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The Starboy Outtatown Drum Kit is a specialized collection of high-quality audio samples designed for music producers aiming to replicate the "rage" and "hyperpop" sounds popularized by producers Starboy (Anton Mendo) and Outtatown (Tobias Dekker). This kit has become an essential resource for those looking to create beats in the style of artists like Playboi Carti, Ken Carson, and Yeat. Who are Starboy and Outtatown?
Based in Amsterdam and Japan, the duo founded the production group HYPERPOP in 2019. They are widely recognized for their work on era-defining albums, most notably Playboi Carti's Whole Lotta Red and Ken Carson’s Teen X.
Starboy is known for a more cinematic, EDM-influenced style that frequently utilizes full chords and synth textures.
Outtatown often focuses on "bouncier," minimalist melodies with a heavy reliance on accent leads and punchy bass synths. Core Features of the Sound Kit
A standard Starboy Outtatown-inspired kit includes a variety of sounds optimized for high-energy trap production: Starboy Outtatown Drum Kit
Starboy & Outtatown production style, characterized by its "chaotic," high-energy Hyperpop and Rage aesthetic for artists like Ken Carson, is often packaged in "stash" or "circuit" kits. These kits typically include a blend of aggressive drums and synth presets for plugins like Serum. Typical Kit Contents
Official and community-curated kits in this style, such as the starboyrob 2023 drum stash , generally contain over 700 sounds: ProducerWAV Percussion One-Shots
: 260+ 808s, 50+ Claps, 60+ Hi-Hats, 60+ Snares, and various Rims/Percs. Melodic Elements : 50+ Bass one-shots and high-quality FX. Utility Files
: Drum MIDI patterns and FL Studio Mixer presets to achieve the signature distorted sound. Synth Banks
: Often includes Serum or Massive presets like "Synth Souls," "Metropolic Lead," and "Fat Rio Bass". Sound Design & Production Tips To replicate the Starboy/Outtatown "Chaos" style: : Use a high BPM, typically between 132 and 146 BPM Key Sounds
: Look for "metal-like" percussion and aggressive, distorted 808s. Essential VSTs
: Serum is the primary synth used for the signature "melee" and "fragile" lead sounds. Where to Find Premium Stash Kits : Available on platforms like ProducerWAV Rocket Powered Sound Free "Type" Kits : Community-made versions like the 2hollis + Starboy Type Kit Starboy Sample Packs Reddit Communities
Here’s a creative piece inspired by the Starboy Outtatown Drum Kit — written as a fusion of a producer’s review, a nostalgic reflection, and a beat-making log.
In short: Absolutely.
The Starboy Outtatown Drum Kit is more than just a folder of WAV files; it is a shortcut to a global sound. While purists might argue that you should record your own talking drums, the reality of bedroom production is that you need high-quality, pre-mixed samples to compete.
If you want your beats to land on "Afropop Global" playlists, or if you simply want to add a warm, human bounce to your R&B tracks, this kit is the missing link between "internet producer" and "Starboy level."
Final Verdict: 9/10. Deducting one point only because the abundance of fake/free versions online makes finding the authentic kit a bit of a treasure hunt.
Are you using the Starboy Outtatown kit in your productions? Share your tips in the comments below!
Starboy & Outtatown Drum Kit isn't just a collection of sounds; it’s a digital blueprint for the "Rage" and "Hyperpop" era of hip-hop that took over the 2020s. The Creators The kit is named after (Anton Mendo) and
(Tobias Dekker), a powerhouse producer duo from the Netherlands. They are widely credited with helping pioneer the high-energy, synth-heavy "Rage" subgenre, notably through their heavy involvement with artists like Playboi Carti Whole Lotta Red Ken Carson Lil Uzi Vert Trippie Redd The Story Behind the Kit The Foundation of a Sound
: As their unique production style—characterized by "filthy" 808s, distorted synth plucks, and fast-paced rhythms—became the industry standard for new-age trap, demand for their specific sounds skyrocketed. A "Cool" Release Starboy Outtatown Drum Kit
: In 2020, the duo released their official drum kit in a notable way: it was initially given to people who donated $20 to the Black Lives Matter
website, turning a highly anticipated production tool into a vehicle for social support. The "Hyperpop" Era : The kit became a cornerstone of the
producer collective (which included Starboy, Outtatown, Loesoe, and Art Dealer), defining the "virtual trap" aesthetic that dominated SoundCloud and mainstream charts alike.
Unleash the Hyperpop Sound: The Starboy & Outtatown Drum Kit Essentials
If you’ve been following the meteoric rise of the "New Wave" or "Hyperpop" sound in Hip-Hop, two names stand above the rest: Starboy and Outtatown. Known for their groundbreaking production for artists like Playboi Carti (specifically on the legendary Whole Lotta Red) and Ken Carson, these producers have defined a generation of high-energy, digital, and "addictive" beats.
The Starboy & Outtatown Drum Kit is the ultimate toolkit for producers looking to capture that specific, chaotic-yet-refined energy. Here is why this kit is a must-have for your library. ⚡ The Signature Sound
Starboy and Outtatown are masters of the "Opium" aesthetic. While Outtatown often leans into accent leads and bouncy, minimal bass synth sounds (think "Beno!"), Starboy’s style is frequently described as more cinematic and full, often utilizing lush chords and EDM-inspired textures. This kit bridges those two worlds, providing:
Hard-Hitting 808s: The backbone of any Ken Carson type beat, designed to cut through distorted synth melodies.
Unique Percussion: Metal-like sounds and industrial textures that give the drums a futuristic, "static electricity" feel.
Sharp Snares & Claps: Perfectly processed to sit at the front of the mix, a staple of the Hyperpop and Rage subgenres. 🎹 Beyond the Drums
While the drums are the main attraction, the Starboy/Outtatown workflow often involves specific Serum and Massive presets. Producers looking to replicate this sound often look for:
Lead Synths: Gritty, "melee-like" leads that define the melodic structure.
Plucks & Chords: Digital, bright sounds that create the "Starboy" cinematic atmosphere. 🚀 Production Pro-Tips
To get the most out of these sounds, consider these common techniques used by the duo:
Tempo is Key: Aim for a high energy range, typically between 132 BPM and 146 BPM.
Layering: Don't be afraid to layer your claps with metallic "metal-like" foley to get that industrial crunch found in newer underground tracks.
Synth Manipulation: Use the kit in tandem with banks like Octane or Fragile for Serum to match the quality of their professional placements. Where to Find It?
While various versions of these kits have circulated through community forums like r/Drumkits, many producers look for official "Stash" or "Essential" volumes to ensure they are getting high-quality, non-recycled WAV files.
Ready to start making beats like the pros? Grab a kit, fire up FL Studio, and tap into the sound of the future.
Starboy Outtatown Drum Kit a digital sample pack widely used by producers in the and modern . It is inspired by the signature sounds of producers The Starboy Outtatown Drum Kit is a specialized
, known for their work with artists like Playboi Carti and Ken Carson. Core Features & Content
The kit is designed to provide the aggressive, "bouncy," and "cinematic" textures associated with the duo's production style. While specific contents can vary between different "stash" versions, typical high-quality versions include: 808s & Bass
: Distorted, punchy 808s and synth bass sounds like those found in "Beno".
: High-quality claps, kicks, and snares, often processed with distortion and saturation for a more dynamic feel. Percussion & FX : Unique metal-like sounds and "melee" textures. MIDI & Presets
: Some versions include drum MIDI patterns and presets for synths like Production Style Sound Aesthetic
: Starboy's style is often described as more EDM-influenced with full chords, while Outtatown focuses on minimalist, bouncy melodies with accent leads. Technical Techniques : Producers often use side-chaining
on the drum bus to create dynamic highs and "groove" in the mix. : Beats using these sounds typically range from 132 BPM to 152 BPM Where to Find
You can find various versions of this kit on producer-focused platforms: Official/Stash Kits : Platforms like ProducerWAV
host "Starboyrob" drum stashes containing over 700 sounds used in RIAA-certified platinum songs. Community Collections
: Many producers share unofficial or "inspired-by" versions on Reddit's Drumkits community of the kit (e.g., the 2023 stash) or on how to use these sounds in FL Studio?
Here’s a professional write-up for the Starboy Outtatown Drum Kit, suitable for a producer’s marketplace, blog, or social media drop.
The Starboy Outtatown kit isn’t about loudness. It’s about space. Every sound has air between its transients. The 808s are deep but pillowy — they don’t rumble your car trunk; they sink into your chest like a secret. The melodic loops (yes, there are a few — warped guitar plucks, a detuned music box, a vocal chop saying something that might be “outtatown” backwards) feel like memories you never had.
This is the kit you reach for when you want to make beats that sound like they were made in a basement underneath a closed roller rink. It’s the sound of leaving the city but not knowing where you’re going.
The Starboy Outtatown kit is not a generic trap pack. It’s defined by:
Best for: Dark trap, R&B trap, melodic drill, experimental hip-hop.
A typical Starboy Outtatown Drum Kit bundle contains:
The kit is organized for quick access: folders by instrument type, naming conventions including tempo or key (for melodic samples), and sometimes a README with usage tips.
The mailer said the package would arrive by Friday, but by Saturday morning there was still nothing on the porch. Jonah had almost convinced himself he'd imagined the order at 2 a.m. last week—the impulsive click, the glowing checkout button, the promise of a sound that could finally rescue his bedroom beats from mediocrity. He brewed coffee, scrolled through the store’s tracking page, and then, like a small planetary alignment, the courier app pinged: Delivered.
On the stoop, half-hidden behind yesterday’s flyers, was a slim black box with a sticker: STARBOY — OUTTATOWN DRUM KIT. No branding beyond that and a single, hand-drawn star. His heart thudded in syncopation with the rhythm he’d been trying to catch for months. Inside the box, nested in foam, were seven compact modules—pads of matte ceramic, each the size of a coiled cassette—and a small brushed-metal controller etched with constellations. An envelope tucked under the foam contained one business card and a slip of paper with three words: PLAY. LISTEN. RUN.
Jonah set the kit up on his desk, connected the controller, and slid in a pair of headphones. The first tap—a soft thumb on the smallest pad—unfurled a sound like a distant subway door closing. He smiled. The second pad answered with a crisp snare that sounded less like wood and more like attention. The third produced an 808 sub that didn’t simply hit his chest; it rearranged it. Each module had a name printed in tiny letters: OUTTARIM, NIGHTLACE, TINSEL, GHOSTPULSE, MIDWAY, MOONHUB, and one more in a language he couldn't place: STARFARE. Conclusion: Is the Starboy Outtatown Drum Kit Worth It
He began recording, letting the simple click-click pattern breathe. The kit felt alive—reactive to velocity, yes, but also to intention. When Jonah hesitated, the pads softened. When he pushed, the sounds sharpened, layering harmonics he hadn’t expected. It was as if the drum kit were listening not only to his fingers but to the shape of the rhythms in his head.
By the third hour his apartment windows had fogged and his coffee had turned cold. He’d built a loop that felt cinematic but intimate: a low-outta 808 locked to a tape-echoed hi-hat, a rimshot that sounded like a camera shutter, and the faintest high-end chime—Starfare?—that hovered like neon above the beat. He saved the file as “Outtatown 1.” On a whim, he uploaded a short clip to a private message and sent it to Lena, the mix engineer he trusted.
She replied with a single line: This is a mood. Where’d you get the kit?
Jonah considered telling her the truth—that he’d stumbled on a hush-shop link in a forum and spent the last of his tips to buy whatever the hell this was. Instead he said, “Outtatown. New kit. Try it?” She asked him to send stems, and he did, hollow-eyed and slightly euphoric.
Over the next week the drum kit became Jonah’s cartographer. He mapped its sounds across late nights and insomniac mornings, sampling the moonlit rim, the outta-808, and an odd reverse-clap that he discovered by brushing the pad instead of hitting it. Each session revealed a new micro-gesture: if you rubbed the edge of Moonhub you got a seaside shiver; if you tapped Ghostpulse twice then held, a vocal chop threaded through like a whisper. The kit felt less like hardware and more like a collaborator with mood swings and a sense of humor.
Lena returned the mix with notes that felt like invitations: “Bring the Starfare forward. Let the Outtarim breathe. Automate the Ghostpulse reverb.” She added an unexpected file: a short vocal take—grainy, distant—where a woman sang, almost inaudibly, “Get outta town, but bring me back.” It looped like an old memory, both accusation and benediction.
Word leaked. A producer Jonah respected asked if he could sample the rimshot. A small boutique label offered to press 300 copies of an EP if Jonah could finish it by month’s end. The city began to feel different—like a place with more pockets of silence to fill. When people asked how he made the sounds, Jonah would smile, say “Starboy Outtatown Drum Kit,” and catch himself deciding how much mystery to keep.
One night, after a showcase at a cramped venue downtown, a man in a worn leather jacket waited by the merch table. He introduced himself as Marlowe, a courier once and now something between collector and confidant. He didn’t ask how Jonah liked the kit. Instead he said, “It’s not just the sounds. It brings people to places they used to be.” He reached into his jacket and pulled a Polaroid: a grainy shot of a street Jonah realized he knew—the alley where he’d first learned how to program drums, years ago, sitting on a milk crate. In the picture a younger Jonah crouched in the exact frame, laughing with someone whose face was half shadow.
“How’d you—” Jonah started.
Marlowe shrugged. “Kits have history. Sounds carry stories. You put one into the right hands and it remembers.”
Jonah thought about the note that came with the kit—PLAY. LISTEN. RUN.—and understood, finally, that it was not instruction but a sequence. Play: create. Listen: permit the kit to answer. Run: follow where it leads. He began to notice small coincidences: a baritone taxi horn that matched the Outtarim tone, a street performer whose rhythm mirrored his greatest loop. The city and kit conspired, overlapping in ways that made him certain that someone—something—had stitched the samples from life itself.
As the EP climbed through local playlists, Jonah received messages from others who’d bought the kit. Short clips arrived—city soundscapes stitched into garage bands and lullabies, a techno track that used Moonhub as its heartbeat, a folk singer who turned Starfare into a harmonica mimic. Each clip felt like a postcard from someone riding the same train he was on.
Then came the unanswered message that changed the rhythm: an invitation to a secluded studio on the outskirts of town—address included. Jonah drove out on a winter afternoon, the road a thin ribbon between pines. The studio lived in an old train depot. Inside, the walls were lined with instruments, and at the center, on a pedestal like a relic, sat a single pad from the original Starboy kit, yellowed at the edges. A woman greeted him—no note, no fanfare—just steady eyes and the same vocal tone from Lena’s file.
“We collect them,” she said. “Each kit keeps a fragment. Some are generous; some are possessive. It matters how you play.”
She reached out and tapped the pad once. Jonah felt a familiar pressure in his chest and a chorus of distant traffic answered from the speakers. “If you want to keep making, you’ll learn the rules,” she said. “Play. Listen. Run. And when it’s time, give it away.”
Jonah left with new modules—small, hand-soldered elements that altered the kit’s temperament—and a sense of stewardship. The Starboy Outtatown Drum Kit had given him something he hadn’t realized he lacked: permission to trust unexpected rhythms. It taught him that sound could be a map and that maps change when other people read them.
Months later, with vinyls sold out and a modest tour booked, Jonah boxed the original kit and mailed it to a young beatmaker in a city on the other coast. He enclosed a note: PLAY. LISTEN. RUN. He did not write anything else. The parcel arrived one foggy morning, and Jonah imagined a knock on some other door, a new pair of hands lifting a pad, the first tentative tap that would open another chain of coincidences.
On the last night before his tour, Jonah sat on the rooftop and listened to the city breathe—a thousand small percussive lives. He tapped the beat he’d built when the kit first arrived, soft and steady, and heard, threaded into the night, a dozen replies: footsteps, a distant laugh, the hiss of rain on neon. The rhythm rolled onward, and Jonah realized the kit had not given him a sound so much as a neighborhood—a network of people, places, and echoes that moved whenever someone chose to play.
The Starboy Outtatown Drum Kit didn’t make him a star. It made him part of a current, one that carried songs between strangers and stitched neighborhoods into albums. That, he decided, was the point.
PLAY. LISTEN. RUN.