Why aren't YOU making your own records?

That's exactly why TRUST has to be built with an artist. They have to grow to trust you, and trust that your ideas will work, even though they may not see the vision.


When I first work with an artist, I don't force my ideas on them. I do what they want me to do. And then slowly, over time, I start suggesting that they do this/that.


Usually it goes "hey, why don't u try something out for me real quick..."


Then as you start gaining a track record for hot ideas that they like, they'll start to trust your musical mind, and start soliciting your input on their records.



But that trust has to be EARNED, especially if you don't know the artist.



No artist wants to feel like they are being dictated to, and their artistry isn't being respected.



It's a delicate ego balance, but there's definitely a way to do it, and still get exactly what you want out of them.
 
I've been making a lot of records lately on the API Legacy plus but I dont really have time to post what I'm doing. Most ppl on here are not on that level to make quality records and the ones that are making records probably dont have time to post about them bc my sessions are from 7 pm - 3 am and 3 am - 9 am every day. There a few of us one here but most just wanna make beats (and that cool with me)...
 
j.troup said:
That's exactly why TRUST has to be built with an artist. They have to grow to trust you, and trust that your ideas will work, even though they may not see the vision.


When I first work with an artist, I don't force my ideas on them. I do what they want me to do. And then slowly, over time, I start suggesting that they do this/that.


Usually it goes "hey, why don't u try something out for me real quick..."


Then as you start gaining a track record for hot ideas that they like, they'll start to trust your musical mind, and start soliciting your input on their records.



But that trust has to be EARNED, especially if you don't know the artist.



No artist wants to feel like they are being dictated to, and their artistry isn't being respected.



It's a delicate ego balance, but there's definitely a way to do it, and still get exactly what you want out of them.
Click to expand...

true. Producers have to check their ego when they walk into a session with an artist. It's an acquired skill. Plus a lot of people got to realize that their own vision for a song doesn't always match up with an artists. Compromise is key
 
j.troup said:
It's a delicate ego balance, but there's definitely a way to do it, and still get exactly what you want out of them.
Click to expand...

I can't babysit amateur artists, lol.

I guess if I ever ran into one that acted like they knew something other than "turn the beat on, I'mma kill it". Then I probably would have a different outlook.

The truth is... most artists only want something good enough to play to their online buddies. They don't do shows, they don't collaborate. You can find a rare artist that cares but if nothing starts to happen for them... look for lots of frustration, cancelled sessions, etc.
 
this thread has just taken me out of an unnecessarily stubborn mindset...had reached a point with an artist where i thought something should be changed...they didn't, i didn't want to leave it the way it was.. end of email conversation..dumb dumb dumb.

thank you for the head from ass removal :)
 
BiggRome 2.0 said:
Plus people like to bring by random people that I don't know. I cut all of that out.
Click to expand...

That has always been my biggest roadblock. I have made exceptions but ts rare. (Usually it'll be the person who drove the artist and/or GF)

They hate it, but if I don't know you, you aint comin thru.

End of story.

---------- Post added at 01:28 PM ---------- Previous post was at 01:20 PM ----------
BiggRome 2.0 said:
I can't babysit amateur artists, lol.
Click to expand...

There is a lot of this that goes on but a way to remedy it is to charge for the session....and if you are already charging them, charge more.

How much do babysitters charge??? A lot. "...and if you are 5 minutes late, its an additional $20.." sound familiar? lol


But in all seriousness I think a lot of cats record people for free when they don't really know the value of their work. This is a mistake. If you know your sh*t, don't be afraid to charge em. You really do set up a fcuked up dynamic for your relationship if you don't charge and IMO this is where the frustration can begin..
 
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fataltone said:
right on point but at the same time the internet has open up the opportunities to find the right artist faster not easier but faster

I found three producers I want to sign to make production/song development division of my company but at the same time I'm taking it slow with them and making sure they are down truly with Christ which is must for me...(in finding the right talent)


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Click to expand...

Only they can know this. I hate to see EMI espically use Christ's name, then charge churches outrageous prices to play there songs. I know this because my church I engineer at payes upwards of 300 dollars a song to be played on Sunday morning before service starts, the numbers even higher to have the band play the song, then again the church I go to is enormeous.
 
kenworth said:
this thread has just taken me out of an unnecessarily stubborn mindset...had reached a point with an artist where i thought something should be changed...they didn't, i didn't want to leave it the way it was.. end of email conversation..dumb dumb dumb.

thank you for the head from ass removal :)
Click to expand...




We've all had to learn that.



I used to nitpick about every single minuscule details on a song. Like vocal inflections on words, etc. Even though what I was saying would make the delivery better, me constantly telling an artist to do something over, and over and over again, sucks the energy and the motivation out of them. So the takes get worse and worse.


Now, I pick and choose . No the takes don't have to be absolutely perfect. Some things aren't worth bringing up, I'll let the artist just do them on the track, and put their signatures on it. But the those things that are just absolutely done WRONG, I'll correct them on that.


It's definitely a compromise. But ask yourself, will the change you're suggesting make THAT BIG of a difference in the record?



If not, leave it alone. Because after all, it's THEIR name on the record.
 
streetstruck said:
Only they can know this. I hate to see EMI espically use Christ's name, then charge churches outrageous prices to play there songs. I know this because my church I engineer at payes upwards of 300 dollars a song to be played on Sunday morning before service starts, the numbers even higher to have the band play the song, then again the church I go to is enormeous.
Click to expand...

wait..wait you play the CD and you have to pay..?? why...I need to investigate this



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j.troup said:
Hmmm...looks like Mr. Consultant guy doesn't know anything about Performance Publishing!
Click to expand...

IS IT PERMISSIBLE TO PERFORM COPYRIGHTED RELIGIOUS WORKS IN CHURCH SERVICES WITHOUT FIRST OBTAINING PERMISSION FROM THE COPYRIGHT OWNER?
Yes, “the religious services exemption” in the Copyright Law permits the performance of copyrighted religious works in the course of services at places of worship or at religious assemblies. However, performance licenses must be obtained from the copyright owner for any musical performance outside of a specific “worship service” including concerts and special musical programs.

I was a leader in my Church Home's sound room and we never had to pay to perform a song at service or play CD

I knew about outside of the service situation

http://www.copyrightsolver.com/reportcard




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streetstruck said:
"then again the church I go to is enormous."
Click to expand...




There it is. I can see there probably being 10,000 or so people in that church, which would probably put it in the same class as an arena.


And if EMI is the copyright holder (hello publishing deal?) then the church has to get a performance license from EMI...



For $300.




Business is business. The church runs it's business, so why should they be able to make money by using someone else's music?



That would make it no different than playing music at a college basketball game and not having to pay...even thought the school is making money.
 
j.troup said:
There it is. I can see there probably being 10,000 or so people in that church, which would probably put it in the same class as an arena.


And if EMI is the copyright holder (hello publishing deal?) then the church has to get a performance license from EMI...



For $300.




Business is business. The church runs it's business, so why should they be able to make money by using someone else's music?



That would make it no different than playing music at a college basketball game and not having to pay...even thought the school is making money.
Click to expand...

NO reporting is required for churches with congregations of less than 5000 ppl. so there's the limit.. my church home is more close everyone knows everyone.. we go to each others homes and hang out together...I was never into the Mega Church thing..



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I don't make records because I am not a people person.

I focus solely on music licensing. I have music placed in a number of TV shows. I just cannot figure out how to make more money from this. I have been told by numerous sources that music licensing is a slow moving business. But I want to get on the fast track. I want to create the fast track.

Once I figure out what music to make or what companies to work with to make a large but steady income, I will feel better. I know there is something in my music or my presentation that is holding me back. If I can figure it out or get someone to show me, I will be set.

I have been putting in work, but I am totally frustrated right now.
 
Desire Inspires said:
I don't make records because I am not a people person.

I focus solely on music licensing. I have music placed in a number of TV shows. I just cannot figure out how to make more money from this. I have been told by numerous sources that music licensing is a slow moving business. But I want to get on the fast track. I want to create the fast track.

Once I figure out what music to make or what companies to work with to make a large but steady income, I will feel better. I know there is something in my music or my presentation that is holding me back. If I can figure it out or get someone to show me, I will be set.

I have been putting in work, but I am totally frustrated right now.
Click to expand...

how wide spread is your music as far as genres??


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Traxx1 said:
That has always been my biggest roadblock. I have made exceptions but ts rare. (Usually it'll be the person who drove the artist and/or GF)

They hate it, but if I don't know you, you aint comin thru.

End of story.

---------- Post added at 01:28 PM ---------- Previous post was at 01:20 PM ----------



There is a lot of this that goes on but a way to remedy it is to charge for the session....and if you are already charging them, charge more.

How much do babysitters charge??? A lot. "...and if you are 5 minutes late, its an additional $20.." sound familiar? lol


But in all seriousness I think a lot of cats record people for free when they don't really know the value of their work. This is a mistake. If you know your sh*t, don't be afraid to charge em. You really do set up a fcuked up dynamic for your relationship if you don't charge and IMO this is where the frustration can begin..
Click to expand...

Most of the dudes I recorded had the talent.... but no money. Normally, I just showed up with a mic and mic stand, a lap top and a powered speaker and some headphones. The beats were already made. I just wanted to get the vocals down and I would clean up and put everything together later.

I know one guy that sank $10,000 into a project. He did a full CD for a guy that used to write for No Limit artists. For some reason Master P wouldn't put dudes music out but he would have him write for the other rappers. They finished the project and dude got a call from Master P and he went back to Louisiana. My homie was left holding 5,000 copies of dudes CD and I think he sold about 5 of 'em, lol. Before he left they had lined up some shows for him, he had one at a club that normally had a good crowd. Security told him that they were going to pat him down to check for weapons and he wouldn't let them so they cancelled his show right on the spot. My friend looked like an idiot. All that time recording dude, all the money he put in and dude flaked out on him.

The he ran an ad in the local entertainment paper saying he was looking for rappers. About 20 - 25 rappers showed up on a Saturday. They all took turns rapping. Some of 'em didn't like his beats (but they liked mine) so somebody went outside and lit up a blunt and all of the other rappers got a whiff of the smell in the air and everything went down hill from there. There were also random people showing up that day. I later learned that one of the dudes I was riding around with had a pending court date for a murder charge. Some of the rappers were making eyes and my friends woman everytime he left the room, lol. She started to invite other friends over. I waited until everything was kind of busy and I bounced on 'em. It was a nice day outside and I didn't want to miss it. There was one dude there the could put Twista and Bone Thugs to shame. He was one of the few that actually stayed interested... but not for long after the passing of the greenery came in his direction. Nothing became of that meeting even though there were 25 rappers there.
 
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Desire Inspires said:
Urban - 40%
Pop/Rock - 15%
Electronic Dance - 30%
Lounge - 5%
Ethnic - 5%
Misc - 5%
Click to expand...

that pretty decent spread homie..
pm and let's talk some business because we don't need to put sensitive information on blast on a public forum




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Desire Inspires said:
I don't make records because I am not a people person.

I focus solely on music licensing. I have music placed in a number of TV shows. I just cannot figure out how to make more money from this. I have been told by numerous sources that music licensing is a slow moving business. But I want to get on the fast track. I want to create the fast track.

Once I figure out what music to make or what companies to work with to make a large but steady income, I will feel better. I know there is something in my music or my presentation that is holding me back. If I can figure it out or get someone to show me, I will be set.

I have been putting in work, but I am totally frustrated right now.
Click to expand...



First off, music supervisors have "tiers" of music that they use.



Like doing work with MTV, I found that there are basically A, B and C level hard drives of music, and they go in that defending order of priority.


Plus you have to know what structure they want the tracks. Do your tracks fade in/out? If so, they're not gonna be used.


Are your tracks too busy? If so, they aren't gonna be used.


Are your tracks shitty quality? If so, they aren't gonna be used.



There's a lot that goes into what tracks they pick. I had to figure this out the hard way.



Talk to your music supervisors to see what exactly their criteria is for using the tracks.


And then ask them to pass your music along to their other fellow music Sups.
 
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