Teddy Walton: When I heard the sample then I sampled on my own I was like "Yo. Easy."
I'm not a beat maker.
It's more of like I see more than just the
beat.
That's what makes me make the whole song.
The first version of "Crew," I was trying
to put everybody in the mood and just like,
you know, Friday night, you with a couple
of shorties, you and your homies.
You just turning up, like really.
I felt like that joint was too fast.
I'ma come clean.
I really don't know how it got to Goldlink.
I know my manager had the original beat.
That I made for TYLR JONES.
That was my first time actually listening to Goldlink.
The whole purpose of me remaking this beat is like "Yo, I want this to be way more chiller.
But still feel the same."
The first element that I added to this beat
is like, the beginning.
It kind of sounds like...
It's not even an instrument.
It's more of a ambient sound that it gives
you.
And it says "Crew" on there, so that's the
beginning of it.
I just sampled the beginning.
I kind of slowed it down.
If you work on FL, just reversing things and
slowing things down.
It just makes it a whole different vibe.
For example, I can just...
I just pitched it down.
This is the regular pitch.
It's easier to sing over.
I actually sampled my homie Zacari, who's
actually on the "Love" record, with Kendrick.
I was trying to give it like a Travis Scott
vibe, really.
I just threw some autotune on his voice and
slowed the original beat down.
If you listen to the tempo, you automatically...
Even though it sounds like R&B, it sounds
slow, you're still like...
You're still vibing out.
So my element to that, I would want to add
the kicks to it.
It gives it that...
I'm still keeping that tempo.
Now that I have that certain tempo, I like
to keep it real simple.
Never overthink.
I never overthink when it comes to beats.
These is just regular hi hats that I...
That compliments the...
And from the sample, it already had that bounce
to it so I added that...
It sounds like a old clap.
It's not even really hitting.
That snare is weak.
On purpose.
Like, I did that on purpose.
Because usually I double my snares.
That's a secret that I just told everybody.
Since I took an element from my old beat,
I can't take out my bass.
So it was like, how can I make this still
feel the bass, but still feel the bass from
my old sample I took?
So I added just two simple baselines like...
It just brings it out, just a little bit.
I'ma play it with the sample, just so you
can really understand what I mean by that.
I just turned things up to the max.
There's like no rules when I make beats.
I just make sure that my snare hitting.
I put a bass on top of a bass.
Like, this already had a bass.
You know what I'm saying?
I was like, I don't even care.I'm really inspired
by Three 6 Mafia, so...
It can be an R&B record, it can be a Pop record,
a Rock record.
I'ma still throw some trill keys on it, somehow.
I definitely tucked this in the beat.
It's really on some Owl City shit, if anybody
know about Owl City.
It's some "Fireflies" type shit.
I got a crazy girl moaning in this beat.
I used something to set off a drop.
a lot of people used to use a crash.
I like to use different things, like a stapler
or a girl moaning
just to separate that drop.
I'll just be walking and I'll just hear something,
as far as nature, and I'll just record it
on my phone and I'll end up putting it in
my beats.
It ended up being...
I really like to have people feel my beats.
Instead of just listening to it.
I like to sneak things in that's like, 'Yo.
Is that an ocean?
Is that rain?
Or is that...'
Anything.
Anything that's nature, I like to just sneak
inside my beats.
When I make a beat,
it has to have a feel.
It has to make you feel a certain way.
If it really don't touch your soul, I'm not even finishing the beat.
The most important element is the mood that it puts you in.
