How Juice WRLD Built His Sound: Production Guide

By MusicArticles.org
Published: August 3, 2026

Introduction: More Than Just a Voice

When you hear a Juice WRLD song, you know it instantly. There’s something raw and emotionally charged about his delivery — that melodic trap style that blurs the line between singing and rapping, drenched in pitch correction and reverb, but never losing the human feel underneath .

This isn’t just about a unique voice, though. The production behind Juice WRLD’s music is just as special as his performances. From the melancholic guitar loops to the booming 808s and the carefully crafted vocal chains, every element was designed with intention.

In this article, we’re going to break down exactly how Juice WRLD’s music was made. We’ll cover:

The beat-making process — how producers like Nick Mira and Purps built the instrumentals
The vocal chain — every plugin and setting that shaped his signature sound
DAW-specific guides — step-by-step instructions for FL Studio and Pro Tools
The philosophy — why his production approach worked so well

Whether you’re a producer, a curious fan, or someone who’s never opened a DAW in their life, this guide will help you understand the magic behind the music.

Part 1: The Beat — How Juice WRLD’s Instrumentals Were Made

Juice WRLD’s sound uses the quintessential sounds of emo trap — and broadly trap music in general . But what made it different? Let’s break it down piece by piece.

The Melody: Starting With Emotion

For producers like Nick Mira, who made beats for “All Girls Are the Same” and “Empty,” the melody was everything.

“I’d say the number one important thing to me when I’m making a beat is always my melody. If I don’t have my melody right or the actual musical components of the beat, then I just can’t focus from there on out.”

What this means in practice: Before any drums or bass, the producers built the emotional core of the song using instruments that felt “sad” or “emotional.”

On “Empty”

Nick Mira started with:

A grand piano sound playing three chords that loop throughout the song
A Rhodes keyboard from the Keyscape VST layered underneath for “more feel and spaciousness”
Reverb added to the Rhodes — “a lot of reverb” — to make it sound more atmospheric
An ElectraX arpeggio from producer Roy Major’s Pluto Bank
A Kontakt vocal sound — “tucked way in the back and you’ll never notice it” — adding texture you feel without noticing

In FL Studio: You’d use the Piano Roll to play those chords, then layer different instruments on separate mixer tracks. The reverb would be added using Fruity Reverb 2 or a third-party reverb plugin on a send channel.

In Pro Tools: You’d use an Instrument Track with a virtual instrument plugin, then route it to an Aux Track with reverb as an insert or send.

On “Hear Me Calling”

Producer Purps took a different approach, going for a “happy pop sound” with Caribbean influences :

Piano with EQ — “Took down the brights and the lows, and just left room for the middle”
Reverb added to make it “sound more roomy”
An organ for texture
A “plucky” acoustic sound with an “island-y” vibe
Gross Beat (a FL Studio plugin) used for a “glitch sound with a little pitch down” at the end
Chorus effect to “widen the sound and make it more like rock, Cali kind of vibe”

In FL Studio: Gross Beat is a stock plugin that’s unique to FL Studio. It allows you to create stutter effects, glitches, and time-based manipulations. You’d drag it onto the mixer track where your instrument is routed.

In Pro Tools: You’d achieve similar effects using plugins like Soundtoys Effect Rack or by manually chopping audio in the timeline.

The Guitar: Emo and Pop-Punk Influences

Juice WRLD’s sound departed from mainstream trap with its punk rock and emo hardcore influences . You’ll hear a lot of electric guitar loops and samples — all heavily distorted, chunky and leaning heavily on power chord progressions .

Riffs inspired by bands like Blink 182, The Offspring, or My Chemical Romance were common . They’re often written in a minor key and use tons of distortion .

What this means for producers: If you want to make a Juice WRLD-type beat, consider using:

Plucked guitar parts that are light and melodic for verses
Chunky, distorted guitar with power chords for bigger moments and choruses
Minor keys to keep the emotional, melancholic vibe

The Drums: Trap Foundations with Bounce

After the melodies were in place, the producers added drums. The approach was classic trap, but with specific attention to feel.

Hi-Hats: The Bounce

On “All Girls Are the Same,” Nick Mira described how he got the bounce:

“The most bounce was the hi-hats. So I turned the release down. Chopped it so it sounds like a shaker. Like a ‘chka chka.’”

What this means: Trap hi-hats are typically fast and complex. By turning down the release time, you make the hi-hat sound shorter and more percussive. Chopping the sample creates a rhythmic pattern that feels like a shaker — giving the beat a bouncier feel.

In FL Studio: You’d use the Channel Settings for your hi-hat sample and adjust the “Release” knob in the envelope section. You’d then program the hi-hat pattern in the Piano Roll using rapid 1/16th or 1/32nd notes.

In Pro Tools: You’d use a MIDI track with a sampler plugin like Kontakt or Structure, programming the pattern in the MIDI editor. The release would be adjusted in the sampler’s envelope settings.

808s: The Foundation

Nick Mira kept the 808 pattern simple on “All Girls Are the Same”:

“It’s just a simple, really simple 808 pattern.”

But there’s a critical rule he emphasized:

“A lot of producers nowadays do not have their 808s in tune with melodies. That’s a big no-no for everybody. It just sounds so off. If you just bring them an octave up, you can listen to the actual tone of the note. Producers, tune your 808s please.”

What this means: Your 808 bass needs to be in the same key as your melody. If it’s out of tune, the whole beat sounds wrong. To check if your 808 is in tune, temporarily pitch it up an octave. The note becomes clearer and you can tell if it matches your melody.

In FL Studio: You’d load an 808 sample into a Sampler channel, then use the Piano Roll to play it. Each key on the keyboard plays the 808 at a different pitch. You’d write a bassline that follows your chord progression.

In Pro Tools: Similar approach — load an 808 into a sampler plugin and play it via MIDI or a keyboard controller.

Other Percussion

On “Hear Me Calling,” Purps added multiple percussive sounds to create swing and bounce :

“I believe another snare, I put a crash, and I put like this brush and a cool snap that has like a tunnel effect”
“I think it’s a balance of both worlds. You need the cool instruments and then you need like a strong, percussive rhythm backbone”

The Synths: Melancholic and Atmospheric

Another big part of any Juice WRLD beat is the use of melancholic synth lines that run in the background throughout .

The synths are typically:

Polyphonic (can play multiple notes at once)
Slightly retro — inspired by vintage FM or analog synths
Heavily reverbed for atmosphere
Low-end cut with a high-pass filter to leave room for the 808s

The Arrangement: Building for Emotion

Juice WRLD’s music wasn’t just about sounds — it was about structure. His beats often featured:

Breakdown sections where instruments drop out, creating space for emotional vocals
Risers (whooshing sounds that build tension) leading into drops
Minimal production during verses to let the lyrics breathe
More layered production during hooks to create impact

“You need to make space for the rapper with break-down sections and a minimalistic, less is more attitude to the production.”

Part 2: The Vocal Chain — How Juice WRLD’s Voice Was Processed

This is where the magic really happens. Juice WRLD’s vocal sound is a perfect balance of processing and rawness.

The Recording Setup

You don’t need an expensive studio to get this sound. Juice recorded a lot of early work in home setups and on the road .

What you need:

A condenser mic — something like an AT2020, Rode NT1, or Audio-Technica AT4040 all work great
A treated space — you don’t need a professional booth, but you should reduce room reflections. Egg crate foam in corners, a reflection filter behind the mic, or even a closet full of clothes can help
Good gain staging — record at -18 to -12dBFS peak. This means your signal is strong enough to work with but won’t distort (clip)
Mic technique — Juice often tracked standing up, getting close to the mic and then backing off during loud parts. This natural variation adds organic dynamics you can’t fake with a compressor alone

The Complete Vocal Chain

Here’s the full signal chain in order. This is how you build the Juice WRLD vocal sound from scratch .

1. Pitch Correction (Auto-Tune)

This is the centerpiece of the Juice sound. Juice WRLD used fast Auto-Tune with a retune speed around 10–20 .

The settings:

Retune speed: 10-15ms — fast enough to lock notes into pitch without going full T-Pain robotic
Humanize: 0 — you want the correction working constantly, not just on sustained notes
Flex-Tune: Off — his fast melodic runs need consistent correction throughout
Vibrato: Off — his natural vibrato comes through in the performance
Key and Scale: Set correctly — most Juice tracks are in minor keys

What this does: Auto-Tune “corrects” a singer’s pitch, moving off-key notes to the nearest correct note. With fast retune speed, the correction happens almost instantly — that’s what creates the characteristic “Auto-Tune effect” you hear in melodic rap and pop.

In FL Studio: You can use Auto-Tune as a plugin on the vocal mixer track. Alternatively, FL Studio has a stock plugin called Pitcher that does similar pitch correction.

In Pro Tools: Auto-Tune Pro or Auto-Tune Artist are commonly used. Set the retune speed to around 20 (or lower for more effect) and make sure the song’s key and scale are correct.

2. EQ (Equalization)

EQ shapes the tone of the vocal by boosting or cutting specific frequencies .

The settings:

High-pass filter at 80–100Hz — cuts out low rumble and sub-bass to leave room for the 808 and kick
Dip around 300–400Hz (-1.5 to -2dB) — removes muddiness or “boxiness,” especially if recorded in an untreated space
Boost 3–5kHz (+2 to +3dB) — adds presence and cut-through; this is where his forward nasally tone lives
High shelf boost around 12–16kHz (+1.5 to +2.5dB) — adds air and brightness

What this does:

A high-pass filter lets high frequencies pass through while cutting low ones. It removes unnecessary low-end rumble.
A boost at 3-5kHz makes the vocal more “present” and easier to hear in the mix.
A boost at 12-16kHz adds “air” — a brightness that makes the vocal feel more polished and professional.

In FL Studio: Use Parametric EQ 2 (stock plugin) or FabFilter Pro-Q 3. You can visually see the frequencies and add points to boost or cut.

In Pro Tools: Use the stock EQ III or third-party plugins like Pro-Q 3.

3. Compression

Compression controls the dynamic range — it makes the loudest parts quieter and the quietest parts louder, creating a more consistent level .

The settings:

Ratio: 4:1 — a medium ratio that controls peaks without crushing the vocal
Attack: 15–20ms — lets the initial transient (the start of the vocal) through before compression kicks in
Release: 50–60ms — lets the compressor “let go” of the vocal at a natural-sounding rate
Threshold: Set for 4–6dB of gain reduction
Makeup gain: Bring output back up to match input level

What this does: When the vocal exceeds a certain level (threshold), the compressor reduces its volume by a set amount (ratio). This “glues” the vocal together and ensures the listener can hear every word clearly.

But here’s the key: Juice’s compression was relatively light. His dynamics stay intact so the emotional peaks and valleys in his delivery still hit. That’s what gives it that “unfinished but perfect” quality .

In FL Studio: Use Fruity Compressor or a third-party 1176-style plugin. RysUp recommends a 4:1 ratio with a slightly slower attack (~20ms) and faster release (~40ms) for punchy character .

In Pro Tools: Use the stock Compressor/Limiter or third-party plugins.

4. De-Esser

A de-esser reduces harsh “S” and “Sh” sounds that can jump out and sound unpleasant .

The settings:

Frequency range: 7–8kHz — where sibilance typically lives
Reduction: 3–4dB max — keep it subtle

What this does: It acts like a compressor that only activates on harsh sibilant sounds, smoothing them out so they don’t poke out of the mix.

In FL Studio: Use Fruity Limiter’s de-esser section or a dedicated de-esser plugin.

In Pro Tools: Use the stock De-Esser or a third-party one.

5. Reverb

This is where the emotional depth comes from. Juice’s vocals have a lush, slightly washed-out quality — like they’re floating in a big room but still sitting up front in the mix .

The approach: Use two reverbs in parallel (on separate send channels) :

Reverb Type	Decay Time	Pre-Delay	Wet Level	Purpose
Room Reverb	0.8–1.2 seconds	20-25ms	15-18%	Creates a sense of space without pushing vocal back
Plate Reverb	1.2–1.5 seconds	25-30ms	12-15% (or 20-25% wet)	Adds shimmer and sustain on the tails of phrases

What this does: Reverb simulates the reflections of sound in a physical space. A room reverb makes the vocal feel like it’s in a real room. A plate reverb (which simulates a metal plate vibrating) adds a smooth, sustained tail that’s great for melodic singing.

Why two reverbs? Running both on sends rather than as inserts gives you more control. You can automate the reverb sends up on emotional hooks and pull them in on verses for clarity .

In FL Studio: Use Fruity Reverb 2 or send to a mixer track with your chosen reverb plugin.

In Pro Tools: Use the stock D-Verb or third-party plugins like Valhalla Room.

6. Delay

Delay adds rhythmic echoes that help the vocal sit in the mix .

The settings:

Type: Tempo-synced eighth note or quarter note
Feedback: 1–2 repeats max
Wet signal: 20–25%
High-pass filter on delay return: Cut below 200Hz to keep delay from competing with the 808
Low-pass filter on delay return: Roll off at 8–10kHz to help it sit back in the mix

What this does: Delay creates repeats of the vocal that follow the tempo of the song. It adds depth and interest without being distracting.

In FL Studio: Use Fruity Delay 2 or 3 on a send channel.

In Pro Tools: Use H-Delay (third-party) or the stock delay.

7. Saturation and Warmth

Juice’s vocals have a slight grit and warmth that comes from light tape saturation .

The settings: Drive the saturation plugin barely into saturation. If you can hear distortion clearly, you’ve gone too far. It should just make the vocal feel richer when you A/B it .

What this does: Saturation adds harmonic content (additional frequencies related to the original sound) that thickens the tone and gives it analog warmth.

In FL Studio: Use WaveShaper or third-party plugins like Decapitator, Softube Tape, or Waves J37.

In Pro Tools: Use the same third-party plugins.

The Philosophy: Let the Performance Breathe

The most important thing about Juice WRLD’s vocal production is the philosophy behind it:

“Juice’s approach is minimalist processing with maximum emotional impact. His vocal chain prioritizes dynamics.”

Key principles:

Let vocals breathe. No heavy compression that kills natural emotion
One-take recordings capture spontaneous, genuine performances
High-to-low dynamic range — quiet emotional verses, explosive hooks
Real-time Auto-Tune interaction with the delivery

“His performance has an unpredictable, off-the-cuff quality. Record multiple takes and use the ones where you weren’t overthinking. First takes hit different for this sound.”

Part 3: The “Dumbed Down” Guide — Technical Terms Explained

If you’re new to music production, here’s a simple breakdown of the key terms used in this article:

Audio Effects

Term	What It Does	Simple Analogy
Auto-Tune	Corrects singing pitch to the right notes	Like autocorrect for singing
EQ (Equalization)	Boosts or cuts certain frequencies	Like a bass/treble knob on a stereo, but more detailed
Compression	Makes loud parts quieter and quiet parts louder	Like an automatic volume control that evens things out
De-Esser	Reduces harsh “S” sounds	Like a filter that tames spitting sounds
Reverb	Adds echo and space	Like singing in a shower vs. a closet
Delay	Adds rhythmic echoes	Like hearing an echo after you speak in a canyon
Saturation	Adds warmth and slight distortion	Like adding a bit of “grit” or “color” to the sound

DAW Terms (FL Studio & Pro Tools)

Term	FL Studio Equivalent	Pro Tools Equivalent
Track/Channel	Mixer Track	Track
Instrument	Channel or VST	Instrument Track
Insert Effect	Effect slot on Mixer Track	Insert on Track
Send Effect	Send to another Mixer Track	Send to Aux Track
MIDI	Piano Roll	MIDI Editor
Automation	Automation Clip	Automation Lane
Audio Sample	Audio Clip or Sampler Channel	Audio File or Region

Part 4: Putting It All Together — Building a Juice WRLD-Type Beat Step by Step

Here’s a simplified, beginner-friendly guide to making a Juice WRLD-inspired track:

Step 1: Start with a Mood

Juice’s music is emotional. Pick a minor key and think about the feeling you want to convey. Sad? Heartbroken? Melancholic? That’s your starting point.

Step 2: Build the Melody

Start with something simple and emotional:

A piano playing three chords looping throughout the song
Layer with a Rhodes keyboard for warmth and spaciousness
Add reverb to make it sound roomy
Add a subtle synth in the background

Step 3: Add the Guitar (Optional)

For an authentic Juice WRLD feel, add a guitar part:

Plucked, clean guitar for verses
Distorted, chunky guitar for bigger moments

Step 4: Program the Drums

Trap beats are the foundation:

Hi-Hats: Fast, complex patterns (1/16 or 1/32 notes) with a bouncy feel
Kick Drum: Simple patterns that follow the 808 rhythm
Snare/Clap: On the 2 and 4 beats (the “backbeat”)
808 Bass: Melodic basslines that follow the chords. Make sure it’s in tune!

Step 5: Add Ambience

Synth pads playing chords softly in the background
Risers building tension before sections
Atmospheric sounds like bells or vocal textures

Step 6: Arrange for the Vocalist

Remember, this beat is made for someone to sing/rap over:

Leave space — don’t over-crowd the mix
Create breakdowns where drums or instruments drop out
Build to hooks — the biggest moments should hit hard

Conclusion: Why It Worked

Juice WRLD’s sound worked because it balanced technical excellence with raw emotion. The producers knew how to make beats that were polished enough to sound professional but raw enough to feel real. The vocal processing was precise but never sterile.

But the most important element was something no plugin can replicate:

“His approach works because he’s confident enough to let the vocal performance carry the track. One-take recordings, high-to-low dynamic range, and real-time Auto-Tune interaction with delivery create that signature Juice sound. He’s accessible across pop and hip-hop audiences because the emotion is genuine, not processed into submission.”

In an era of over-produced, perfectly polished music, Juice WRLD stood out by letting his imperfections show. The cracks in his voice, the spontaneous freestyles, the moments where he went off-key in interesting directions — those weren’t mistakes to be fixed. They were features of his art.

And that’s the real lesson for any producer or artist: plugins and techniques are just tools. The soul of the music comes from the person making it.

Listen to the Production

🎧 “Empty” — Death Race for Love
🎧 “All Girls Are the Same” — Goodbye & Good Riddance
🎧 “Hear Me Calling” — Death Race for Love

Inspired to create your own music? Start with these techniques, but remember to bring your own emotion and authenticity to the table. That’s what made Juice WRLD a legend.