Are SOUNDCLICK producers that desperate now?

Chris Banks

New member
I created my account on SOUNDCLICK a few nights ago. I was mildly excited about uploading some beats again (it's been years). After uploading a beat, I scan through the charts to familiarize myself with the new producers there. As I look around, I notice almost every single producer runs the desperate "Buy 1 beat get 7 beats free!" promotion.

I couldn't believe my eyes. I remember back around 2007-08 it was an enormous problem to provide "Free Download!" beats (for promotional uses). That obviously went on to ruin the industry for tons of up and coming beat makers. What do ya guys think about all of this new impetuous "Buy 1 get 34 free!" thing happening?
 
....It seems to be the current trend in beat marketing on soundclick.

Kinda like offering free beats to people who sign up to your mailing list.

To each his own I guess.
 
It's just so disappointing to see the field get exploited this way. I only see it getting worse. Sure most don't have the talent to completely stand out, that's probably why they resort to such low-standard promotion methods. The online market is flooded with this. I even see it on Twitter and Facebook now. "49 cent leases!" "Like for 2 Free beats" "share for a Free Exclusive"

Competition brings out the best in us, but evidently, it can also "get" the best of us.
 
Those who are successful tend not to be the most talented, but they understand how to become number one. Are you telling me One Direction are the most talented boy band the world has ever seen? Of course they're not.

I used to moan about the market being flooded with sh*tty tactics, and all sorts years ago. Then I realised it's my own fault for not using it to my advantage. If I say I'm better than someone, therefore charge more... AND THEN I give the customer a product and service which actually trumps the competition, I'm the winner.

Cheers,
Jordan
 
Random analogy - smuts ain't gettin wifed up more than the intelligent dimepieces.

Are you a smut or are you a dimepiece? To each their own, but...
 
It doesn't affect my business. It's their music, let them do what they want to do. - That's how I feel.
 
Last edited:
It doesn't affect my business. It's their music, let them do what they want to do. - That's how I feel.

You don't see how lowball prices affect all of us? Are you in the music library game? If you are, I highly doubt you'd be saying that.
 
Not a field i'm particularly into, but it seems to me that your beats would have to be pretty damn good to be worth any actual money these days.

The market is just hypersaturated because making beats is a fun thing to do and people do it just for the pleasure without expecting to be paid.
 
You don't see how lowball prices affect all of us? Are you in the music library game? If you are, I highly doubt you'd be saying that.

I'm in the music library "game", and I don't think it affects us at all... People on soundclick cater to a different market altogether.
 
Last edited:
You don't see how lowball prices affect all of us? Are you in the music library game? If you are, I highly doubt you'd be saying that.

Yes, I am in that game actually. I don't work with artists, I only supply music for media (tv/film etc). Like I said, that pricing, doesn't affect my business and never has. The clients I work with directly and indirectly don't search soundclick for licenses unless directly to a specific piece. They don't see it as a professional platform as it's too messy/painful finding the right material there.
 
Last edited:
I'm in the music library "game", and I don't think it affects us at all... People on soundclick cater to a different market altogether.

Yes, I am in that game actually. I don't work with artists, I only supply music for media (tv/film etc). Like I said, that pricing, doesn't affect my business and never has. The clients I work with directly and indirectly don't search soundclick for licenses unless directly to a specific piece. They don't see it as a professional platform as it's too messy/painful finding the right material there.

You really think selling beats to a rapper and selling beats to music supervisors is different? The Selling Music Business is the Selling Music Business - doesn't matter which outlet you try to silo yourself into.

See how quick the hustler pushin slices for $10 lasts - either he's gettin robbed, killed or going broke that week.
 
Last edited:
Ok, let me break this down in simpler terms since neither one of you seem to understand the concepts of Pricing and Supply-Demand.

There is a reason why many music libraries will refuse to work with you if you are a member of certain libraries. If you are in the low-tier libraries selling tracks for $5, then why would someone go to the higher-tier libraries and purchase it for $150?

There is a reason why monopolies are outlawed - competition drives up prices and companies (rappers) working together to buy products at low prices hurts the creator.

Whether it's a rapper buying a beat off of Soundclick or a music supervisor buying a royalty-free song from a library for $5 that sets the wrong expectations and hurts the creator. I know not one person that has generated any type of substantial money in libraries that has not made the same complaints for the past few years. But you both keep doing you - loose change adds up!

LMAO. I only work with exclusive libraries for my grade A stuff... Libraries that are sub-published all over the world and are members of the PMA. No lowball libraries on my end.. I'm about to start on a few albums for one of the top 5 best publishers in the US. Good $ upfront, as well as writers share on the backend. Why don't you quit assuming things?

Let me make this clear.

SOUNDCLICK DOES NOT AFFECT THE MUSIC LIBRARY MARKET AT ALL! SOUNDCLICK CATERS TO A DIFFERENT MARKET ALTOGETHER. NO ONE IS GOING TO GO ON SOUNDCLICK LOOKING FOR SONGS FOR COMMERCIALS/SHOWS.

THE LOWEST TIER LIBRARIES LIKE AUDIOJUNGLE, ROYALTY FREE, ETC DON'T AFFECT MY MARKET BECAUSE THEY ARE TOTALLY DIFFERENT MARKETS. 99% OF THE TIME, A CREATIVE DIRECTOR/MUSIC SUPERVISOR FOR A COMMERCIAL/AD DOESN'T GO ON THESE LOW TIER LIBRARIES TO SEARCH FOR THE MUSIC FOR THEIR AD. DO YOU KNOW WHY?? BECAUSE THE MUSIC IS GARBAGE 99.999% OF THE TIME. THEY GO ON PLACES LIKE EXTREME MUSIC, KILLERTRACKS, MEGATRAX, ETC WHERE GREAT MUSIC IS MADE.
 
I don't need to assume anything and I repeat:

You really think selling beats to a rapper and selling beats to music supervisors is different? The Selling Music Business is the Selling Music Business - doesn't matter which outlet you try to silo yourself into.

See how quick the hustler pushin slices for $10 lasts - either he's gettin robbed, killed or going broke that week.

If you think anything different you are in serious denial. How do you think your pricing gets negotiated in the first place????

I'm bored with this conversation, but best of luck with your new albums.
 
Last edited:
I don't need to assume anything and I repeat:



If you think anything different you are in serious denial. How do you think your pricing gets negotiated in the first place????

I'm bored with this conversation, but best of luck with your new albums.
You really think the best music is being sold at $10 for a license, or beat selling wise, as an exclusive? That's not how it works. The best music is usually sold/licensed at the highest price. These $10 licenses/beats don't affect anyone unless you're in there with the $10 licenses.
 
You really think the best music is being sold at $10 for a license, or beat selling wise, as an exclusive? That's not how it works. The best music is usually sold/licensed at the highest price. These $10 licenses/beats don't affect anyone unless you're in there with the $10 licenses.

I think you've confused the point I was making or maybe I'm not communicating effectively - my whole point is regarding how markets determine their prices whether it be music libraries, beat selling or women's handbags. The fact that the $10 licenses exists so much in and of itself is affecting how much money you make in the larger libraries. That is why so many libraries are working together (collusion is a better term) to dissuade artists from working with those lower-tier libraries.

The business of selling music has gone downhill tremendously for everyone involved monetarily. Whether you're selling a royalty-free track on Audio Jungle, doing a WFH with Extreme Music or composing a soundtrack for a film the rates have all tumbled. Ryan Leslie, Thomas Newman, Brian Tyler, Trent Reznor and Jeff Beal have discussed it in interviews...but that's the nature of the business we're in. Even Timbaland (as MANY moderators on here like to use as their example) can't command anywhere near to the $250K he would get PER BEAT in the early to mid 2000's due to market competition and the devaluation of music due to oversaturation and the acceptance of trash as "commercial".

Also, RARELY is the "best" product sold at the highest price - that is where supply/demand, marketing strategies, price points and brand recognition come into play...try drinking a bunch of the highest priced wines and liquors and see how mediocre they are.

Again, best of luck on your albums and much respect to a fellow artist who takes their craft seriously.
 
Last edited:
I think you've confused the point I was making or maybe I'm not communicating effectively - my whole point is regarding how markets determine their prices whether it be music libraries, beat selling or women's handbags. The fact that the $10 licenses exists so much in and of itself is affecting how much money you make in the larger libraries. That is why so many libraries are working together (collusion is a better term) to dissuade artists from working with those lower-tier libraries.

The business of selling music has gone downhill tremendously for everyone involved monetarily. Whether you're selling a royalty-free track on Audio Jungle, doing a WFH with Extreme Music or composing a soundtrack for a film the rates have all tumbled. Ryan Leslie, Thomas Newman, Brian Tyler, Trent Reznor and Jeff Beal have discussed it in interviews...but that's the nature of the business we're in. Even Timbaland (as MANY moderators on here like to use as their example) can't command anywhere near to the $250K he would get PER BEAT in the early to mid 2000's due to market competition and the devaluation of music due to oversaturation and the acceptance of trash as "commercial".

Also, RARELY is the "best" product sold at the highest price - that is where supply/demand, marketing strategies, price points and brand recognition come into play...try drinking a bunch of the highest priced wines and liquors and see how mediocre they are.

Again, best of luck on your albums and much respect to a fellow artist who takes their craft seriously.

I guess it affects it a bit. It all contributes to music being devalued as a whole. Soundclick, 2$ licenses, people not buying albums, and everything else involved. Good luck to you too.
 
You really think selling beats to a rapper and selling beats to music supervisors is different? The Selling Music Business is the Selling Music Business - doesn't matter which outlet you try to silo yourself into.

See how quick the hustler pushin slices for $10 lasts - either he's gettin robbed, killed or going broke that week.

1. it does matter who the outlet is.
2. You don't sell music to supervisors (at least I don't)


I've been in the licensing game since 03/04. Pricing on Soundclick $10/$20/$30 enter whatever low ball price you like has never affected my business. I don't roll with cheap libraries (pump/getty/ etc etc). Anyone whose in this game knows first hand that's a quick way to be black balled from higher end libraries and contracts with prod houses.

i negotiate a lot of my own terms w/o supervisors and the ones i do work with, wont waste their time with cheap tracks as it's less commission for them in the end.

I understand where you're coming from with your statements, but again, it's never affected me.
 
Back
Top