ASK ME ANYTHING (about music u dummy!)

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Tyree D. said:


If you know the answer, go for it. Somebody asked a question on doing hip-hop in another country and after 3 pages of no answer, I gave my insight. I still wanna know Walls' impression if he got one. But depending on the country, all of y'all would be a shoe-in for deals! DaNOC said he got huge in Japan before he went back to New York. I gotta go back to Cali but I will have Thailand production credits to my name. That can sound huge. Game made one mixtape verse in Spanish and even this board was like "ooooooooooh!".
Unless Walls says, "No, this is my thread, b*tches", go ahead and answer.
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NO THIS IS MY THREAD B I T C H E S !!!! HAHAAH!!! Nah if you got the answer post up. This a really busy time of year for me anyway and its hard to post up like I do in the off-season. so feel free to answer if you have the RIGHT answer. Don't **** up the post by winging answers. I take pride in the fact that all my answers have been correct and shed a little more insight into an otherwise "secret" industry. Good info is hard to come by and the are even less seasoned pros willing to offer any type of assistance.
 
Wallbangerz said:


I use DMG to clear samples. Samples cost money. Don't get it twisted it has nothing to do with how much you use. This is a popular misconception. In 2004 a major piece of law was written that make ANY use of a sample, be it a kick or a snare or entire phrase ILLEGAL if its not cleared. The cost of clearing can literally cost ANYTHING!! It totally depends on the owner of the copyright and master recording. I sampled a record from the Ojays that is costing 5000 up front and 60 percent of the publishing. I sampled other records that didnt ask for anything upfront, but wanted all the publishing. Depends on who the sampled artist is, and who actually sampled it. I know Aftermath and Def Jam pay much more because their records sell more. Its very subjective and there are no set rules that the sampled artist has to follow.
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I thought the Executive Producer of the album handles/manages all the sample clearances, not the Record Producer who produced the song?
 
Wallbangerz said:
In 2004 a major piece of law was written that make ANY use of a sample, be it a kick or a snare or entire phrase ILLEGAL if its not cleared.
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that law can suck my dicc

ill keep on stealing kicks and taps and snares and maracas and hi hats and watever out of anysong i want to... those fagets cant stop me...

how the hell are they spose to tell where u got it from... unless its the infamous sluut clap that everyone uses these days!

u can always say... ok music industry fag... i created this sound myself.. prove me rong, i dont have to show u any fukin proof... u prove that i didnt make it....

the industry is fukin wacc...
 
Producer2005 said:


that law can suck my dicc

ill keep on stealing kicks and taps and snares and maracas and hi hats and watever out of anysong i want to... those fagets cant stop me...

how the hell are they spose to tell where u got it from... unless its the infamous sluut clap that everyone uses these days!

u can always say... ok music industry fag... i created this sound myself.. prove me rong, i dont have to show u any fukin proof... u prove that i didnt make it....

the industry is fukin wacc...
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Obviously you've never lost money cause someone sampled your shyt!!

The law is in place but of course there is no real way to actually determine minute sounds like snares hats and noises mixed into a track. I think the law is going to target the most blatant abuses of copyright infringement. As a working professional, I agree that if you sample something you should pay for it.

The industry is wack, but not because it supports justice for its artists. Imagine if you owned a restaurant and everyone came in ate for free. Now imagine the nerve of the patrons to get mad at YOU cause you cracked down and MAKE them pay!!!! Again as a working producer, I know FIRST hand how it feels to have work sampled, altered or tampered with. Remember Ice Cube's "We Be Clubbin'"? Well, I gave a CD of tracks to this cat "Dutch" and he sampled a song from it and made a new song from it. That joint went on to make him close to a million bucks in publishing and other income streams. Until it happens to you doggz, you will continue to have the attitude of "us against them" The fact of the matter is, WE ARE THE INDUSTRY!!! So if its wack, guess who made it that way!!!
 
Wallbangerz said:


Obviously you've never lost money cause someone sampled your shyt!!

The law is in place but of course there is no real way to actually determine minute sounds like snares hats and noises mixed into a track. I think the law is going to target the most blatant abuses of copyright infringement. As a working professional, I agree that if you sample something you should pay for it.

The industry is wack, but not because it supports justice for its artists. Imagine if you owned a restaurant and everyone came in ate for free. Now imagine the nerve of the patrons to get mad at YOU cause you cracked down and MAKE them pay!!!! Again as a working producer, I know FIRST hand how it feels to have work sampled, altered or tampered with. Remember Ice Cube's "We Be Clubbin'"? Well, I gave a CD of tracks to this cat "Dutch" and he sampled a song from it and made a new song from it. That joint went on to make him close to a million bucks in publishing and other income streams. Until it happens to you doggz, you will continue to have the attitude of "us against them" The fact of the matter is, WE ARE THE INDUSTRY!!! So if its wack, guess who made it that way!!!
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i guess so now... i would be way angry if someone stole my ****...

sorry bout my out burst... just had a damn fight with my girl!!!!!!!

ahhhhhhhhhhh :p
 
Producer2005 said:


i guess so now... i would be way angry if someone stole my ****...

sorry bout my out burst... just had a damn fight with my girl!!!!!!!

ahhhhhhhhhhh :p
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Nah you good fam, just remember that this law helps us as well. This means when you get on and make that crazy hit, 20 years from now no one can just loop it, and call it theirs. I sample all the time, I also clear my samples. No I don't clear snares and claps. No one I know does, but when they start locking that down, I will promptly start making my own! Lets face it, some of the sampling **** we do is out of sheer laziness!! You can have a hot snare by layering sounds, take pieces of stock joints and making new hot samples, but it takes too long!! LOL!! Its easy to just grab the latest hot joint and lift the snare out. But if it takes legislation to get us off our asses to make innovative NEW music, then bring my nigga!!!


Oh yeah sorry you and ya girl havin problems, This may help you out
 
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Wallbangerz said:


Nah you good fam, just remember that this law helps us as well. This means when you get on and make that crazy hit, 20 years from now no one can just loop it, and call it theirs. I sample all the time, I also clear my samples. No I don't clear snares and claps. No one I know does, but when they start locking that down, I will promptly start making my own! Lets face it, some of the sampling **** we do is out of sheer laziness!! You can have a hot snare by layering sounds, take pieces of stock joints and making new hot samples, but it takes too long!! LOL!! Its easy to just grab the latest hot joint and lift the snare out. But if it takes legislation to get us off our asses to make innovative NEW music, then bring my nigga!!!


Oh yeah sorry you and ya girl havin problems, This may help you out
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haha no need for dr phil!

things r sweet once again... 2 yrs next monday! im a very happy teen :D

and your damn right about how we get lazii, lol

thnx for clearin that up wallbangerz... do ya thing

peace :p
 
Producer2005 said:

sorry bout my out burst... just had a damn fight with my girl!!!!!!!

ahhhhhhhhhhh :p
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If your havin girl problems i feel bad for you son
I got 99 problems but a ***** ain't one
 
Wallz,

Let me first keep it very real by saying that I've been taking note of every word that you've said on this post and have even cut and pasted the things that you've said that are important to me in a word doc.

I could use some good advice and information. First, you are the only person I know semi-personally that is making a living off of making music. I know the very basics of how a producer can make money, like through an advance for a beat, royalties on records sold, mechanical and sync licenses, blah blah blah. These are all things I've read in a book. But from your real world, real life experience, what brings in the most money for you. And I know that how much you make on royalties and liscenses depends on the particular artist, label, beat, whether or not the track becomes a hit, and all that, so if I just answered my own question, then maybe you can just give me any info you have to offer about how a producer makes money in this business.

Also, what players do you have on your team? Do you have your own publishing company or do you use a seperate publishing company? Do you have a personal manager? I'm sure you have an entertainment lawyer. Do all these players try to make money for you by promoting the use of your beats and who brings the most business for you?

Right now I'm spending all my available time developing my production skills. That is to say that I'm improving my abilitiy to make beats, mix, and master beats, and I'm also trying to expand my knowledge about non-musical aspects of being a producer. Instead of working with artists and trying to get tracks on the radio I'm trying to build a solid library of beats.

I've read from your posts, and other resources, that good entertainment lawyers have relations with all the entities in the music industry. And no one really wants to piss off a lawyer, so you're lawyer might be able to get your music in the right peoples hands. What I want to know is, what do entertainment lawyers look for in a producer? Could you give a list of prerequisites that you should have before looking for a lawyer. Is it good enough to have 50 hot joints just waiting to be recorded and released, even though you've never sold a beat or worked with an industry artist before? Or do they only work with people that have already established themselves in some way, like by having already sold a beat to an industry artist or anything else along those lines? So basically, to you recommend that I look for a lawyer once I have a large stock of radio ready beats?

Sorry for all the questions but the sh*t that your doin for us right now is very very helpful and eye openning.... I couldn't control myself.

Peace
 
Walls you never answered the average price you paid for sample clearance (or did you? will look back after this post EDIT-you did.).
I wanna know your insight on the last guy's question too. One expert told me you should have an agent, manager and accountant and a different person for each. When I go back to L.A. first I'm gonna look for a manager and start with the biggest ones. I already know going straight to a label will get you rejected. I've had packages mailed back to me unopened. I've given out/mailed over 500 CDs with my name and e-mail address and only got ONE call from a fan, none from any other fans, bookers or labels. I gotta wait until I have too much money to get an accountant. I should have a lawyer when I have a contract to sign, right...or should I have one at other times? What's the difference between a manager and an agent?
and Wallz already answered where to look for these people...the white pages. You can also goto cmj.com and suscribe for about $10 a month for up to second info on all the managers and labels. When I was on college radio I got this for free and this is how I was able to contact everyone. I once faxed Russel Simmons then Def Jam went from sending us nothing to five copies of everything!
 
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Beatsmyth20 said:
Wallz,

Let me first keep it very real by saying that I've been taking note of every word that you've said on this post and have even cut and pasted the things that you've said that are important to me in a word doc.

I could use some good advice and information. First, you are the only person I know semi-personally that is making a living off of making music. I know the very basics of how a producer can make money, like through an advance for a beat, royalties on records sold, mechanical and sync licenses, blah blah blah. These are all things I've read in a book. But from your real world, real life experience, what brings in the most money for you. And I know that how much you make on royalties and liscenses depends on the particular artist, label, beat, whether or not the track becomes a hit, and all that, so if I just answered my own question, then maybe you can just give me any info you have to offer about how a producer makes money in this business.

Also, what players do you have on your team? Do you have your own publishing company or do you use a seperate publishing company? Do you have a personal manager? I'm sure you have an entertainment lawyer. Do all these players try to make money for you by promoting the use of your beats and who brings the most business for you?

Right now I'm spending all my available time developing my production skills. That is to say that I'm improving my abilitiy to make beats, mix, and master beats, and I'm also trying to expand my knowledge about non-musical aspects of being a producer. Instead of working with artists and trying to get tracks on the radio I'm trying to build a solid library of beats.

I've read from your posts, and other resources, that good entertainment lawyers have relations with all the entities in the music industry. And no one really wants to piss off a lawyer, so you're lawyer might be able to get your music in the right peoples hands. What I want to know is, what do entertainment lawyers look for in a producer? Could you give a list of prerequisites that you should have before looking for a lawyer. Is it good enough to have 50 hot joints just waiting to be recorded and released, even though you've never sold a beat or worked with an industry artist before? Or do they only work with people that have already established themselves in some way, like by having already sold a beat to an industry artist or anything else along those lines? So basically, to you recommend that I look for a lawyer once I have a large stock of radio ready beats?

Sorry for all the questions but the sh*t that your doin for us right now is very very helpful and eye openning.... I couldn't control myself.

Peace
Click to expand...

Before I answer, again lets try and keep it to one or two questions at a time folks.

"But from your real world, real life experience, what brings in the most money for you."...
A PRODUCERS INCOME IS MADE FROM VOLUME. THE MORE RECORDS YOU PLACE, THE MORE YOU HAVE TO OPPORTUNITY TO PLACE. I KNOW THIS SOUNDS LIKE I'M TALKING IN CIRCLES, BUT ITS LIKE GETTING A LOAN AT THE BANK. THE MORE MONEY OR COLLATERAL YOU HAVE, THE BETTER YOUR CHANCES ARE OF GETTING THAT LOAN. PLACING TRACKS AND COMMANDING A GOOD FEE IS THE MOST IMMEDIATE GRATIFICATION YOU CAN GET. PUBLISHING, AND PUBLISHING DEALS WILL BRING IN SOME GOOD MONEY IF YOU HAVE A GOOD DEAL(AGAIN, DEPENDS OF THE QUALITY AND QUANTITY OF YOUR BODY OF WORK). SONG DEALS WILL BRING IN A LARGE SUM OF MONEY QUICKLY. DOING MULTIPLE NUMBERS OF TRACKS FOR AN ARTIST OR LABEL SAY IF YOU CHARGE 15K A TRACK, YOU WOULD DO 3 TO 5 FOR SAY 10 OR 12K. THAT WILL NET YOU A FEW COINS...

"Do all these players try to make money for you by promoting the use of your beats and who brings the most business for you?"...
Management techinically do not shop records for you. The idea is that you're supposed to have so much work, that you need someone to "manage" your affairs. The role of a manager has morphed into this person who is part agent, part A&R part publicist. But legally he is not bound to shop records for you. An agent does get paid for the job of placing records. Lawyers get paid to give you the best legal advice for a given situation. I have a manager and a lawyer. I use an accountant from time to time, but I don't employ one.

" what do entertainment lawyers look for in a producer?"
The ability to pay the fee!!!

Some attorneys will not take you as a client unless you are doing business already. Some young attys looking to get in the game will take you on as a first or second client and you guys build your careers together. I can't recommend any attorneys on this site. You can possibly look to ASCAP,BMI or possibly look at ALL LAW and search for an entertainment lawyer in your area.
 
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I love how I actually have more questions then answers. I have learned "demo" is a bad word. I said in my last thread I was gonna look for managers first. I actually did that in 2001. I called an introduced myself. After I said I had a demo, I got cut off, "We're not taking any demos right now" -CLICK- And these were the people who manage familiar artists. Only Ice-T's manager accepted a demo but I never got a response.
I know Capitol only accepts packages from people like agents (or anything else considered not unsolicited) so an agent is basically a necessity. I've been rejected going straight to labels and looking for managers. I've never attempted getting an agent.
I do now have a different insight on managers but I do know they are a necessity. I and everybody else just gotta keep doing our things. I've been almost there so many times. From an accident taking away my job at Universal to arthritis cutting my time in Thailand and my plans for an album. You will still hear about me.
 
Tyree D. said:
I love how I actually have more questions then answers. I have learned "demo" is a bad word. I said in my last thread I was gonna look for managers first. I actually did that in 2001. I called an introduced myself. After I said I had a demo, I got cut off, "We're not taking any demos right now" -CLICK- And these were the people who manage familiar artists. Only Ice-T's manager accepted a demo but I never got a response.
I know Capitol only accepts packages from people like agents (or anything else considered not unsolicited) so an agent is basically a necessity. I've been rejected going straight to labels and looking for managers. I've never attempted getting an agent.
I do now have a different insight on managers but I do know they are a necessity. I and everybody else just gotta keep doing our things. I've been almost there so many times. From an accident taking away my job at Universal to arthritis cutting my time in Thailand and my plans for an album. You will still hear about me.
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Let me say this.

A lot of you are looking for answers and some "inside info" on getting your demo or tracks to big name artists. The truth is there is no inside track. There isn't a magic number you call and folks pic up the phone. Connections come from being in the clubs, developing relationships with the Djs, doing HOT remixes that get played in clubs and on mixtapes. Take 9th wonder and Danger Mouse. Now I can't stand Danger Mouse, but he made a name for himself by doing something DIFFERENT. I have either been in or have know people in the industry for over 18 yrs, and NEVER have I seen a track accepted that wasn't walked in from some reliable source. How do you get those sources? They hang out at events like new music seminars, artist showcases, after parties and sporting events. I know this sounds crazy, but I promise you. You'll have a better shot getting at someone who can get some stuff done for in a industry type event than in an attorneys office unless of course your attorney represents some high-profile artists. Get out and get in the places where these people hang. Thats the inside track. How do you get in? Thats totally up to you. Until I start a company that will place records (for a fee of course), your best shot is taking your act to the street and get a for real street rep and let the names come get you. Anything else in my opinion is spinning your wheels. An atty. will take your loot. An agent who isn't connected will waste valuable time, having a manager and no career to mangage is backwards. There are NO SHORTCUTS! Look at most of the cats in the game. They have been on the grind for a minute. I'm not talking about in their basements, I'm talking about hustling CDs and getting their own shows and trying to make a name so when a manager or record label exec DOES finally see them, they are saying I must work with this cat. Become valuable!! If you do tracks that sound just like Just Blaze, don't expect that cats will buy your joints. That cats who buy Just Blaze joints go to him because he is Just Blaze! They can afford to buy the originals!! If you arent doing something unique, then you are in a very long line and chances are even greater that no one will ever hear your music. But the minute begin to stand out, you will make a name and people will notice.

When I first joined this site, I made a claim that got me noticed. I of course was able to back it up, but before you know it, I had every regular on this site wanting to smash me. But when I came with the offical goods, cats had to say wait, this dude is official. When I was just the unknown Wallbanger, cats were STILL giving me props!! You be that same way if you stick to what you do well, and find a place in the the market that hasn't yet been worn out. Look at the success of the Black Eyed Peas. I have know them since they were 15 or so. They have been at it that long. They have always done the type of music they are famous for now. Look at the market place and study it. Find a hole and fill it. People WILL take notice!!!
 
Wallbangerz said:


Let me say this.

A lot of you are looking for answers and some "inside info" on getting your demo or tracks to big name artists. The truth is there is no inside track. There isn't a magic number you call and folks pic up the phone. Connections come from being in the clubs, developing relationships with the Djs, doing HOT remixes that get played in clubs and on mixtapes. Take 9th wonder and Danger Mouse. Now I can't stand Danger Mouse, but he made a name for himself by doing something DIFFERENT. I have either been in or have know people in the industry for over 18 yrs, and NEVER have I seen a track accepted that wasn't walked in from some reliable source. How do you get those sources? They hang out at events like new music seminars, artist showcases, after parties and sporting events. I know this sounds crazy, but I promise you. You'll have a better shot getting at someone who can get some stuff done for in a industry type event than in an attorneys office unless of course your attorney represents some high-profile artists. Get out and get in the places where these people hang. Thats the inside track. How do you get in? Thats totally up to you. Until I start a company that will place records (for a fee of course), your best shot is taking your act to the street and get a for real street rep and let the names come get you. Anything else in my opinion is spinning your wheels. An atty. will take your loot. An agent who isn't connected will waste valuable time, having a manager and no career to mangage is backwards. There are NO SHORTCUTS! Look at most of the cats in the game. They have been on the grind for a minute. I'm not talking about in their basements, I'm talking about hustling CDs and getting their own shows and trying to make a name so when a manager or record label exec DOES finally see them, they are saying I must work with this cat. Become valuable!! If you do tracks that sound just like Just Blaze, don't expect that cats will buy your joints. That cats who buy Just Blaze joints go to him because he is Just Blaze! They can afford to buy the originals!! If you arent doing something unique, then you are in a very long line and chances are even greater that no one will ever hear your music. But the minute begin to stand out, you will make a name and people will notice.

When I first joined this site, I made a claim that got me noticed. I of course was able to back it up, but before you know it, I had every regular on this site wanting to smash me. But when I came with the offical goods, cats had to say wait, this dude is official. When I was just the unknown Wallbanger, cats were STILL giving me props!! You be that same way if you stick to what you do well, and find a place in the the market that hasn't yet been worn out. Look at the success of the Black Eyed Peas. I have know them since they were 15 or so. They have been at it that long. They have always done the type of music they are famous for now. Look at the market place and study it. Find a hole and fill it. People WILL take notice!!!
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DUDE THANK YOU, I try to tell people this samething myself. Your better off doing it all on your own. That way the labels come to you and you have product something to offer them, it gives you a bargaining chip.
 
Woodcock said:


DUDE THANK YOU, I try to tell people this samething myself. Your better off doing it all on your own. That way the labels come to you and you have product something to offer them, it gives you a bargaining chip.
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The game respects hustle and grind. When cats see you out and you are proving to be consistent, you WILL get noticed. Will you get rich? Who knows, but you will get noticed. How far you take that is up to you...
 
I liked that last post a lot. Especially the part about having a manager with no career to manage.

Seems like some people want to drop the dirty work on the manager and eventually be able to point the finger at him/her for not blowing up.

Only thing is... some of these dudes can't get into a club though...

Good stuff. If some of the random comments (like this post) could be removed this knowledge would be invaluable to alot of people doing guesswork.

I'm taking it all in. I wish I had this thread when I started making music... but I was so wack it wouldn't have helped.

:cheers:
 
For those of you who can't get into clubs and etc, look at talent showcases. Get with other talented groups artists and producers and start a movement!! Takeover a nite at a joint and showcase HOT talent!! Don't look to the corporate machine to come scoop you up!
 
Wallbangerz said:


The game respects hustle and grind. When cats see you out and you are proving to be consistent, you WILL get noticed. Will you get rich? Who knows, but you will get noticed. How far you take that is up to you...
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I think the best thing is doing what you love. You can make 50,000 a year, which producers on the grind should be making and still be happy.

Bob Dylan said it best

"Success is doing what you love for the rest of your life."
 
damn, this thread is amazing.

not even reading through it all i have learned some sh*t...

damn.

big ups WB
 
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