A Type Beat is an instrumental song, purposely matching patterns of already existing songs, using the usual types of BPM, drum sounds and song structure, to be easy to suit a rapper.

Why use “Type Beat” in title names?  Well, for the artist standpoint it’s basically like a search word.  This beat will sound like “Drake” or whomever you choose.  This is to help the artist that’s looking for music or a certain sound to find it quickly.   It’s basically used for search optimization as a keyword.

From the producer standpoint, “Type Beat” is simply a marketing term.  Producers want their artist to find the sound they want fast, especially if you’re a fan of that artist.  Also you know you like that certain “type of beat” with those specific sounds and style so this is a quick way of identifying that.  The key role of a producer is to bring the artist vision to life.  The “Type Beat” term actually assists with that vision in it’s initial stage of searching for original music.

Drake has many styles, but the style people think of Drake the most is Hip Hop and Rap. But Drake is not accustomed to just one type of genre.

if there is a single word that describes DRAKE, it is diffuse. It is a catch-all that captures the way his tracks seep out of the radio like glistening vapour and conveys the slippery drift of his voice back and forth between rapping and singing. Diffuse fits Drake’s indistinct aura, too: half-black and half-Jewish, he is the all-pervading master of an American street art who will nonetheless always be an outsider because of his Canadian nationality and middle-class upbringing. Drake’s vagueness carries through to his unfixed lyrics: endless celebrations of his own success and stature that are almost always creased with unease and ambivalence, plus his patent brand of not-quite-love songs that combine suppurating sensitivity and emotional evasiveness.

Shebib (better known as 40) has been instrumental in creating Drake’s music, and together their “atmospheric, brooding sound has revitalised hip-hop.” Shebib’s production is described as “sparse, ambient, slow-jam-like tracks dominated by brooding synths, minimalist piano or guitar parts, stripped-down, often muffled drums, and cinematic atmospheric treatments.” An example is the song “Marvins Room”, where Shebib mixed the record so that it is “very dark and quiet and muddy and with the vocals cutting through like a razor” and is notorious for being heavy on the low end.