Industry Industry Advice
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Formant024
Digital Smokerings
ill o.g.
Word@ god, you're stupid not to broaden your perspectives. Like we know everything, whilst remaining naive hehe.
God
Creator of the Universe
ill o.g.
Freakwncy asked several more questions:
First, the age question:
Age is not important if the people responsible for the management of the artist are apt and are providing a need that a company sees there is. For example, Lil' Bow Wow, or Kriss Kross were example of kids that had the right management, and the consent and support of their parents or guardians in their endeavours.
That is when a child's parent is ultimately responsible for shaping the kid's future, and they need to have the proper support team of management, agents, tutors, and psychological professionals to make the child that is an artist become a well-adjusted adult should the "trappings of fame" take hold of the kid. This is an issue that can not be broadly applied, since each person has a different family, support system, and a level of education in the parents. Thus, realistic analyses need to take place regarding the future of a kid in music.
Again, I can't stress enough the support and judgment of the parents. Their need to be constructively involved, knowing the upsides and downsides, and having adequate council are necessary in making such choices. Each step should be taken cautiously.
Remember, a parent or guardian is responsible for the kid artist until that kid reaches the legally termed age of adulthood in a respective country.
Location
Location is a factor. The probability of meeting somebody in LA or London that is involved in the industry will be multiplied exponentially versus somebody trying to become a rapper in Fiji. Being around the music centres is an advantageous position that enables the creation of a feasible network. Beware of the sharks as well.
However, there are people in many smaller cities and areas that have direct contact with decision makers in the music centres, thus, those people are influential as well. You can have a producer that works in Bremen, Germany, that has contacts not only in Berlin, but in London. It really means that identifying these people is an important thing as well.
Production Points/Fame
It seems you are misguided in your wish to have fame, and what is a production point. Production points are royalties the producer who worked on the album gets. This is used a lot in rock music, where one producer has control over the whole project and his "sound" outlines the sound of the band. A production point is a cut from the overall sales of the album, between 3-5 points per album. The stipulations of when the producer gets the actual money from the points is defined by contract.
In rap music the term "executive producer" who is the project leader, usually retains production points unless more well known contracted producers like the Neptunes, are brought in. They will say that their contribution to the album guarantees the album's success, and will negotiate more for not only up-front money, but also a point system in which they will be granted royalties. Other producers, however, may simply be content with having money given to them up front in no return for album sale production points.
However, with rap, it is different because it is not like rock, where production points went to one producer at a rate of 3-5% per album. The larger amount of producers on a project require a more delicate distribution of points that will reach well above the original rock producer's stipend. With that said, each song is cut into royalty between the writer of the lyrics, and the person that "made the music." That depends on the negotiation a producer's representation can make out with the exec. producer of the project and how much leverage the contracted producer has with the exec. producer.
In general I have outlined the classic term of the "production point" as a producer's royalty and some of the mechanics involved.
"Fame" is not inferred through production points because fame generally means "a lot of people know who you are." There are famous people that are not wealthy, or do not have production points on an album. Conversely, there are people that you never heard of, but are important industry players, that can weasel their way to get points on an album because of their leverage.
So fame has no connection to production points unless that fame gives you leverage to renegotiate your position regarding your royalty rate. In that case, people give up money or points in order to be more recognised as a producer, which in turn gives them more leverage to get more royalties.
They give up to gain more in that respect. If 50 Cent said to you, for example, "Hey, I want one of your beats on my next album, but I won't give you a royalty." Although that is bad from an ethical standpoint, if you have a track on 50 Cent's next album, which will probably be multiplatinum, your "name" has more value, because you produced a song for 50 Cent. You can now use that leverage in future negotiations with other rappers by saying you are, in fact, a "multiplatinum producer," even though your song did not end up as a single. You can still use that leverage.
Hope that answereed your question somewhat.
Sincerely,
God
THIS IS NOT BUSINESS OR LEGAL ADVICE. IF YOU DO NOT KNOW SOMETHING PLEASE CONTACT A QUALIFIED ATTORNEY.
Freakwncy said:
First, the age question:
Age is not important if the people responsible for the management of the artist are apt and are providing a need that a company sees there is. For example, Lil' Bow Wow, or Kriss Kross were example of kids that had the right management, and the consent and support of their parents or guardians in their endeavours.
That is when a child's parent is ultimately responsible for shaping the kid's future, and they need to have the proper support team of management, agents, tutors, and psychological professionals to make the child that is an artist become a well-adjusted adult should the "trappings of fame" take hold of the kid. This is an issue that can not be broadly applied, since each person has a different family, support system, and a level of education in the parents. Thus, realistic analyses need to take place regarding the future of a kid in music.
Again, I can't stress enough the support and judgment of the parents. Their need to be constructively involved, knowing the upsides and downsides, and having adequate council are necessary in making such choices. Each step should be taken cautiously.
Remember, a parent or guardian is responsible for the kid artist until that kid reaches the legally termed age of adulthood in a respective country.
Location
Location is a factor. The probability of meeting somebody in LA or London that is involved in the industry will be multiplied exponentially versus somebody trying to become a rapper in Fiji. Being around the music centres is an advantageous position that enables the creation of a feasible network. Beware of the sharks as well.
However, there are people in many smaller cities and areas that have direct contact with decision makers in the music centres, thus, those people are influential as well. You can have a producer that works in Bremen, Germany, that has contacts not only in Berlin, but in London. It really means that identifying these people is an important thing as well.
Production Points/Fame
It seems you are misguided in your wish to have fame, and what is a production point. Production points are royalties the producer who worked on the album gets. This is used a lot in rock music, where one producer has control over the whole project and his "sound" outlines the sound of the band. A production point is a cut from the overall sales of the album, between 3-5 points per album. The stipulations of when the producer gets the actual money from the points is defined by contract.
In rap music the term "executive producer" who is the project leader, usually retains production points unless more well known contracted producers like the Neptunes, are brought in. They will say that their contribution to the album guarantees the album's success, and will negotiate more for not only up-front money, but also a point system in which they will be granted royalties. Other producers, however, may simply be content with having money given to them up front in no return for album sale production points.
However, with rap, it is different because it is not like rock, where production points went to one producer at a rate of 3-5% per album. The larger amount of producers on a project require a more delicate distribution of points that will reach well above the original rock producer's stipend. With that said, each song is cut into royalty between the writer of the lyrics, and the person that "made the music." That depends on the negotiation a producer's representation can make out with the exec. producer of the project and how much leverage the contracted producer has with the exec. producer.
In general I have outlined the classic term of the "production point" as a producer's royalty and some of the mechanics involved.
"Fame" is not inferred through production points because fame generally means "a lot of people know who you are." There are famous people that are not wealthy, or do not have production points on an album. Conversely, there are people that you never heard of, but are important industry players, that can weasel their way to get points on an album because of their leverage.
So fame has no connection to production points unless that fame gives you leverage to renegotiate your position regarding your royalty rate. In that case, people give up money or points in order to be more recognised as a producer, which in turn gives them more leverage to get more royalties.
They give up to gain more in that respect. If 50 Cent said to you, for example, "Hey, I want one of your beats on my next album, but I won't give you a royalty." Although that is bad from an ethical standpoint, if you have a track on 50 Cent's next album, which will probably be multiplatinum, your "name" has more value, because you produced a song for 50 Cent. You can now use that leverage in future negotiations with other rappers by saying you are, in fact, a "multiplatinum producer," even though your song did not end up as a single. You can still use that leverage.
Hope that answereed your question somewhat.
Sincerely,
God
THIS IS NOT BUSINESS OR LEGAL ADVICE. IF YOU DO NOT KNOW SOMETHING PLEASE CONTACT A QUALIFIED ATTORNEY.
God
Creator of the Universe
ill o.g.
mArkoFdAbEaTz said:
1. You are asking a legal question, I'm not a lawyer. Therefore, I must say, ask a qualified attorney this question.
2. Licencing involves a person paying you for using your music (your beat) by licencing in an exclusive way that is defined by a period of time OR a non-exclusive licence in general OR... IT CAN GET COMPLICATED. Stuff like this gets complicated, hence, me telling you that you should look at a lawyer to find the right contract for you.
3. Here are several websites you should browse in order to get more info on the question you are asking:
ASCAP has a primer on "Music and Money" that should make you think about your situation and other situations that should arise:
http://www.ascap.com/musicbiz/money-intro.html
The Harry Fox Agency describes the notion of licencing in general. Though it does not specifically address your situation, it should open your eyes to the complexity of the matter.
http://www.harryfox.com
I am also sure that several of the people on this site that do licence beats have ready made forms they can give you.
4. The simple answer: If they buy your beat outright for money, and you release ALL your rights to the song, they are scot-free. If you have a contract that defines the stipulations you want, like a royalty in the future, that depends on the contract. The quality of the contract depends on the lawyer. Get a lawyer.
5. If they don't have a barcode, and you can't find out how much they sell, then what does that tell you? You don't have an objective sales figure.
Sincerely,
God
DISCLAIMER: THIS IS NOT LEGAL OR BUSINESS ADVICE. IF YOU DO NOT UNDERSTAND SOMETHING PLEASE CONTACT AN ATTORNEY.
God
Creator of the Universe
ill o.g.
Kevin A asked this question:
Kevin, I am sure that you and many other people on this site would want to sell their beat to a big time artist ASAP. The answer is that it is not that easy, and I assume you know that.
1. I would recommend taking a look at my previous posts similar to this subject. Illmuzik.com has a very good "search" utility where you can look at my posts, like my writing on A&R, how the industry operates in regard to new trends, as well as this informative "Ask God" section. There are several questions that were posed in this very thread delineating the general frame of reference of your question. I have even posted record company phone numbers on this thread, and the sort.
If you do not find any information which could help you "break in" to different areas. Please read my next suggestion below
2. Getting to a big time artist can be as simple as handing them a CD, they have the right attitude, and call you back for a track. That is highly unlikely, because the artists themselves have obligations to the producers in their cadre and will not take the risk of bringing a nobody into the ranks thereby insulting the people he or she works with.
Networking is a primary way of getting your production known. It is not immediate, but can give you access to the higher echelon music networks that circulate the "hottest" productions from A&R to A&R. Admission into those circles takes time, or somebody's insistence. In order to get heard, you need to find different points of entry, like a manager, or an agent, or a lawyer, that has access themselves. Furthermore, music publishers may be more willing to having some form of deal with you because they are motivated by your success, since it makes them money because they represent you. As you can see, I have listed only a few examples.
Since my time is short, I must say that try a general search of what I have posted, because I'm sure I touched on this subject in earlier posts (I simply do not have the time now to post the links.) Otherwise, I think it is irrational to simply believe that one can get to a big time artist ASAP w/o some form of network or connection. If there was an easy way, everybody would be doing it.
The music industry is much like that idiotic game "Survivor." There is a lot of competition when you start, but you have to work within a system in order to get ahead of the others, people lose and get out of the game. If you wheel and deal enough you can get closer and closer to the prize. Creativity and an understanding of interpersonal politics is the only way one can get up.
Unless of course, there is that .01% chance that the planets align with the sun and you will be amazingly discovered by a rep walking by your flat. He hears your music, and signs you on the spot.
Sincerely,
God
Kevin A said:
Kevin, I am sure that you and many other people on this site would want to sell their beat to a big time artist ASAP. The answer is that it is not that easy, and I assume you know that.
1. I would recommend taking a look at my previous posts similar to this subject. Illmuzik.com has a very good "search" utility where you can look at my posts, like my writing on A&R, how the industry operates in regard to new trends, as well as this informative "Ask God" section. There are several questions that were posed in this very thread delineating the general frame of reference of your question. I have even posted record company phone numbers on this thread, and the sort.
If you do not find any information which could help you "break in" to different areas. Please read my next suggestion below
2. Getting to a big time artist can be as simple as handing them a CD, they have the right attitude, and call you back for a track. That is highly unlikely, because the artists themselves have obligations to the producers in their cadre and will not take the risk of bringing a nobody into the ranks thereby insulting the people he or she works with.
Networking is a primary way of getting your production known. It is not immediate, but can give you access to the higher echelon music networks that circulate the "hottest" productions from A&R to A&R. Admission into those circles takes time, or somebody's insistence. In order to get heard, you need to find different points of entry, like a manager, or an agent, or a lawyer, that has access themselves. Furthermore, music publishers may be more willing to having some form of deal with you because they are motivated by your success, since it makes them money because they represent you. As you can see, I have listed only a few examples.
Since my time is short, I must say that try a general search of what I have posted, because I'm sure I touched on this subject in earlier posts (I simply do not have the time now to post the links.) Otherwise, I think it is irrational to simply believe that one can get to a big time artist ASAP w/o some form of network or connection. If there was an easy way, everybody would be doing it.
The music industry is much like that idiotic game "Survivor." There is a lot of competition when you start, but you have to work within a system in order to get ahead of the others, people lose and get out of the game. If you wheel and deal enough you can get closer and closer to the prize. Creativity and an understanding of interpersonal politics is the only way one can get up.
Unless of course, there is that .01% chance that the planets align with the sun and you will be amazingly discovered by a rep walking by your flat. He hears your music, and signs you on the spot.
Sincerely,
God
God
Creator of the Universe
ill o.g.
lowkee642 said:
1. Press kits usually accompany a person who, like you, already has a connection. If you think that a press kit will be the SOLE reason why your demo is selected out of a stack, you're wrong.
Unfortunately, the mood of the rep, the type of personality, the type of music, will be the ultimate decision maker on your music.
I think that a slick press kit helps you, because it shows that you take your music seriously. Some people just put a bunch of stickers on a cheap binder, and think that a major label is going to sign them? No, I don't think so... but then there are those bleeding heart rock A&R's who think they will change the face of music that may be sympathetic to the "weaker" looking kits.
In any effect, I suggest a slick package, because it shows you're putting where your mouth is.
I think this search I just punched into Google will help you see the different types of formats that some idiot A&R's and some smart A&R's want. I posted it for the informative value that it will provide, by giving you a lot of options regarding your kit and seeing other opinions rather than my own.
http://www.google.com/search?hl=en&ie=ISO-8859-1&q=press+kit,+music
HERE IS MY OPINION, A LITTLE MORE IN DEPTH:
1. Keep the bio simple. One short paragraph is good. Make it a quick overview of your life. I don't care if you opened up for Snoop Dogg or Dr. Dre, because if you were important, I would have heard about you and probably approached for a signing. Keep your shows out of the bio.
2. Cover Letter. The cover letter should be short again. A couple short paragraphs that states your objective is all that is necessary. DO NOT BORE THE REP. IF YOU BORE THE REP, YOU WILL LOSE.
3. Photos Please do NOT take photos with a shite camera and use common sense. Pretend you are doing a photo like the band pics you see in Rolling Stone. Have a friend that is a photographer, or can change up pictures in their computer to make you look decent as a artist or producer. Generally, have 1 black and white picture, and you may add some other colour photos.
SINCE YOU ARE A PRODUCER, YOU DON'T NEED LYRIC SHEETS.
4. Press clips If you have any worthwhile clips from the media, use them, but don't use too many... I'd say at most five (some arseheads want more.) You can put the shows or beats that you were a part of (like Dr. Dre) here... and make yourself look better.
If you're a producer and have the connection like you say you do, then the press kit shouldn't REALLY matter... but do it anyway. People have sealed deals by just going over to the rep's house with their friend and just popped the CD in the stereo, everybody sat, listened, critiqued, and gave the YES or NO on it... without a press kit.
Keep up the good work, check the link I gave you, there are a bunch of different sites that all have different opinions. I recommend sticking to the no BS, straightforward, slick, press kit.
FOR YOUR CD:
A beat can easily be lifted... do you have enough money to sue a label? No, you probably don't.
BEAT CD's should be short, and usually w/o any vocals on it. No rep will listen to a whole song, the song needs to hit you immediately... or the beat has to.
In essence, stop- don't be paranoid, if people want to steal your beat, they will. If you have an "open" beat, which doesn't have a voice over it, it will enable a person to pass a beat to an artist, who will then loop your beat and record a demo over the beat that he/she likes from you, and then send it back to his/her rep, which will then contact you for clearance rights... then the rep and artist take your beat, and record the "official" version, with your "OK" on it (after they ink a contract with you.)
That is how it works.
I AM NOT A LAWYER. THIS POST DOES NOT CONSTITUTE BUSINESS OR LEGAL ADVICE, IF YOU DO NOT KNOW SOMETHING, PLEASE CONTACT AN ATTORNEY.
Sincerely,
God
God
Creator of the Universe
ill o.g.
Trez260 asked this question:
Do it in a roundabout way, you want to pretend that you're cool with him, but place the questions carefully...
1. What label he works for.
2. Can you get his number and extention to the label.
3. What is the labels' number for the front desk.
4. Where is the label located- what city, ask him to tell you about the city-weather, events, etc. Also tell him to give you the nearest intersection to label offices.
5. What is his full name, or better yet, if you can have a business card. If he's "fresh out" (a common excuse), make sure to have a pen and paper ready so he can give you his contact info. If he has a pseudonym like "Hood-Rat" and doesn't want to give you contact info, it smells fishy.
6. Who has he worked with other than your crew.
7. What are the talent agencies he would recommend to you if you "got in"? Find a way to have him name 3. What management companies?
These are only a couple "tricks" you can then look up after to see if the info correlates with what he said. This guy is meeting with you face to face, you should be able to ask him these legitimate questions. Depending on the label, you could ask him on operating procedures as a rep, for example, ask him to tell you how it works. Ask him how artists get pushed within the label, and how he can successfully represent the artist at meetings for artist promotions, setting release dates, etc.
If you don't even think the guy is A&R, and the people that are working with you are not telling you (which sounds devious... either they're lying to you, or you're lying to me in your question) then you have a problem.
You are meeting this guy face to face, so you probably will know. If he hits you up for money, start running.
Sincerely,
God
THIS POST DOES NOT CONSTITUTE BUSINESS OR LEGAL ADVICE. IF YOU DON'T UNDERSTAND SOMETHING, CONTACT AN ATTORNEY.
Do it in a roundabout way, you want to pretend that you're cool with him, but place the questions carefully...
1. What label he works for.
2. Can you get his number and extention to the label.
3. What is the labels' number for the front desk.
4. Where is the label located- what city, ask him to tell you about the city-weather, events, etc. Also tell him to give you the nearest intersection to label offices.
5. What is his full name, or better yet, if you can have a business card. If he's "fresh out" (a common excuse), make sure to have a pen and paper ready so he can give you his contact info. If he has a pseudonym like "Hood-Rat" and doesn't want to give you contact info, it smells fishy.
6. Who has he worked with other than your crew.
7. What are the talent agencies he would recommend to you if you "got in"? Find a way to have him name 3. What management companies?
These are only a couple "tricks" you can then look up after to see if the info correlates with what he said. This guy is meeting with you face to face, you should be able to ask him these legitimate questions. Depending on the label, you could ask him on operating procedures as a rep, for example, ask him to tell you how it works. Ask him how artists get pushed within the label, and how he can successfully represent the artist at meetings for artist promotions, setting release dates, etc.
If you don't even think the guy is A&R, and the people that are working with you are not telling you (which sounds devious... either they're lying to you, or you're lying to me in your question) then you have a problem.
You are meeting this guy face to face, so you probably will know. If he hits you up for money, start running.
Sincerely,
God
THIS POST DOES NOT CONSTITUTE BUSINESS OR LEGAL ADVICE. IF YOU DON'T UNDERSTAND SOMETHING, CONTACT AN ATTORNEY.
God
Creator of the Universe
ill o.g.
exampul_one asked:
People do that, but it's not recommended. It's worth your time and money to register with the Library of Congress. What, you don't have $30 or whatever it is to spend on your career? Do it, you can pack as much music on a disc as you'd like, and it's registered with a government agency. If you're not going to invest that much in yourself, who else do you think will?
Sincerely,
God
THIS IS NOT BUSINESS OR LEGAL ADVICE.
People do that, but it's not recommended. It's worth your time and money to register with the Library of Congress. What, you don't have $30 or whatever it is to spend on your career? Do it, you can pack as much music on a disc as you'd like, and it's registered with a government agency. If you're not going to invest that much in yourself, who else do you think will?
Sincerely,
God
THIS IS NOT BUSINESS OR LEGAL ADVICE.
eXampuL_oNe
LOW-PRO
Thanx man, I wasn't going to do it. I will always invest in my music. I just didn't know if it was true. But now i know it is so thanx.
God
Creator of the Universe
ill o.g.
I was asked this question by lowkee.
Look, probably somebody might listen to it. It just depends when you hit them up, if they care or not, what were the circumstances regarding the sitaution. If an artist likes a beat and thinks its good. They might actually contact you, provided that you wrote that information on your CD.
If someone came up to me and said "here's my CD" while I'm in the middle of talking to someone important, or I'm in the middle of coordinating something. Usually, if somebody ID's me as a person they want to solicit a demo to, I usually say I'm not an AR rep, but a person at the label that "has no power over signing." I just help with the routing, or some garbage like that. Is that what the "AR" rep did to you?
Some of these groups have friends who make beats and are part of the entourage. The person listening might tell his friend that makes beats "Can we do something like this?" Then they won't call you.
In any respect, good job for handing the CD's out. Hopefully you'll get a call. If not, keep trying. It's a tough biz.
Sincerely,
God
God
Creator of the Universe
ill o.g.
Stresswon wrote:
Just because you have a list of A&R's doesn't mean that it will work. People can put those out on the internet, for all I know, but turnover is so big in the music industry that you might be sending a CD or letter to somebody that might have already left that label for another label.
I just don't think that your strategy would work. Shooting CD's off to A&R's is NOT effective. Reps are deluged with CDs.
You have to play the game.
Sincerely,
God
Just because you have a list of A&R's doesn't mean that it will work. People can put those out on the internet, for all I know, but turnover is so big in the music industry that you might be sending a CD or letter to somebody that might have already left that label for another label.
I just don't think that your strategy would work. Shooting CD's off to A&R's is NOT effective. Reps are deluged with CDs.
You have to play the game.
Sincerely,
God
God
Creator of the Universe
ill o.g.
PMJ asked:
There are two ways to look at it. Reality, and your situation.
REALITY
In the music industry, the writers of a song are the people that collect publishing on the song. They can be either the artist, producer, exec. producer, or somebody with enough clout to worm their way into points.
The credits for the songwriting and the deal between producers and mixers, etc., are all done with contract stipulations that actually say WHAT THEIR CREDIT WILL LOOK LIKE and SAY. Credit stipulation is part of the contract. Some exec. producers go so far as to say that their name placement is first in any list (songwriter, producer) The contract is done either with the record company, or whoever is actually coordinating the effort.
The reality is that the people that have contracts AND the contracts say that they should have a credit, is what goes. Mercy credits, like not paying anybody for something, but putting them as a credit also happens.
Sometimes people like ghostwriters, are paid to NOT HAVE A CREDIT.
YOUR SITUATION
Song Example:
"GOT MY GAT"
(artist, Mitzzo, PMJ)
Executive Producer: PMJ
Produced by: Mitzzo and PMJ for P2K1 Records (your production company or record company)
Mixed by Mitzzo at ABC Studios, Burbank, CA (Only put the location if it's a good one.)
Recorded by PMJ at XYZ Studios, Hollywood, CA.
(IF YOU HAVE PUBLISHING COMPANIES, EVERY PERSON'S PUBLISHING COMPANY THAT HAS A PIECE OF THE PUBLISHING REVENUE IS CREDITED. HERE'S THE EXAMPLE
(artist's company) 123 Music (BMI)/(beatmaker's) Mitzzo Music (SESAC)/ (PMJ's company)321 Music (ASCAP)
If you didn't set up publishing companies, or you own all the publishing and redistribute it, then just put your own.
If you don't care about publishing, then don't put it in. Credit extra performers only if your deal with them says so.
If you have more questions ask. I left out the producer that listened to the final cut because he didn't seem important. What is your relationship with him? If he's a worthy producer, technically, you put him in. If he didn't do anything, then he doesn't get a credit (it's up to you.)
Sincerely,
God
There are two ways to look at it. Reality, and your situation.
REALITY
In the music industry, the writers of a song are the people that collect publishing on the song. They can be either the artist, producer, exec. producer, or somebody with enough clout to worm their way into points.
The credits for the songwriting and the deal between producers and mixers, etc., are all done with contract stipulations that actually say WHAT THEIR CREDIT WILL LOOK LIKE and SAY. Credit stipulation is part of the contract. Some exec. producers go so far as to say that their name placement is first in any list (songwriter, producer) The contract is done either with the record company, or whoever is actually coordinating the effort.
The reality is that the people that have contracts AND the contracts say that they should have a credit, is what goes. Mercy credits, like not paying anybody for something, but putting them as a credit also happens.
Sometimes people like ghostwriters, are paid to NOT HAVE A CREDIT.
YOUR SITUATION
Song Example:
"GOT MY GAT"
(artist, Mitzzo, PMJ)
Executive Producer: PMJ
Produced by: Mitzzo and PMJ for P2K1 Records (your production company or record company)
Mixed by Mitzzo at ABC Studios, Burbank, CA (Only put the location if it's a good one.)
Recorded by PMJ at XYZ Studios, Hollywood, CA.
(IF YOU HAVE PUBLISHING COMPANIES, EVERY PERSON'S PUBLISHING COMPANY THAT HAS A PIECE OF THE PUBLISHING REVENUE IS CREDITED. HERE'S THE EXAMPLE
(artist's company) 123 Music (BMI)/(beatmaker's) Mitzzo Music (SESAC)/ (PMJ's company)321 Music (ASCAP)
If you didn't set up publishing companies, or you own all the publishing and redistribute it, then just put your own.
If you don't care about publishing, then don't put it in. Credit extra performers only if your deal with them says so.
If you have more questions ask. I left out the producer that listened to the final cut because he didn't seem important. What is your relationship with him? If he's a worthy producer, technically, you put him in. If he didn't do anything, then he doesn't get a credit (it's up to you.)
Sincerely,
God
P
pmJ
Guest
Re: Credits?
I edited this to keep it short and to the point!!!!!
Yes, the guy I forgot to mention is importent! He is the same guy refered to as Mitzzo, the one who gives a listen as well and mixes all our material and does production for pk21!
I am starting to understand, or think I do understand where you are going! So, even if I didnt make the beat, or write the material, since I was involved with producing the song, then I list my name in the credits like you typed, (artist, Mitzzo, PMJ). Am I undertanding this correctly?
So since I am financing the project and bringing everyone together and all, I understand the Exc. Producer, so what does it mean when you see Co-Producer/Co-Produced by, in the credits?
Here is another one real quick cuz we will be doing a lot of this, what if I recieve a beat from out-side the pk21 connection, already broken down and we do the rest from there. Is the producer of that beat suppose to be included as a producer of the entire song, or just credited for the beat?
I'm sure I will find this out once I hear from them, but I registerd with ASCAP, I know it will be a while til I know everything went threw correctly, but say it did. I registered as a writer/composer, but not as a publisher since I believe I dont have the credentials yet. I put it under my stage name which is PM, but for the company I put PK21 Productions. If I were to list that in the credits, would I use the company name PK21.... or the name that was registered which would be (PM).
Thanx for ur time and advice with this situation, it's appreciated. PM
I edited this to keep it short and to the point!!!!!
Yes, the guy I forgot to mention is importent! He is the same guy refered to as Mitzzo, the one who gives a listen as well and mixes all our material and does production for pk21!
I am starting to understand, or think I do understand where you are going! So, even if I didnt make the beat, or write the material, since I was involved with producing the song, then I list my name in the credits like you typed, (artist, Mitzzo, PMJ). Am I undertanding this correctly?
So since I am financing the project and bringing everyone together and all, I understand the Exc. Producer, so what does it mean when you see Co-Producer/Co-Produced by, in the credits?
Here is another one real quick cuz we will be doing a lot of this, what if I recieve a beat from out-side the pk21 connection, already broken down and we do the rest from there. Is the producer of that beat suppose to be included as a producer of the entire song, or just credited for the beat?
I'm sure I will find this out once I hear from them, but I registerd with ASCAP, I know it will be a while til I know everything went threw correctly, but say it did. I registered as a writer/composer, but not as a publisher since I believe I dont have the credentials yet. I put it under my stage name which is PM, but for the company I put PK21 Productions. If I were to list that in the credits, would I use the company name PK21.... or the name that was registered which would be (PM).
Thanx for ur time and advice with this situation, it's appreciated. PM
God
Creator of the Universe
ill o.g.
Groucho Marx asked:
Some rappers suck at producing, hence the need for producers. That's why some producers have songs ready to go in a format that is made for radio, like a to the pt. 3 minute song. It depends on how good they think the beat is. That also depends on the price of the beat. The hotter the beat, the higher the price. You can tell when you're listening to a great single or not.
Most people just send in a beat and let the rapper make the chorus, if the rapper can't write a chorus to save his/her life, then the producer writes the chorus. On many radio hits, the producer has written the chorus melody and then pretends to work with the rapper to make the chorus "fit" better. Neptunes do that.
Professional producers are always making songs, so they have a huge glyph drive handy with their newest stuff. You can just forage through their files and pick out something good or something that fits your budget.
Sincerely,
God
Some rappers suck at producing, hence the need for producers. That's why some producers have songs ready to go in a format that is made for radio, like a to the pt. 3 minute song. It depends on how good they think the beat is. That also depends on the price of the beat. The hotter the beat, the higher the price. You can tell when you're listening to a great single or not.
Most people just send in a beat and let the rapper make the chorus, if the rapper can't write a chorus to save his/her life, then the producer writes the chorus. On many radio hits, the producer has written the chorus melody and then pretends to work with the rapper to make the chorus "fit" better. Neptunes do that.
Professional producers are always making songs, so they have a huge glyph drive handy with their newest stuff. You can just forage through their files and pick out something good or something that fits your budget.
Sincerely,
God
God
thanks for the answer
Most people just send in a beat and let the rapper make the chorus, if the rapper can't write a chorus to save his/her life, then the producer writes the chorus. On many radio hits, the producer has written the chorus melody and then pretends to work with the rapper to make the chorus "fit" better. Neptunes do that.
hahah thats funny probably true for a lot of people but very funny
thanks for the answer
Most people just send in a beat and let the rapper make the chorus, if the rapper can't write a chorus to save his/her life, then the producer writes the chorus. On many radio hits, the producer has written the chorus melody and then pretends to work with the rapper to make the chorus "fit" better. Neptunes do that.
hahah thats funny probably true for a lot of people but very funny
God
Creator of the Universe
ill o.g.
Craig Gantt asked:
Demo packages depend on the genre of music. In punk music, for example, a slick package may not garner the necessary "respect" from idiot AR's. In any case, remember that it is generally NOT the package that seals the deal, it is the quality of the connection that gets your demonstration CD heard by a person in the industry.
But aesthetically speaking, some of the best demo packages have been ones that you can see a lot of money was put in to.
These are not the home-computer printed labels and stomped CD's with a bio that is printed in Wordperfect. These are folders that have the band logos printed by a printing company on their folders. The folders have a smooth shiny finish to them. Then there is a proper CD in a little CD "slit" in the folder, and a DVD of the band's videos on another. The biography and other information, like shows played, newspaper clippings are all designed by a professional and printed in a type of magazinelike book. On the other side of the folder, behind the DVD, there was a "scrapbook," again professionally done with a great layout, that intertwined photos of the band with album sales in different regions on really nice bar graphs.
You could tell the band or their manager put a LOT of money (I'm thinking thousands of dollars/euros) to print out their package. That is the top of the line package.
That's why I keep telling people to treat their music like a business if they are serious about it. A rep wants to know that he/she is dealing with somebody that takes their job seriously and won't flake out on a contract or obligations. This is just another way of showing that you care about yourself.
For example, if you go out on a date with a girl, you're going to dress to impress. The same with a job interview. The demo package is the equivalent of putting on a top of the line Italian suit to wear to a business meeting. That's a way of selling yourself to potential reps.
Sincerely,
God
THIS IS NOT LEGAL ADVICE. PLEASE CONTACT AN ATTORNEY IF YOU DON'T UNDERSTAND SOMETHING.
Demo packages depend on the genre of music. In punk music, for example, a slick package may not garner the necessary "respect" from idiot AR's. In any case, remember that it is generally NOT the package that seals the deal, it is the quality of the connection that gets your demonstration CD heard by a person in the industry.
But aesthetically speaking, some of the best demo packages have been ones that you can see a lot of money was put in to.
These are not the home-computer printed labels and stomped CD's with a bio that is printed in Wordperfect. These are folders that have the band logos printed by a printing company on their folders. The folders have a smooth shiny finish to them. Then there is a proper CD in a little CD "slit" in the folder, and a DVD of the band's videos on another. The biography and other information, like shows played, newspaper clippings are all designed by a professional and printed in a type of magazinelike book. On the other side of the folder, behind the DVD, there was a "scrapbook," again professionally done with a great layout, that intertwined photos of the band with album sales in different regions on really nice bar graphs.
You could tell the band or their manager put a LOT of money (I'm thinking thousands of dollars/euros) to print out their package. That is the top of the line package.
That's why I keep telling people to treat their music like a business if they are serious about it. A rep wants to know that he/she is dealing with somebody that takes their job seriously and won't flake out on a contract or obligations. This is just another way of showing that you care about yourself.
For example, if you go out on a date with a girl, you're going to dress to impress. The same with a job interview. The demo package is the equivalent of putting on a top of the line Italian suit to wear to a business meeting. That's a way of selling yourself to potential reps.
Sincerely,
God
THIS IS NOT LEGAL ADVICE. PLEASE CONTACT AN ATTORNEY IF YOU DON'T UNDERSTAND SOMETHING.
God
Creator of the Universe
ill o.g.
J-malice asked:
That's a legal question, and I don't think I can advise you on points for that.
PLUS
If you were doing such a big record, NO OFFENSE, you probably would be seeking some form of legal help from a real lawyer because the types of artists, and their management would require a more professional circumstance than the one given.
Or the exec. producer just talked to the publishing administrators of the songs and cut the deals that way.
Can you PM me the label and the exec. producer? Your question doesn't sit right with me. You're basically doing a remix album.
Sincerely,
God
That's a legal question, and I don't think I can advise you on points for that.
PLUS
If you were doing such a big record, NO OFFENSE, you probably would be seeking some form of legal help from a real lawyer because the types of artists, and their management would require a more professional circumstance than the one given.
Or the exec. producer just talked to the publishing administrators of the songs and cut the deals that way.
Can you PM me the label and the exec. producer? Your question doesn't sit right with me. You're basically doing a remix album.
Sincerely,
God
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