Music Industry : The Business Side Q&A

[stillwaterla]

I'm definitely here to give you guys more specific incite on questions you might have on handling split sheets, dealing with A&R's and their crazy requests, things that deal with the day to days etc...rather than just the broad "get you motivated" cliches.

 

[redman]

Originally Posted by StillwaterLA

I'm definitely here to give you guys more specific incite on questions you might have on handling split sheets, dealing with A&R's and their crazy requests, things that deal with the day to days etc...rather than just the broad "get you motivated" cliches.

In your opinion does Drake help or hurt the industry, are big label really needed anymore?

The way I see it is big label will start to do more and more joint ventures. Artist do not need labels to get their name out there but the artist do need the labels to get their records distributed.

 

[stillwaterla]

 

[stillwaterla]

Originally Posted by RedMan

Originally Posted by StillwaterLA

I'm definitely here to give you guys more specific incite on questions you might have on handling split sheets, dealing with A&R's and their crazy requests, things that deal with the day to days etc...rather than just the broad "get you motivated" cliches.

In your opinion does Drake help or hurt the industry, are big label really needed anymore?

The way I see it is big label will start to do more and more joint ventures. Artist do not need labels to get their name out there but the artist do need the labels to get their records distributed.

From a traditionalist standpoint, Drake did everything he was supposed to do.  Build up your initial buzz and fanbase, and let the big label come in and takeover your small business, then even bigger success ensues.

It's been the longstanding approach of Urban artists, the basic idea that if you alone can do X numbers, then naturally you + big label can do X times X numbers.  

Now clearly, this isn't the case today in state of the music industry.  Traditional methods don't work, despite the fact that major labels still spend and market like it was 10 years ago.  We're all too obsessed with the numbers we did yesterday, but really fail to look at the numbers that are realistic today. Bottom line, Urban is still obsessed with the bling (both executive side and artist side).  And being signed to a major label is a metaphor for having a giant chain and Phantom.

Don't get me wrong, Drake will still be big.  And in no way was he obligated to take a risk and pave a new path for everyone.

WIth that said though, he had the opportunity to break open a mainstream INDEPENDENT market for Rap/R&B.  To finally break the stigma that Indie for Hip Hop = Underground records only.  He could've made it fun to discover new Hip Hop artists again.  The numbers wouldn't be as huge, but in the words of Drake: "Lesbeeeehonn-est" the big numbers will come from your shows and merch.

And to touch lightly on discovering new artists:

We HARDLY discover new mainstream Hip Hop acts anymore.  Unless you get the co-sign from Jay or KanYe or a blog, no one's going to know where to look for it.  And the worst part is, if you're undiscovered we're going to assume you suck.  

On the other hand if you're familiar with the Indie Rock scene... KIDS are killing to find the newest stuff and their heroes aren't the ones on the radio. It's actually rewarding to discover new artists, to find the Lykke Li's, the Miike Snow's etc.  This is the type of fanbase you want to build, the one that will BUY everything..give the people a reason!

And that could've been Drake, the posterboy for the new Indie rap.  But instead, he joined forces with the mega-corporate machine...buying them more time to ignore the public.

Tell 'em why you mad son.

 

[dathbgboy]

See this is what I like to see NT, positive input and not just doggin eachother. Idk know bout yall but w/ the way Ag pushed the #SS mixtape, I have a feelin that future projects could get the same love if not more and give exposure to both artists and producers. We should start podcastin or somethin. I'm just sayin

 

[mcflyyy]

Originally Posted by StillwaterLA

I'm definitely here to give you guys more specific incite on questions you might have on handling split sheets, dealing with A&R's and their crazy requests, things that deal with the day to days etc...rather than just the broad "get you motivated" cliches.

can you elaborate on each of these? and how did you get your beats into the right hands?

 

[stillwaterla]

Originally Posted by McFlyyy

Originally Posted by StillwaterLA

I'm definitely here to give you guys more specific incite on questions you might have on handling split sheets, dealing with A&R's and their crazy requests, things that deal with the day to days etc...rather than just the broad "get you motivated" cliches.

can you elaborate on each of these? and how did you get your beats into the right hands?

For beats to get in the right hands, there's a possibility they're going to pass through a lot of wrong hands first.  It is trial and error, and just be prepared to get bent over.  ALOT.
There's a couple of options in getting your tracks heard.  Songwriters, A&R's and managers.

Songwriters, pretty straight forward.  You work with them on creating a song out of your track.  They may have their own outlets to shopping your songs.

This is where split sheets come into play, they basically designate the percentage you will retain from writing a song.  As a track producer, don't expect to get more than 50%.  If the songwriter is established, you can expect even a lower number.  All this can be taken care of when the song is being shopped.

A&R's, make sure they're working for the label.  Once you've established that, send them a few tracks (NOT 15-30 mp3s) and get feedback.  Work on getting them the records they need, and just look for signs.  If they are prompt with giving you feedback and honest, that's the right hands.  If they take months to reply, or make you jump through hoops.  Keep it moving.

Managers can be a little trickier, I would completely avoid that unless the person is completely established or you've established yourself.

 

[M. Fresh]

Originally Posted by StillwaterLA

Guys a lot of people ask me how they can get started in this business. Simply put, you just DO IT. You have to take the initiative yourself, learn as much as you can on your own, before you can make the decision if this is something you want to be serious about. Get the programs, make beats for friends, buy the books, meet people etc.

  

pretty much.  Kind of crazy I was just talking to my boy about this today.  He has some knowledge about the business, he used to roll with flip and some other cats.  He was strictly a producer when he first started, did tracks for flip, ugk, stack bundles and others.  Dude has been grinding and puttin in work for a while.  Now he just really produces himself and performs with a live band.  

He was basically saying that he put a lot of money into other people that didnt take it as serious as he did.  So instead of wasting time and money on others he is strictly pushing himself .  .  

Make sure you at lease have a decent lawyer and remember the music business is a shady business. 

Networking is huge and its crazy how you see people down the road

 

[illphillip]

Originally Posted by RedMan

Originally Posted by StillwaterLA

I'm definitely here to give you guys more specific incite on questions you might have on handling split sheets, dealing with A&R's and their crazy requests, things that deal with the day to days etc...rather than just the broad "get you motivated" cliches.

In your opinion does Drake help or hurt the industry, are big label really needed anymore?

The way I see it is big label will start to do more and more joint ventures. Artist do not need labels to get their name out there but the artist do need the labels to get their records distributed.

I'm guessing you already read this, but in case you did not, it's a good read. Keep in mind though, it's one man's opinion. 
http://www.xxlmag.com/online/?p=70087

 

[ravageent2009]

  

priceless info in here lets keep this going ..............................................Forever possibly

 

[finessesosa]

StillwaterLA is 100000% right on everything he is saying. Perfect thread

 

[ajeezy08]

StillwaterLA wrote:

---

Originally Posted by ajeezy08

Im am an up-and-coming record producer myself, what are some good ways to obtain exposure and push your musiuc out there?

BTW good thread so far...

The best way to obtain exposure is attaching yourself to a "vehicle."  Obviously, networking is one of the key tenants to being successful in any industry, and music is no exception.  
A vehicle could be someone like a songwriter or an artist. Just think, any person you collaborate with that loves your work, becomes new walking promotion for you.  Even if it's one person at a time, trust me when I tell you it makes a difference.

Now of course, you need to be selective in who the vehicles are.  Do they have outlets that you don't have?  Can they be trusted?   Do they improve your tracks or make it worse?  As long as it's positive overall, you crank out great songs with the person, someone will notice you for your skills.

The vehicle can either take you down the street, or into the city.  God forbid it goes backwards.

But remember, none of this matters if you aren't putting in the time to make great music!

To give you a clear idea, this is an extremely condensed version of my path: (STILL WORKING ON IT!)

Who I worked with - Underground Rapper in LA from Project Blowed (did a whole album for him that went nowhere, a bunch of BS) -> Met Ras Kass through other producer working on Underground rapper's project -> Worked with Ras's project, met my first manager who was employee of Def Jam - > Def Jam sent me to watch a beat battle where I met next manager who was J.R. Rotem's and Hi-Tek's manager at the time - >  This new manager worked me to death, forcing me to improve my tracks and introduced the concept of producing songs, instead of just beat building.

Soon however, I left that situation because I was young and impatient (thought I had hit the jackpot, and was mad that I wasn't super ballin).  I made a poor decision and to figure out where to go from there without any help.  I took what I learned from the manager, and began developing my song catalog.

From previous relationships made, I started to get in with new songwriters.  Some of them like James Fauntleroy and Cristyle, didn't have any hits yet but they were incredibly talented.  Then one thing lead to another, they get big...suddenly I have songs with hit-writers in my catalog.  From that, I was able to get attention from A&R's and other executives...everything got bigger from that point on.

Now I have to mention that that was a very condensed version, there was a whole lot of failing in between that.  But being persistent, and always being open to improving yourself is a key to moving up the ranks.

That's a pretty long rant I left up there and I apologize if I just bored the board to death.  

  PM me or ask on here if you have any other specific questions. 



Not at all.. great advice...

 

[bgetsbusy]

I am currently workin with my man who I'm helping put together his mixtape.

As of right now I am gettin beats, studio time, cover art, trying to get shows, features, etc....

What are some things I can do to better myself and be more of an asset?

GREAT thread btw

 

[stillwaterla]

Originally Posted by bgetsbusy

I am currently workin with my man who I'm helping put together his mixtape.

As of right now I am gettin beats, studio time, cover art, trying to get shows, features, etc....

What are some things I can do to better myself and be more of an asset?

GREAT thread btw

BGETSBUSY, you're doing everything you need to do right now.  What's equally important is making sure your artist is putting in the same effort as you are?  Because at the end of the day, the project will only go as far as he allows it to go.
Continue what you're doing, and make sure your artist holds up his end of the bargain! 

 

[ravageent2009]

how can i start doing shows or get in contact with some managers to book me as an opening act?

 

[lesfamilia]

One question I have to ask, is starting out with little to no budget at all as a producer, for all the work and time I put into my music, how and who could help me set a suitable pro rate or even buying rate for my tracks?  And then after that, if I eventually want to step out as an artist, is it better to focus on production first and then work on doing both, or just come out the gate doing both at the same time?  Any feedback is appreciated.

 

[larryindiana219]

feed me beats.

That is all.

 

[dathbgboy]

Originally Posted by LESfamilia

One question I have to ask, is starting out with little to no budget at all as a producer, for all the work and time I put into my music, how and who could help me set a suitable pro rate or even buying rate for my tracks?  And then after that, if I eventually want to step out as an artist, is it better to focus on production first and then work on doing both, or just come out the gate doing both at the same time?  Any feedback is appreciated.

I would suggest that u focus on one and in ur spare time do the other. Pricing ur music goes along with recognition. Even if that means pullin a Jake One and producin a whole album/mixtape, that's exposure right there. If dudes inquire about ur music, charge em, the more u get known, the more u can charge. U can't be Joe Blow and chargin $300+ for a track or somethin, it don't work like that.

Network w/ some of the lesser known artists on here that are actually doin shows and what not and throw em some beats on the love just to get ur name out there.

Keep a catalog of ur beats too and try to sort them by feel, that way when the opportunity does present itself to make a lil dough u look organized and professional. Also, if u have the space and what not at the crib, set up a little studio and charge there for time u can make a good booth out of just about anything.

I know I was all over the board sorta but I tend to write what comes to mind when it does.lol. Hope this helps brah

 

[lesfamilia]

Originally Posted by Dathbgboy

Originally Posted by LESfamilia

One question I have to ask, is starting out with little to no budget at all as a producer, for all the work and time I put into my music, how and who could help me set a suitable pro rate or even buying rate for my tracks?  And then after that, if I eventually want to step out as an artist, is it better to focus on production first and then work on doing both, or just come out the gate doing both at the same time?  Any feedback is appreciated.

I would suggest that u focus on one and in ur spare time do the other. Pricing ur music goes along with recognition. Even if that means pullin a Jake One and producin a whole album/mixtape, that's exposure right there. If dudes inquire about ur music, charge em, the more u get known, the more u can charge. U can't be Joe Blow and chargin $300+ for a track or somethin, it don't work like that.

Network w/ some of the lesser known artists on here that are actually doin shows and what not and throw em some beats on the love just to get ur name out there.

Keep a catalog of ur beats too and try to sort them by feel, that way when the opportunity does present itself to make a lil dough u look organized and professional. Also, if u have the space and what not at the crib, set up a little studio and charge there for time u can make a good booth out of just about anything.

I know I was all over the board sorta but I tend to write what comes to mind when it does.lol. Hope this helps brah

Thanks.  I'll keep this stuff in mind.  It's always good to get some help from a fellow Team Late Night member.

 

[blackmagnus514]

Checking in...

I'm gonna go through the thread and contribute best I can

Marketing/A&R/Promotions and I currently work part time @ a music publishing company.

BRB

 

[blackmagnus514]

And that could've been Drake, the posterboy for the new Indie rap.  But instead, he joined forces with the mega-corporate machine...buying them more time to ignore the public.


true mu'f---n story...Anyway...

Off top, here's some tips I learned.

• this game is ALL networking. If you're in school, stay aware of networking events and such. entertainmentcareers.net...your school's Career center. College should be all about internships and jobs if you can get em.
• There's no shame in being someone's assistant. Your boss or future boss was probably an assistant at one point. This +%@ is about stripes and reps and returns on product and investments
• This business is RIDICULOUSLY small. I live in NYC and the degrees of separation are about 5 or 6..once you get in the business its about 1-3. Thus, protect your reputation. It's gotten to the point where I dont even date girls in the industry. I've been in situations where I coulda slept with them and I didnt, and then some wild +%@ came out. Not to say they're all of ill repute...but there's a lotta glorified groupies and $%*% working at these labels.
• Word hard and be aggressive. Be a team player but know how to separate yourself from the pack.
• No one has the answers for why sales have gone down. But from a marketing standpoint, products will sell when the consumer feels a connection with it. You have to strengthen your product placement and quality for consumers to mess with you. Especially in urban music, the market is very flooded. Make sure your +%@ stands out
• Songwriters, sign up with ASCAP or BMI. I have an artist I'm working with....we had a meeting with BMI and from the looks of it...they're more in touch with technology and the new industry model. They're not publishing companies..they're performance rights organizatinos that protect the rights of songwriters and issue royalties for usage of songs. Peep game from this document by ASCAP:

http://www.ascap.com/jam/read_about/pdf/Music and Money.pdf

• Keep your circle tight. This +%@ is full of snakes...at the same time, show you're a stand up person. i have ppl at majors who'll vouch for me.
• Approach things willing to learn...i didnt even know what i wanted to do in college...i happened on that Sony internship and the rest became clear to me....My bosses all loved me even though i could be stubborn...but they all knew i was willing to work hard...
• Once you're behind the scenes at video shoots and in the studio with a lotta these artists ,you respect their music more. There's been days when i was tired as +%@ from being with artists on shoots, etc.But i gained more respect for them
• Be humble. Dress for success...i see cants who aint making that much $ spent it on Gucci and Louie and all this..if you work hard ppl will take you more serious.

 

[stillwaterla]

Originally Posted by Dathbgboy

Originally Posted by LESfamilia

One question I have to ask, is starting out with little to no budget at all as a producer, for all the work and time I put into my music, how and who could help me set a suitable pro rate or even buying rate for my tracks?  And then after that, if I eventually want to step out as an artist, is it better to focus on production first and then work on doing both, or just come out the gate doing both at the same time?  Any feedback is appreciated.

I would suggest that u focus on one and in ur spare time do the other. Pricing ur music goes along with recognition. Even if that means pullin a Jake One and producin a whole album/mixtape, that's exposure right there. If dudes inquire about ur music, charge em, the more u get known, the more u can charge. U can't be Joe Blow and chargin $300+ for a track or somethin, it don't work like that.

Network w/ some of the lesser known artists on here that are actually doin shows and what not and throw em some beats on the love just to get ur name out there.

Keep a catalog of ur beats too and try to sort them by feel, that way when the opportunity does present itself to make a lil dough u look organized and professional. Also, if u have the space and what not at the crib, set up a little studio and charge there for time u can make a good booth out of just about anything.

I know I was all over the board sorta but I tend to write what comes to mind when it does.lol. Hope this helps brah

Just to add on what DATH said...there is no traditional rate.
Get what you need and don't be greedy!  And keep that mentality, here's a few points I'd like to share on this matter:

1.  Beats are an unlimited resource

2.  They don't take that long to make

3.  Your client has a million competing producers to choose from, ones willing to make more for even less money

4.  You already make beats for free...someone paying you is essentially a bonus

Don't lose sight of your goal...these hundreds of dollars you're trying to make mean nothing.  If you're trying to pay bills right now as a new producer, I'd advise to get a regular job.  It pays more, it pays consistently, and it won't make you hate what you already love doing for free.

Focus on improving your production.  I don't get paid to make beats.  I get paid because I produce from top to bottom.  I organize the budget, I select the studio, I select the mic, the compressor/preamp, I select the appropriate songwriter, I produce the track and vocals, I mix!  

Just improve your craft and I promise it'll all become clear...right now, just get what you can and consider it free money for practicing.

 

[pusha x vinsanity]

Jealous as hell of you workin' with James Fauntleroy. That's about it...

Awesome thread. Definitely gonna be checkin' back in regularly.

Pretty sure I've said it in the past, but it's always nice to see another Pop producer on this board. They're very rare.

 

[devildog1776]

Good thread...

 

[stillwaterla]

Originally Posted by PUSHA x Vinsanity

Jealous as hell of you workin' with James Fauntleroy. That's about it...

Awesome thread. Definitely gonna be checkin' back in regularly.

Pretty sure I've said it in the past, but it's always nice to see another Pop producer on this board. They're very rare.

Yeah man, Fauntleroy has been dope right from the get, definitely one of my favorite people to work with.

And I was strictly a Hip-Hop producer when I started, it just turned into this over time!