Industry Industry Advice
- Thread starter God
- Start date
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Beat This!The next Beat This! Competition is from November 27-28th!
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God
Creator of the Universe
ill o.g.
J-Malice asked:
1. Register your business with the UCC. The amount of product you project you will sell will determine the fee.
Here's the link: http://www.uc-council.org/ean_ucc_system/membership/notmember.htm
2. Then, after you register a UPC symbol from the UCC, you register with Nielsen Soundscan. That will put you in their database for unit tracking.
Here's that link: http://home.soundscan.com/register.html
Download the application for the US or Canada from there or contact client services.
Sincerely,
God
1. Register your business with the UCC. The amount of product you project you will sell will determine the fee.
Here's the link: http://www.uc-council.org/ean_ucc_system/membership/notmember.htm
2. Then, after you register a UPC symbol from the UCC, you register with Nielsen Soundscan. That will put you in their database for unit tracking.
Here's that link: http://home.soundscan.com/register.html
Download the application for the US or Canada from there or contact client services.
Sincerely,
God
God
Creator of the Universe
ill o.g.
Sophicles asks:
1. Record company secretaries won't know anything about studios. Get studio information from your locale, and see what are the places you are willing to donate your time to. Contact them. There are tons of grunts out there willing to work at a good studio for free, few studios will pay you anything right out of the box unless you've proven yourself to them. The studio owners exploit this to the fullest. It's about paying dues.
2. Most of the record companies listed have New York offices. Either contact the company in LA, and ask for the New York office, or try to find the New York numbers some other way, like the internet. I could try to find the New York offices, but I don't have too much time to do that right now.
The list of record companies was to give people some direction on how to get info on record company internships, not studio internships. Just wanted to clarify that.
Hope that helps.
Sincerely,
God
1. Record company secretaries won't know anything about studios. Get studio information from your locale, and see what are the places you are willing to donate your time to. Contact them. There are tons of grunts out there willing to work at a good studio for free, few studios will pay you anything right out of the box unless you've proven yourself to them. The studio owners exploit this to the fullest. It's about paying dues.
2. Most of the record companies listed have New York offices. Either contact the company in LA, and ask for the New York office, or try to find the New York numbers some other way, like the internet. I could try to find the New York offices, but I don't have too much time to do that right now.
The list of record companies was to give people some direction on how to get info on record company internships, not studio internships. Just wanted to clarify that.
Hope that helps.
Sincerely,
God
God
Creator of the Universe
ill o.g.
Thanks Fade. You know, I should probably get off my arse and get the following addresses for labels:
1. New York
2. Los Angeles
3. London
4. Tokyo
5. Sydney
6. Auckland
7. Eastern Europe
8. Germany
9. France
10 Spain
and the list goes on and on, South America too!... And Tel Aviv-Yafo! I have to find that stuff...
Sincerely,
God
1. New York
2. Los Angeles
3. London
4. Tokyo
5. Sydney
6. Auckland
7. Eastern Europe
8. Germany
9. France
10 Spain
and the list goes on and on, South America too!... And Tel Aviv-Yafo! I have to find that stuff...
Sincerely,
God
God
Creator of the Universe
ill o.g.
BLGC wrote:
Inciteful, or insightful? I like the play on words.
Very well.
1. Get startup money for label from "somewhere."
2. Sign an act that people get into, preferably in a growing niche market.
3. With enough touring and ballbusting, the act sells 10K records after one year.
4. The next year, more acts are signed, the initial act gives the label "rep." Now the label has legal "payola" to get on the smaller distributor slip sheets.
5. More people are, through good routing and touring, exposed to the acts. Thenceforth, more money in indie label coffers.
6. Legal payola available, or "good relationship" somehow established with the program director of a station. Song is played on radio. Perhaps a television performance on a local station.
7. More people are exposed through a good web presence (the label now borrows money from somewhere to expand more.) Word of mouth about acts spread like wildfire.
8. The label sells around 50K records, a movement has started in this niche.
9. Caroline Distribution picks up the distribution duties of moving the label's records. Somehow, with relentless touring and promotion in target college demo markets, the label sell 100K records.
10. The album is now in most stores that are distributed through Caroline. The label is profitable and fares better than the major in a depressed economic climate due to niche marketing.
11. You are now the proud owner of an indie record company that sells 100K records. You have a niche market and are making a profit, all outside the major label matrix!
WAIT!
12. You want a better deal (could be a bad move.) Call Wendy Day or God to get you a deal with Universal or WEA to distribute your record "independently" but using the matrix of major distribution.
13. Sell 30 million records through Universal or WEA. Retire in plush Malibu Estate. Drink Champagne and eat beluga caviar. Wear platinum chain.
It has happened. I guess I'm wrong to say that it can't happen to anybody, just not everybody.
Love to hear from you! It's that easy though... just follow the simple steps.
It also matters how you define "success."
Sincerely,
God
Inciteful, or insightful? I like the play on words.
Very well.
1. Get startup money for label from "somewhere."
2. Sign an act that people get into, preferably in a growing niche market.
3. With enough touring and ballbusting, the act sells 10K records after one year.
4. The next year, more acts are signed, the initial act gives the label "rep." Now the label has legal "payola" to get on the smaller distributor slip sheets.
5. More people are, through good routing and touring, exposed to the acts. Thenceforth, more money in indie label coffers.
6. Legal payola available, or "good relationship" somehow established with the program director of a station. Song is played on radio. Perhaps a television performance on a local station.
7. More people are exposed through a good web presence (the label now borrows money from somewhere to expand more.) Word of mouth about acts spread like wildfire.
8. The label sells around 50K records, a movement has started in this niche.
9. Caroline Distribution picks up the distribution duties of moving the label's records. Somehow, with relentless touring and promotion in target college demo markets, the label sell 100K records.
10. The album is now in most stores that are distributed through Caroline. The label is profitable and fares better than the major in a depressed economic climate due to niche marketing.
11. You are now the proud owner of an indie record company that sells 100K records. You have a niche market and are making a profit, all outside the major label matrix!
WAIT!
12. You want a better deal (could be a bad move.) Call Wendy Day or God to get you a deal with Universal or WEA to distribute your record "independently" but using the matrix of major distribution.
13. Sell 30 million records through Universal or WEA. Retire in plush Malibu Estate. Drink Champagne and eat beluga caviar. Wear platinum chain.
It has happened. I guess I'm wrong to say that it can't happen to anybody, just not everybody.
Love to hear from you! It's that easy though... just follow the simple steps.
It also matters how you define "success."
Sincerely,
God
God
Creator of the Universe
ill o.g.
Actually, regarding the above post, I am sending an in-depth article to Fade regarding the set-up of an independent label, as much as I don't necessarily think it's a good idea for many to do.
But if you're going to do it, you might as well do it right.
Stay tuned.
Sincerely,
God
But if you're going to do it, you might as well do it right.
Stay tuned.
Sincerely,
God
God
Creator of the Universe
ill o.g.
Producer_GyaL asked the following question:
First, the "Beat This Competition" is a wonderful thing. However, if you are considering selling your beats hoping that they end up on somebody's major label release, there are different considerations. I will however, answer your question as concise as possible:
God's Answer
I'll give you the real answer, and then another answer.
REAL ANSWER:
A rep will know the makeup of an album he/she will then ask producers, production companies, for songs that adhere to the different styles he/she wants the artist to have in the album. The rep will not risk losing his/her job on a style completely different and will try to follow the mainstream in a large release because it is the safest way to save both job and have some success.
For example, if I was Usher's rep or exec. producer, I listen to what SINGLES are on the radio. OK, most of them are in the vein of the "Dirty South" sound. In that case, I will attempt to gauge at least one single of Usher's with that DirtySouth sound so it will immediately fill format. A call to different Dirty South producer, or getting production demos from different producers, like Lil' John... and then a hit like "Yeah" is recorded. That doesn't mean his whole album is like that. Then I want a different sound for a different song... etc. etc.
So, for a safe look, it's what a rep or producer wants for a project. To know that intelligence, you need to know what their project is going to consist of, and what are the songs of the project itself. So, if you think you can break in, listen to the type of singles out there, and then gauge a couple of songs in that vein. But there IS one more problem.
You need relationships in to establish a network. I don't care how good your song is, if you're not in a network, you're not going to get paid. Why?
1. Because nobody will know you and give you that "handout," because it took them umpteen years to make it.
2. Because they can easily rip off your project and you can't do anything about it.
They can rip off your project by copying your beat, changing it up. What are you going to do, sue? You don't have enough money.
So, make some beats, try to establish relationships to shop them. Or, you can make your own release. If it sells a lot, and you have evidence, like sales sheets, SoundScan, etc., companies will respect that because a proven money maker has more leverage. Then you can go and shop yourself that way. That goes into a whole different area though.
OTHER ANSWER:
"It doesn't matter what you do, as long as the beat is hot."
Heh. I laugh at that.
The advantage of a recognisable sample, as Puff Daddy has found out many times, is that the samples are usually from some previous hit song, is recognisable to the public, and gives that song an advantage over a newly breaking song in making sales. If Puff Daddy could clear the rights to Led Zeppelin's "Stairway To Heaven" and destroy it like he did with "Kashmir" for the Godzilla Soundtrack years back, he would. The thing is, that Puff Daddy is in position to clear samples more easily. Plus if he hears the way you used a Funkadelic sample he can become "inspired" and rip your beat off. After all, you were using a specific portion of Funkadelic's sample that is not yours. Plus, you haven't cleared it.
Look, I'll stop here. The bottom line is the bottom line. Will you make money for them? Will you work with the rep's needs on a specific project. If I called you up and said "Jay-Z needs a slower beat so he can double up on it," do you have them? Listen to the singles and see if you can make something like it.
Just go with the "Real Answer." I have to go. Hope that helped you out.
Sincerely,
God
First, the "Beat This Competition" is a wonderful thing. However, if you are considering selling your beats hoping that they end up on somebody's major label release, there are different considerations. I will however, answer your question as concise as possible:
God's Answer
I'll give you the real answer, and then another answer.
REAL ANSWER:
A rep will know the makeup of an album he/she will then ask producers, production companies, for songs that adhere to the different styles he/she wants the artist to have in the album. The rep will not risk losing his/her job on a style completely different and will try to follow the mainstream in a large release because it is the safest way to save both job and have some success.
For example, if I was Usher's rep or exec. producer, I listen to what SINGLES are on the radio. OK, most of them are in the vein of the "Dirty South" sound. In that case, I will attempt to gauge at least one single of Usher's with that DirtySouth sound so it will immediately fill format. A call to different Dirty South producer, or getting production demos from different producers, like Lil' John... and then a hit like "Yeah" is recorded. That doesn't mean his whole album is like that. Then I want a different sound for a different song... etc. etc.
So, for a safe look, it's what a rep or producer wants for a project. To know that intelligence, you need to know what their project is going to consist of, and what are the songs of the project itself. So, if you think you can break in, listen to the type of singles out there, and then gauge a couple of songs in that vein. But there IS one more problem.
You need relationships in to establish a network. I don't care how good your song is, if you're not in a network, you're not going to get paid. Why?
1. Because nobody will know you and give you that "handout," because it took them umpteen years to make it.
2. Because they can easily rip off your project and you can't do anything about it.
They can rip off your project by copying your beat, changing it up. What are you going to do, sue? You don't have enough money.
So, make some beats, try to establish relationships to shop them. Or, you can make your own release. If it sells a lot, and you have evidence, like sales sheets, SoundScan, etc., companies will respect that because a proven money maker has more leverage. Then you can go and shop yourself that way. That goes into a whole different area though.
OTHER ANSWER:
"It doesn't matter what you do, as long as the beat is hot."
Heh. I laugh at that.
The advantage of a recognisable sample, as Puff Daddy has found out many times, is that the samples are usually from some previous hit song, is recognisable to the public, and gives that song an advantage over a newly breaking song in making sales. If Puff Daddy could clear the rights to Led Zeppelin's "Stairway To Heaven" and destroy it like he did with "Kashmir" for the Godzilla Soundtrack years back, he would. The thing is, that Puff Daddy is in position to clear samples more easily. Plus if he hears the way you used a Funkadelic sample he can become "inspired" and rip your beat off. After all, you were using a specific portion of Funkadelic's sample that is not yours. Plus, you haven't cleared it.
Look, I'll stop here. The bottom line is the bottom line. Will you make money for them? Will you work with the rep's needs on a specific project. If I called you up and said "Jay-Z needs a slower beat so he can double up on it," do you have them? Listen to the singles and see if you can make something like it.
Just go with the "Real Answer." I have to go. Hope that helped you out.
Sincerely,
God
God
Creator of the Universe
ill o.g.
Freakwncy asked the following
Intro
Red Ant. They folded a while back when they were a sub of Poly. Look, you only knew him for 5 days? I understand that you worked with him on those things, but if it was back in 96, I think the chances of him giving you a "shot" will not work anymore. It was a long time ago, 8 years, and artists generally have to be congenial with whatever promotional reps they deal with in a city. If he's doing a tour of 10 cities, each city will have a rep responsible for him assigned by the local affiliate... PLUS the major label rep that flies in occassionally and drinks all the alcohol on the rider.
Even if you two had "fun" with the same girl, or the same girls, or whatever, generally, he won't remember you, or maybe he will, and not care, and brush you off. That's the reality of the situation, but...
Your best shot.
Your best shot might be in finding HIM, and not going through his filters of managers and handlers saying "Hey, I know so-and-so, I'm his friend." Usually, the filters will pretend to help and politely hang up on you. However, if there is some other way, like going to his concert, and then saying you are "so-and-so", and the handler goes back to check your name with him, you'll see if he remembers you or not, and then maybe you can try to hand him a CD. Have your pitch ready and practiced.
Calling up his management and saying "I'm his friend" will generally not work. More subterfuge is needed!
I don't think your plan will be successful, but you have nothing to lose. Persist, and see if it works.
Sincerely,
God
Intro
Red Ant. They folded a while back when they were a sub of Poly. Look, you only knew him for 5 days? I understand that you worked with him on those things, but if it was back in 96, I think the chances of him giving you a "shot" will not work anymore. It was a long time ago, 8 years, and artists generally have to be congenial with whatever promotional reps they deal with in a city. If he's doing a tour of 10 cities, each city will have a rep responsible for him assigned by the local affiliate... PLUS the major label rep that flies in occassionally and drinks all the alcohol on the rider.
Even if you two had "fun" with the same girl, or the same girls, or whatever, generally, he won't remember you, or maybe he will, and not care, and brush you off. That's the reality of the situation, but...
Your best shot.
Your best shot might be in finding HIM, and not going through his filters of managers and handlers saying "Hey, I know so-and-so, I'm his friend." Usually, the filters will pretend to help and politely hang up on you. However, if there is some other way, like going to his concert, and then saying you are "so-and-so", and the handler goes back to check your name with him, you'll see if he remembers you or not, and then maybe you can try to hand him a CD. Have your pitch ready and practiced.
Calling up his management and saying "I'm his friend" will generally not work. More subterfuge is needed!
I don't think your plan will be successful, but you have nothing to lose. Persist, and see if it works.
Sincerely,
God
Producer_GyaL
IllMuzik First Lady
thanks G for your reply. I undestand now why people give it up, it is so complicated.. for some people, its seems easy to forget why we are producing in the first place. Because its fun and its our passion. Its the best way to remind ourselves that we are not waisting our time.
God
Creator of the Universe
ill o.g.
Goldy_C asked:
You want to be comfortable in performing your tracks. That is, if you can't rap a certain way, don't. You probably won't sound good (if you can't rap as fast as Twista, then don't force yourself.)
Try to incorporate commercial tracks (meaning songs that can be played as a single now, or in the near future) that have money-making potential. This usually means dumbing down the lyrics or doing the ubiquitous love song. But also throw in, towards the tail of the demo, tracks that show your skill as well. I would have commercial tracks be the headline for it. This is if you want to make money with a mainstream audience.
Commercial tracks are easy, usually consisting of a concept many can identify with, like "love," starting with a good chorus, short verses, a chorus quickly and then repeating (follow the format of most singles, they usually have the same song structure.) If you have a bridge in there, you're golden- but it can't be long, make sure the song is between 3:00 and 3:30.
Watch out for the studio manager/engineer. Usually they will spout shite just to get you into paying them something. Are you paying him, or is he really going to be your producer without cost? Are you going to pay him per hour for your recording, though he really is "producing" you. Usually, a real producer would have you under a production deal, but would not charge you, because ultimately both of you would get paid in the end. Watch out for provisos under the production deal.
Yes, I would focus on commercial tracks, and add some other tracks that are representative of some positive aspect of your talent. Remember, though, it is about selling yourself as an IMAGE, and as a potential MONEYMAKER for a label. If you can't sell, no signing. If you don't have a marketable image, not an easy sell. Define that idea to yourself, and see how your strategy fits in. There are a lot of rappers out there, a lot of the shite on MTV and elsewhere make it seem like stardom is an easily accessible thing. It's not, it's very hard, and there should be a show that asks what did all the stars you admire REALLY did to make it. Many of you would be surprised.
Remember, you need to have something somebody can sell, people are willing to buy en masse, and a ready-made image that your consumers will identify with. That's just the beginning.
If you are going indie, that's another story.
Sincerely,
God
You want to be comfortable in performing your tracks. That is, if you can't rap a certain way, don't. You probably won't sound good (if you can't rap as fast as Twista, then don't force yourself.)
Try to incorporate commercial tracks (meaning songs that can be played as a single now, or in the near future) that have money-making potential. This usually means dumbing down the lyrics or doing the ubiquitous love song. But also throw in, towards the tail of the demo, tracks that show your skill as well. I would have commercial tracks be the headline for it. This is if you want to make money with a mainstream audience.
Commercial tracks are easy, usually consisting of a concept many can identify with, like "love," starting with a good chorus, short verses, a chorus quickly and then repeating (follow the format of most singles, they usually have the same song structure.) If you have a bridge in there, you're golden- but it can't be long, make sure the song is between 3:00 and 3:30.
Watch out for the studio manager/engineer. Usually they will spout shite just to get you into paying them something. Are you paying him, or is he really going to be your producer without cost? Are you going to pay him per hour for your recording, though he really is "producing" you. Usually, a real producer would have you under a production deal, but would not charge you, because ultimately both of you would get paid in the end. Watch out for provisos under the production deal.
Yes, I would focus on commercial tracks, and add some other tracks that are representative of some positive aspect of your talent. Remember, though, it is about selling yourself as an IMAGE, and as a potential MONEYMAKER for a label. If you can't sell, no signing. If you don't have a marketable image, not an easy sell. Define that idea to yourself, and see how your strategy fits in. There are a lot of rappers out there, a lot of the shite on MTV and elsewhere make it seem like stardom is an easily accessible thing. It's not, it's very hard, and there should be a show that asks what did all the stars you admire REALLY did to make it. Many of you would be surprised.
Remember, you need to have something somebody can sell, people are willing to buy en masse, and a ready-made image that your consumers will identify with. That's just the beginning.
If you are going indie, that's another story.
Sincerely,
God
Craig Gantt
Microphone Violator
ill o.g.
^^^^Thanx alot God
Cold Truth
IllMuzik Moderator
God, would you mind answering that same question from an indie perspective? that is my desired path. did you read my pm by chance?
thanks.
thanks.
God
Creator of the Universe
ill o.g.
Cold Truth: I sent you a PM. Look for my Indie Article as soon as Fade puts it up on the Illmuzik main page.
Freakwncy wrote
If they have beats, they can network and try to get their production skills noticed through the said channels. They can give out burned CDs to people of influence, or they can talk their way into the albums of local MC's.
Since they do not have a vocal setup, however, should they get a production job, how will they record and make money from that setup? (production brings in more money if you record the artist.)
In any regard, they should be able to shop their beats on a CD, with a compiled list and a professional package that they can give to managers, labels, or other impresarios.
Sincerely,
God
If you have more questions, please let me know.
Freakwncy wrote
If they have beats, they can network and try to get their production skills noticed through the said channels. They can give out burned CDs to people of influence, or they can talk their way into the albums of local MC's.
Since they do not have a vocal setup, however, should they get a production job, how will they record and make money from that setup? (production brings in more money if you record the artist.)
In any regard, they should be able to shop their beats on a CD, with a compiled list and a professional package that they can give to managers, labels, or other impresarios.
Sincerely,
God
If you have more questions, please let me know.
God
Creator of the Universe
ill o.g.
See my "How To Go Independent" article here: https://www.illmuzik.com/articles/miscellaneous/independent/independent1.php
Sincerely,
God
Sincerely,
God
God
Creator of the Universe
ill o.g.
Freakwncy asked:
I have seen many people with talent oozing from their skin, and they did not go anywhere due to bad attitudes, but more importantly, they had a lack of how their talent could be applied in a feasible way with the needs of a record company. Perhaps now they are kicking themselves in the arse in some dilapidated flat.
I think that "shadowing" or working with somebody that is involved in the music industry in some capacity will open your eyes to another way of seeing things. In a way, I am hoping I do that. Some of the things I have said are meant to do this. Kind of like how Neo in "The Matrix" had a choice between two pills. Do you want to know truth? Do you want to know more?
Yes, work with a person in the studio, and see how they operate their equipment. See how they "creatively bill" their producers who then "creatively bill" the record company. See how the system functions on a platform of paradoxes. Understand that it is not cut and dry. Talent + Work DOES NOT always equal a platinum plaque on the wall.
There are the .1% of people that were discovered through an alignment of the planets with the sun, and some rep walked by them during a jam session. The truth is, not only is a lot of that stuff fabricated to create a lore regarding a group, but it is something that happens rarely.
Learn more about the environment you want to operate in. That's why knights had apprentices to learn from them. That's why artists had apprentices working in their studios during the Renaissance. It is a matter of collecting knowledge and applying it.
Hope that answers some of your question.
Sincerely,
God
Freakwncy said:
I have seen many people with talent oozing from their skin, and they did not go anywhere due to bad attitudes, but more importantly, they had a lack of how their talent could be applied in a feasible way with the needs of a record company. Perhaps now they are kicking themselves in the arse in some dilapidated flat.
I think that "shadowing" or working with somebody that is involved in the music industry in some capacity will open your eyes to another way of seeing things. In a way, I am hoping I do that. Some of the things I have said are meant to do this. Kind of like how Neo in "The Matrix" had a choice between two pills. Do you want to know truth? Do you want to know more?
Yes, work with a person in the studio, and see how they operate their equipment. See how they "creatively bill" their producers who then "creatively bill" the record company. See how the system functions on a platform of paradoxes. Understand that it is not cut and dry. Talent + Work DOES NOT always equal a platinum plaque on the wall.
There are the .1% of people that were discovered through an alignment of the planets with the sun, and some rep walked by them during a jam session. The truth is, not only is a lot of that stuff fabricated to create a lore regarding a group, but it is something that happens rarely.
Learn more about the environment you want to operate in. That's why knights had apprentices to learn from them. That's why artists had apprentices working in their studios during the Renaissance. It is a matter of collecting knowledge and applying it.
Hope that answers some of your question.
Sincerely,
God
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