the movement.
It's moving almost like how the hi-hat's moving.
It just helped build the adrenaline.
I always look at a song as in there's a verse and there's a chorus.
In the music, something has to change when the chords come on.
So it defines, okay, that's the chorus and that's the verse.
So I went on, I said, you know what, let me add this last sound, [F#m] then this beat will be done.
_ _ _ Even though this was the last sound that I put in the beat, I felt like it just made
everything just gel together.
It just made it complete.
_ So now, after breaking down each instrument and everything I put in the beat and the reason
why I put it in the beat, let me give you what the grand finale sounds like. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[C#m] I feel like Lil Pump definitely follows the rock star image. _
It's almost like no cares in the world.
And that's the type of music that make other people feel good.
Other people that probably have problems or got a nine to [F#m] five and they stressed out,
these are the artists that can [F#]
kind of free them up and make [F#m] them feel alive.
So when they go out or when they listen to the music, they just feel pumped up and excited.
That's definitely the new generation.
Guys like that have respect for producers like me.
Just the different generations coming together.
And I think that's what makes it powerful.
_ _ [C#]
Woo!
Damn!
_ _ _ Woo!
_ _ _ _ _ _ _ [N] _