Receipts, not insults
A diss lands on specifics. “You can't play” is an insult anyone could throw at anyone; “benched by a kid who joined in September” is a receipt, and only the person it is about can feel it. The engine writes bars from whatever you give it, so a brief full of adjectives comes back as a rap full of adjectives.
| Insult | Receipt |
|---|---|
| “You're lazy” | “Still owes me twelve quid from the curry in March” |
| “You're bad at the game” | “Rage-quit the final, blamed the controller, bought a new controller” |
| “You think you're cool” | “Wore sunglasses to the cinema, walked into the wrong screen” |
| “Your car is a joke” | “Parks across two spaces and calls it a feature” |
Three receipts are enough for a verse. Put the best one last — a verse lands on its final line — and say which one is the punchline: “end the second verse on the controller line”.
Clean or savage is a sentence, not a setting
There is no heat dial. Whatever level you want has to be written into the description, and the clearer the words, the less is left to chance. “Clean and clever, no swearing, playful” and “savage, no mercy, explicit” are two different songs from the same receipts.
Each generation returns two takes, and on a diss they can differ in how far they go. Listen to both before you send one; the one you would play in front of the person is usually the right one.
The shape of a diss
Rap fits more words into a minute than singing does: measured on the rap songs made here, a rapped line takes about 3.3 seconds, roughly eighteen lines a minute, and a rap song runs 3:05 at the median. That is room for a call-out, two verses of receipts and a hook that comes back twice.
- The call-out. Two or four lines that name the target and the occasion. “This one's for the group chat's self-appointed captain.”
- Verse one: the receipts. Three specifics, best one last.
- The hook. One line worth chanting, repeated. The punchline people quote back usually lives here.
- Verse two: escalation. One receipt you held back, and a twist on the hook.
- The sign-off. A last line that admits you like them. It is what keeps a roast from reading as a grudge.
To write the bars yourself, switch to Custom mode, paste them with [Verse] and [Hook] tags, and put the beat in the style line (“hard trap, 140 BPM, 808s”). The bars are rapped as written, and the length follows them: sixteen bars are a little under a minute.
Who it is for
A diss track works when the target is in on it: a friend, a teammate, a rival from your league, a fictional villain. Aimed at a famous musician by name, it does not get made the way you meant — the engine refuses an artist's name, and Tunely swaps it for a description of that artist's sound and tries again, so you get a track in their style aimed at nobody.
Sharing the link is free on every plan and plays anywhere, which is the right way to send a roast: straight to the person and the chat. A diss posted on a monetised channel is commercial use, which Pro and Ultra license for every song in the library, with a certificate.
There is no example song on this page. A diss track is aimed at someone, and that someone's name is not ours to publish. The rap page has two examples that name nobody.
Before you press Create
- A target who will laugh — not a famous name
- Three receipts, best one last
- How hard it hits, in words: “clean and clever” or “savage”
- A beat and a delivery: “hard trap, fast verses, a chanted hook”
- Rap picked in the Voice menu
- A sign-off line that shows you like them
Sources
Written and fact-checked by the Tunely team · Updated