I want to ask a question , I went back to some videos from cymatics today and one major on that stood out to me was the one interview with legion beats and legion beats gave a statistical analysis that UA-cam producers can't make up to a million in a year that they have to use an upsale offer of cheap prices to achieve that kind of profit. And I have watched interviews that you have done, or even producers grind has done and you guys are interviewing people making large sums so right now legion beats got me confused , like where he is get his statistics from ? So my question is what do you think about this information cos now am conflicted
We can guess pretty well in my experience. 16/8 or 12/8 makes sense for most. I don't personally think we should be imposing off formats onto rappers, but to each their own.
@@2daypresents that should be just common sense though. if someone is trying to buy your beat and they ask you to do small revisions that amount to 10 or 20 percent of the work you would do to make a brand new beat from scratch that may generate zero sales or interest whats the resistance for, you now have 2 versions of the beat and one of them just made you some money
Dear DJ Pain, I especially love the way you segmented the video off with titles. You consistently know how to output quantity and quality at the same time. Thank you for helping me and so many others on their journey. Yours 2daypresents
😂🤣😌 , this helpful + FUNNY for me when “Jaelynn “ said Artist don’t care about loops .. THT BEEN ONE of the things I fight with MYSELF with .. I just don’t feel ORIGINAL when I make it but , however it’s fun to do things like tht . And only 12 minutes in .. 💯🔥🔥
before i started selling beats on youtube i made custom beats for artist directly so i sent them multiple ruff versions before the final beat or they would be next to me while i'm producing it and yes structure is so damn important but on you tube i think its best to copy the structure of the a song from the actual artist your doing or from the top viewed video in that niche
i remember i had a conversation with jaelyn on twitter about the structure of beats and I said just buy the stems for it but that was the wrong response and just said it on the fly. If you're feeling a beat but dont like the structure you should reach out to the producer and work with them like pain said, if they get offended by something small like the structure of the beat then that's someone you dont want to work with anyways, end the conversation there.
Outstanding content as always, my friend. Thanks for everything you bring to and do for the producer community. You're a GOAT fr. A huge shoutout to Jaelynn and Lucien as well. I found your perspective incredibly valuable in reaffirming in some ways (and expanding in other ways) the mindset with which I approach my marketing. Thanks for the time and energy and I wish nothing but peace and love to the three of you!
I have been approaching artist through inbox lately and I'm happy to hear from artist that I'm doing it the right way😅🙏🏾 Great information, dope video.
I'm only a month deep into music production. This knowledge is exactly what I'm looking for while I continue my journey. My question is how do I arrange my beat so it doesn't overwhelm the Artist?
5:13 are producers not offering to make an arrangement specifically for the artist? If someone buys my beat and they want an extra verse or chorus or some sound taken out ill go the extra mile for that. Standard practice for me. Most artists don't want to mess around with stems.
The point of it being lazy at 5:40 ish is true tho. It take a few seconds to copy paste some bars and crossfade. You can even remove tags from a beat, easy.
I think the advice of the longer the better is solid, and one I'll improve upon. I've been doing more and more 3 verse songs, because that's what I'm used to, but I have a ton of beats up that are close to 2 minutes. I give space for an artist to work, but I think I'll at least let it ride longer at the end of my "structured" sections.
Any producer who tells an artist to change or manipulate a beat to their liking in order for them to perform on it is missing the entire point of being a producer. 🤦🏾♂️
But if you're an artist and you encounter an objectively minor technical roadblock (i.e. the run time of the beat is too short for your song) don't just quit and skip to the next beat. You might be skipping over a hit over something that YOU can actually fix if you put forth some effort. People looooooove to talk about their problems but rarely talk about the effort that they put forth to solve them.
Agent 234 I agree to an extent, but “minor” is subjective. If an artist can make a small adjustment without compromising the creative process, go for it. But if an artist see potential in a beat but may not have the skill set to make the changes, that’s when a producer/artist relationship is key. Producers shouldn’t sella beat and be like “it’s your problem now”, and artists shouldn’t skip a potentially fire beat over a minor adjustment. It’s all about collaboration.
@@WillieJB2 Definitely. Most would like it be about collaboration but it doesn't always work out that way. My stance isn't "you take this beat and you're gonna like it no matter what" 😂- It's IF the communication breaks down for whatever reason, don't get caught not being able to solve the problem - or at least try to solve it. Maybe it might not be you, (the artist) that has to explicitly make the fix. Don't be lazy and just say "things aren't going my way 100% ... sooo skip to the next beat". To me that shows you have quit in you. These artists are recording their songs somehow, so either they have an engineer on some level or they figured out how to record themselves. If either of these scenarios are true, I don't want to hear any excuses about beats not being arranged the way you want them to be 😂
Sup bro, I don'tk now if you reply to comments but I wanted to ask about something. There's this artist from Asia who bought a lease from my store and he's at 8M views on UA-cam and half a million streams on Spotify, almost 3M on Soundcloud and 3M on some other Asian platform, was wondering if it's possible to claim any of it as an independent producer? if so how to go about it?
I wish more artists understood the doing business side of music like these two some of the nonsense ways of thinking you gotta go through when trying to do business with some of these artists is crazy
i understand the type beat method now from certain marketing views searches and tactics but my issue about that is that it takes away from the producer name & respect...we wonder why producers don't get enough credit or respect bc we constantly decrease our personal value. our name is as important as any artist so the artist type beats label is weird to me the artist doesn't make the beats for the most part so why describe it that way? why the creator of those type track must sit in silence even when others are looking for a specific type of beat of an artist who didn't make the track? isn't it a two part system? or is it the artist part of the system is now crossing boundaries that decreases the producer's value??? im truly asking
"i understand the type beat method now from certain marketing views searches and tactics but my issue about that is that it takes away from the producer name & respect" ... one of the biggest hip-hop singles of the last decade was a type beat. It literally went diamond. You guys have really strange opinions and hangups about what highly successful people are doing.
5:07 a mistake that I'm having to unlearn right now is making beats too complicated. So much so that a rapper can't put their verse on it. See, what producers gotta understand is that ain't nobody listening to their favorite rapper's new song so that they can listen to the producer. They wanna listen to the rapper. We gotta stop tryna flex on each other as producers and give these artists room to work and,in turn, shine.
I was there a few years ago. The good thing is you know what you need to work on. I found out from rappers telling me they didn't know how to attack my tracks because so much was going on
Let me know what you think about this thought I had during this... In the past, a producer is/was employed by a label and made a salary to facilitate a record and didn't really rely on royalties the way an artist does (not saying they didn't get any but rather didn't rely on it so much) Today at least on the independent level, people calling themselves producers are really a combo of artists, musicians, writers, producers, etc. and artists are the same, which complicates the traditional split structure because less people are filling these roles with interweaving contributions. I personally think someone who wants to be a "real" producer needs to realize the objective is ultimately to facilitate a record. Often, we may get less money and credit then we deserve because of all the hands in the pot, but IMO thats just part of the gig. Were here to make records happen, not necessary be praised like the artists (or even the more "celebrity" producers) but I'd still rather do this then anything else. That's why I love guys like Mike Dean, they stay relatively quiet and just get great music made. It's a marathon. Btw, I'm high so I apologize for rambling but writing this seemed like a good idea.
I think you could boil it down to this: if youre producing songs for recording artists, then produce the songs and be a real collaborator. Otherwise, figure something else out.
I guess you're are getting Executive Producing mixed up with Record Producing. Executive Producer's are business savvy people that are often paid a salary. Many of them are record label employees. They are the people that secures the funds for the album project. Virutally anyone can technically be the Executive Producer including the Artist themselves that self funds their own album project. Executive Producer's in music industry isn't anything different than an Executive Producer in film and T.V. Record Producer's as the formal term also known as Music Producers facilities and bring a finished song to the finish line as the end product that takes a raw concept or idea into reality. A Producer can come from all different backgrounds and different skill sets. Some are hands on while some are hands off. It was once that the Producer directed and guided the session, but now away days, a Producer does much more than guide the project as many of them fulfill the role as an Engineer, Programmer, Songwriter, Musician, Arranger as your modern multifaceted Producer. The Producer / Engineer is becoming the new trend almost eliminating the separate role of a Recording Engineer. I have been wearing both the Producer and Engineer hats for the last 12 years now. Many times I'm not the guy programing the beat as some times I would act as a Vocal Producer and Engineer. Oak Felder does very much the same thing as he doesn't use a recording Engineer. He cut Demi Lovatos vocals himself in his own studio for the song Sorry Not Sorry.
@@eman0828 That's pretty much exactly what I'm saying. The main point of my original comment was traditional roles are being handled by less people (like you said) and therefore the traditional split structures and royalty systems haven't caught up with that.
@@ugpshake8172 Yes many roles are just getting consolidated by one or two people. The main reason for that is recording budgets with labels have gotten much smaller over that past 15 years. Hiring a 32 String section wouldn't be cost effective by today's standards unless your client really does have that kind of budget. Veteran Record Producer Ron Fair is probably the closet thing to Quincy Jones that I can think of today that can write out musical arrangements on manuscript and conduct the string orchestra. He was the one that produced and arranged the strings for Black Eyed Peas Where Is The Love, Vanessa Carlton Thousand Miles and Mary J. Blige Be Without You. But today you don't really see live strings on most records these days with some exceptions. Meek Mills - Believe ft. Justin Timberlake is the only very recent record I can think of with live strings that was arranged by legendary string Arranger Larry Gold. Larry Gold is the same philly string Arranger that arranged the strings for Cry Me A River. Another is the technology and tools available now today at your finger tips that has dramatically changed how music is made today. more and more music is becoming more programmed meaning less session players you have to hire. Although I do still work with session players. One of my guitar session players that I personally work with was one of Motograter's guitar players that just recently left the band. I am starting to branch out into rock and metal genres.
I export my beatstars wavs and mp3s at 5dbs so the artist has room to add their vocals. My stems are also exported at this level. So a rapper bought a track out license from me, which comes with the stems, wav and mp3 version of the beat. So he made mention that the mp3 /wav was low. He was using it to vibe and write lyrics to. So I explained the intended use of those files, which is to record over them. So I sent him the louder preview version that you hear when you're browsing beats. Do any of you have confused customers when it comes to headroom? Or do you just make 0db mp3 leases 😁
@@DJPain1 mmm no, I mean rock, pop, country, etc.. I would like to know more about the world of beats from another perspective different than hiphop/rappers 👍
@@anyelabatiz192 i could be wrong but rock and country are band-based, so thats why there's not a market for pre-made rock and country production. The online pop beat market is almost indistinguishable from the online rap beat market. I interviewed the top pop producer online (Mantra) about a year ago.
My big question would be what exactly does it mean when producers say "keep all your profits"? I mean is this a statement of "Royalty Free" which would mean the producer would get nothing more then the lease fee and no publishing? Or can you set it up to be Royalty Free as far as Mechanical/Streams and still retain your publishing rights and proper writer/composer splits?
@@DJPain1 I'm thinking the same thing, maybe just a marketing ploy to get people to click? I asked one producer what it meant and he replied "you keep all your profits bro". lol
I'd be glad to re-structure the beat for artist if it's going to help him out. I dont see anything wrong with it. That's our job in the end. Some dudes are just stubborn i guess.
1 thing I don't like is that things can end up adversarial over the unwillingness of either party (rapper or producer) to take the next step in evolving themselves. If you're an artist and you're not "technical" and don't know anything about structuring beats, you should probably figure that out. What happens when you run into that ONE ... that ONE ONE ... that beat that you feel in your gut is a HIT, but it needs to an additional 1 minute to the run time and the producer is unresponsive when you reach out? You just going to say "skip"? Or are you going to figure that out?
The question I would ask is this: As a producer, do you want to take that risk by not being responsive to the people buying your music and giving you a livelihood?
@@DJPain1 Of course not. I'm an idiot if I conduct myself like that. But life happens sometimes ... Imagine Lil Nas X saying "skip" to that Old Town Road beat because he wanted it to be 3:30 and the MP3 was 2:00 and Young Kio had a family emergency and couldn't respond to emails to help out. Artists are somewhat spoiled in that there's a vast amount of stuff for them to choose from. They can get in their own way if they get too nit-picky because they know there's so much to choose from.
@@DJPain1 Definitely, but sometimes you gotta put forth the effort to DIY some shit to get around obstacles to get what you want/need. Treating things like they have to be 100% curated to your specific tastes and handed to you on a silver platter or they simply get "skipped" all of the time might cost you some money and a career.
@@agent234 It's odd, in my opinion, to expect the rapper to produce the song and to expect them to settle on a beat they aren't completely comfortable with, as paying customers. Guess we'll just agree to disagree.
Great Video, but I believe that the Splits should be 60/40 or even 70/30 and not just 50/50 let me explain. 80% of a song is made by the producer, from mixing to mastering, making the beat. Because most Rappers want me to mix and master it aswell. At the end of the day, nobody listens to acapellas but there are many Beats on Spotify. So it's not half of my work and half of yours, it's 70% of my Work and 30% yours or 60/40, that's why I believe the splits shouldn't be even. Let me know what you guys think! Love your content!
You are confusing songwriting publishing with other roles that have nothing to do with the beat or Songwriting process. You don't do Songwriting splits just because you may have the mixed the song or played an instrument on the record. Doesn't work that way. Yes Producers typically see a song from the beginning stages to the final mix stage as the end product but not all of them are Engineers or Musicians. A Producers skill set can background vary a lot. Some are hands on while some are hands off. Producers and some times Mixing Engineers do get what's called points on the record. Most Producer's in the record industry doesn't mix thier own records they produce as they often send the stem sessions of the finished song off to a Professional Mixing Engineer. Same goes for Mastering Engineers. Theres only a small number of Producer / Mixing Engineers out there that wears both hats. But there is plenty of Producer / Engineers.
6:10 that shit's the producer being lazy, If the artist wants to change the structure of the beat they should be able to message the producer and get it restructured and sent out within 24 hours.
I can't agree with a 50/50 split cause a producer makes a beat and their done. As a artist I have to write, pay to record, pay for mixing/mastering, pay for distribution, pay for promo/marketing but the producer still takes 50%? Nah
We're talking about a composition split. In terms of a composition split, anything less than 50/50 (between two writers) is something I'd walk away from. With the master, you as the artist releasing the music gets the majority of those royalties. Labels, who pay the advances, almost always own the masters outright. But to really avoid miscommunication, we have to all learn the two copyrights, what they mean, the royalties each copyright generates, how to collect them, and what is fair and reasonable.
@@DJPain1 well that still gets pretty tricky if ur buying beats online. Cause I work with a couple of sync placement outlets and they state that inorder to submit music u must own the rights. If not they won't accept it. And u know a good sync placement can be a bag± royalties.
@@thanerdchi No legitimate synch company tells a band, "Hey, only the lead singer can own this song. The guitarist, drummer and co-writer need to be cut out in order for us to shop this." They don't tell a rapper, "If you don't cut the producer who composed this beat and the singer who wrote the hook completely out of this song, we're not placing this." And I have done a lot of synchs, with various companies over the years. That's devil shit.
@@DJPain1 well that would be a band so that would be one entity. And if they place the song how do the other writers get paid if the sync account is in ur name? or u have to wait on their approval for the placement. Now the time line has passed cause it took them a week to get back to u.
This is gold but is she just using free beats or what? Complaining about producer tags messing up her vocals?!? Purchase a lease and tags are gone lol.
Some artists are copycats. What that means is they can't hear a beat that they've never heard before and flow to it. They wait til a famous artists has flowed on it then they take the cadence and then rap. An artists should be able to rap to any beat should they? No. Also many artists will ask for beat like this guy or like that guy, thats a sure sign that they are not orignal and can't rock to new style beats or other beata that don't sound exactly like whats popimln right now.
I will say as a producer for over 15 years much rather have the artist input on ideas or possible changes!!! But that's just me! But the same time if your not the artist getting on the beat then I don't want your input lol that's not the vibe
Well you technically aren't really doing your job as the Producer that's producing the record. It's a 50/50 collab otherwise theres really no point of an Artist working in the studio with a Producer. The Producer suppose to assist the Artist and help take their song to the next level. I work with many clients and assist them esp on the hooks. I direct and coach them during the recording process and bounce ideas with them while they are in the booth to sing it like this or rap like this, make suggest to try this or push the Artist to give it more engery in their voice. That's what Sean Diddy Combs does when directing and calling the shots behind the board. Many Producers collab on the Songwriting process esp Pharrell. To be a great Producer, you have to see a song from the beginning stages to the final mix down process as the end product. That's why Dr. Dre was such a great Producer because he had a great hear.
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I feel you bro long deserved
I want to ask a question , I went back to some videos from cymatics today and one major on that stood out to me was the one interview with legion beats and legion beats gave a statistical analysis that UA-cam producers can't make up to a million in a year that they have to use an upsale offer of cheap prices to achieve that kind of profit. And I have watched interviews that you have done, or even producers grind has done and you guys are interviewing people making large sums so right now legion beats got me confused , like where he is get his statistics from ?
So my question is what do you think about this information cos now am conflicted
@@twelvebeatzthefinisher535 not something I can answer
Not too far from your goal. Hopefully 1 day I get 10 percent of your following...
Okay thank you
If you buy the Stems u can format the beat how you want. A producer can't guess what structures and highlights in the beat the artist likes or dislike
We can guess pretty well in my experience. 16/8 or 12/8 makes sense for most. I don't personally think we should be imposing off formats onto rappers, but to each their own.
@@DJPain1 just let them stay there pain
@@sontwisted true.
@Ladonbeats66 On IG ! I admire you for that, that's true customer service!
@@2daypresents that should be just common sense though. if someone is trying to buy your beat and they ask you to do small revisions that amount to 10 or 20 percent of the work you would do to make a brand new beat from scratch that may generate zero sales or interest whats the resistance for, you now have 2 versions of the beat and one of them just made you some money
Dear DJ Pain,
I especially love the way you segmented the video off with titles. You consistently know how to output quantity and quality at the same time. Thank you for helping me and so many others on their journey.
Yours
2daypresents
Thank you!
😂🤣😌 , this helpful + FUNNY for me when “Jaelynn “ said Artist don’t care about loops .. THT BEEN ONE of the things I fight with MYSELF with .. I just don’t feel ORIGINAL when I make it but , however it’s fun to do things like tht .
And only 12 minutes in .. 💯🔥🔥
before i started selling beats on youtube i made custom beats for artist directly so i sent them multiple ruff versions before the final beat or they would be next to me while i'm producing it and yes structure is so damn important but on you tube i think its best to copy the structure of the a song from the actual artist your doing or from the top viewed video in that niche
I will definitely start letting artists know in the beat video description that I’ll rearrange the beat to their liking if they want... 🎶🎙
i remember i had a conversation with jaelyn on twitter about the structure of beats and I said just buy the stems for it but that was the wrong response and just said it on the fly. If you're feeling a beat but dont like the structure you should reach out to the producer and work with them like pain said, if they get offended by something small like the structure of the beat then that's someone you dont want to work with anyways, end the conversation there.
Absolutely!!
how can I reach these rappers I've got some beats i would like for them to hear.
@@whizbeats9948 🤦🏽♂️
This is great information!!! Thanks DJ Pain! You're one of the reasons I started putting my beats out there!
I've only started tagging type beats to my own music. Nothing wrong with being business minded.
Outstanding content as always, my friend. Thanks for everything you bring to and do for the producer community. You're a GOAT fr. A huge shoutout to Jaelynn and Lucien as well. I found your perspective incredibly valuable in reaffirming in some ways (and expanding in other ways) the mindset with which I approach my marketing. Thanks for the time and energy and I wish nothing but peace and love to the three of you!
Appreciate that
Thanks for this video.......Damn, that hurts.......good!!!!!........
I have been approaching artist through inbox lately and I'm happy to hear from artist that I'm doing it the right way😅🙏🏾
Great information, dope video.
Nice and great info
my god the loops thing!!! SO ACCURATE, All producers need to know this!
Amazing content! 🔥🔥🔥
Actually working on selling my first beats. Very helpful video!! Thank you for all the gems!!!!
Great content. Thanks for the advice 💪🏽🙌🏽📈
Always providing content man thanks fr!
🙏🏽
I'm only a month deep into music production. This knowledge is exactly what I'm looking for while I continue my journey. My question is how do I arrange my beat so it doesn't overwhelm the Artist?
This was super dope and very much needed 😍💜💎🐐💯😎
Perspective is everything. Thank you Pain!
🙏🏽
5:13 are producers not offering to make an arrangement specifically for the artist? If someone buys my beat and they want an extra verse or chorus or some sound taken out ill go the extra mile for that. Standard practice for me. Most artists don't want to mess around with stems.
Thank you P
Great conversation most producer's are not artist those of us that are both producer's & artist understand a bit more.
Greatly appreciate the 💎's
hella gems
Great video. Learning a lot with each video!
The point of it being lazy at 5:40 ish is true tho.
It take a few seconds to copy paste some bars and crossfade.
You can even remove tags from a beat, easy.
I'm watching yall forever. Between the beats and the education this is on point my dude.
Thank you
I've ALWAYS told producers I've never met a rapper who said I would have bought the beat but you used a loop or a sample
i fuxk wit you for the rawness! no weird shit!
Can't wait for part 2 of this one Pain, really valuable hearing from the artists' perspective! These sessions are key
Coming soon!!
I'm from Jamaica and I love your content
Mi chargie!
@@DJPain1 yea bro
is it possible to get handles for the 2 artists im curious to hear the music. this was eye opening and a great episode
Big respect for Lucien Parker, Jaelynn & Pain1💎💎💎
Thank you dj pain 1 this really helped me alot getting the consumer's point of view
Awesome content! Thnx Pain.😎
Thanks jaelynn
Dude Wtf where is you're 100k subs? A little longer bro 🤜🤛 keep you're staff 100%💪
Soooo close
@@DJPain1 ye bro a little longer
Bridging the gap on this one
I think the advice of the longer the better is solid, and one I'll improve upon. I've been doing more and more 3 verse songs, because that's what I'm used to, but I have a ton of beats up that are close to 2 minutes. I give space for an artist to work, but I think I'll at least let it ride longer at the end of my "structured" sections.
pain always w the gems 💎
Love your stuff man
I cant wait to see what gems I get from this.
Always good content DJ Pain 1!
Thank you
I like Lucien he from the AP glad bro getting busy...might get a chance to work with bro one day! This was Dope!
This a very good interview 🙏🏽 Hearing it from the customer perspective really helped out a lot
Thank you for watching
Excellent info
This was very helpful
Love your content bro
Thank you
Great insight.
Dope interview Pain 🙏🏽
Any producer who tells an artist to change or manipulate a beat to their liking in order for them to perform on it is missing the entire point of being a producer. 🤦🏾♂️
Thatd a fact
Then they'll have the nerve to say they are the next Quincy Jones 🤣😅😂
But if you're an artist and you encounter an objectively minor technical roadblock (i.e. the run time of the beat is too short for your song) don't just quit and skip to the next beat. You might be skipping over a hit over something that YOU can actually fix if you put forth some effort.
People looooooove to talk about their problems but rarely talk about the effort that they put forth to solve them.
Agent 234 I agree to an extent, but “minor” is subjective. If an artist can make a small adjustment without compromising the creative process, go for it. But if an artist see potential in a beat but may not have the skill set to make the changes, that’s when a producer/artist relationship is key. Producers shouldn’t sella beat and be like “it’s your problem now”, and artists shouldn’t skip a potentially fire beat over a minor adjustment. It’s all about collaboration.
@@WillieJB2 Definitely. Most would like it be about collaboration but it doesn't always work out that way. My stance isn't "you take this beat and you're gonna like it no matter what" 😂- It's IF the communication breaks down for whatever reason, don't get caught not being able to solve the problem - or at least try to solve it. Maybe it might not be you, (the artist) that has to explicitly make the fix. Don't be lazy and just say "things aren't going my way 100% ... sooo skip to the next beat". To me that shows you have quit in you.
These artists are recording their songs somehow, so either they have an engineer on some level or they figured out how to record themselves. If either of these scenarios are true, I don't want to hear any excuses about beats not being arranged the way you want them to be 😂
Sup bro, I don'tk now if you reply to comments but I wanted to ask about something. There's this artist from Asia who bought a lease from my store and he's at 8M views on UA-cam and half a million streams on Spotify, almost 3M on Soundcloud and 3M on some other Asian platform, was wondering if it's possible to claim any of it as an independent producer? if so how to go about it?
You've lost the vast majority of it. I made a video about this over a year ago. ua-cam.com/video/KmBkbdmkXuE/v-deo.html
Appreciate this video
Goals
Just found your Channel.. Pure gems. Left a sub!
Appreciate the info in this one!
Inspirational!
This one was really good!
Thanks
I wish more artists understood the doing business side of music like these two some of the nonsense ways of thinking you gotta go through when trying to do business with some of these artists is crazy
Across the board for sure
I love this Channel ☺️🔥
It loves you back
nice vibe in this vid!
I LOVE THIS 10:35, I needed to hear this hahahaha 🔥
where can I find jaelynn's music?
Sounds good.... watching later....
Great video and advice.
i understand the type beat method now from certain marketing views searches and tactics but my issue about that is that it takes away from the producer name & respect...we wonder why producers don't get enough credit or respect bc we constantly decrease our personal value. our name is as important as any artist so the artist type beats label is weird to me the artist doesn't make the beats for the most part so why describe it that way? why the creator of those type track must sit in silence even when others are looking for a specific type of beat of an artist who didn't make the track? isn't it a two part system? or is it the artist part of the system is now crossing boundaries that decreases the producer's value??? im truly asking
"i understand the type beat method now from certain marketing views searches and tactics but my issue about that is that it takes away from the producer name & respect"
... one of the biggest hip-hop singles of the last decade was a type beat. It literally went diamond. You guys have really strange opinions and hangups about what highly successful people are doing.
5:07 a mistake that I'm having to unlearn right now is making beats too complicated. So much so that a rapper can't put their verse on it. See, what producers gotta understand is that ain't nobody listening to their favorite rapper's new song so that they can listen to the producer. They wanna listen to the rapper. We gotta stop tryna flex on each other as producers and give these artists room to work and,in turn, shine.
That's a fact
I was there a few years ago. The good thing is you know what you need to work on. I found out from rappers telling me they didn't know how to attack my tracks because so much was going on
This is me right now, although am gradually getting over it.
Let me know what you think about this thought I had during this...
In the past, a producer is/was employed by a label and made a salary to facilitate a record and didn't really rely on royalties the way an artist does (not saying they didn't get any but rather didn't rely on it so much)
Today at least on the independent level, people calling themselves producers are really a combo of artists, musicians, writers, producers, etc. and artists are the same, which complicates the traditional split structure because less people are filling these roles with interweaving contributions.
I personally think someone who wants to be a "real" producer needs to realize the objective is ultimately to facilitate a record. Often, we may get less money and credit then we deserve because of all the hands in the pot, but IMO thats just part of the gig. Were here to make records happen, not necessary be praised like the artists (or even the more "celebrity" producers) but I'd still rather do this then anything else. That's why I love guys like Mike Dean, they stay relatively quiet and just get great music made. It's a marathon. Btw, I'm high so I apologize for rambling but writing this seemed like a good idea.
I think you could boil it down to this: if youre producing songs for recording artists, then produce the songs and be a real collaborator. Otherwise, figure something else out.
@@DJPain1 Yeah pretty much. A lot of this in fighting and shit is kind of ridiculous. Thanks for the reply and as always thanks for the content!
I guess you're are getting Executive Producing mixed up with Record Producing. Executive Producer's are business savvy people that are often paid a salary. Many of them are record label employees. They are the people that secures the funds for the album project. Virutally anyone can technically be the Executive Producer including the Artist themselves that self funds their own album project. Executive Producer's in music industry isn't anything different than an Executive Producer in film and T.V.
Record Producer's as the formal term also known as Music Producers facilities and bring a finished song to the finish line as the end product that takes a raw concept or idea into reality. A Producer can come from all different backgrounds and different skill sets. Some are hands on while some are hands off. It was once that the Producer directed and guided the session, but now away days, a Producer does much more than guide the project as many of them fulfill the role as an Engineer, Programmer, Songwriter, Musician, Arranger as your modern multifaceted Producer. The Producer / Engineer is becoming the new trend almost eliminating the separate role of a Recording Engineer. I have been wearing both the Producer and Engineer hats for the last 12 years now. Many times I'm not the guy programing the beat as some times I would act as a Vocal Producer and Engineer. Oak Felder does very much the same thing as he doesn't use a recording Engineer. He cut Demi Lovatos vocals himself in his own studio for the song Sorry Not Sorry.
@@eman0828 That's pretty much exactly what I'm saying. The main point of my original comment was traditional roles are being handled by less people (like you said) and therefore the traditional split structures and royalty systems haven't caught up with that.
@@ugpshake8172 Yes many roles are just getting consolidated by one or two people. The main reason for that is recording budgets with labels have gotten much smaller over that past 15 years. Hiring a 32 String section wouldn't be cost effective by today's standards unless your client really does have that kind of budget. Veteran Record Producer Ron Fair is probably the closet thing to Quincy Jones that I can think of today that can write out musical arrangements on manuscript and conduct the string orchestra. He was the one that produced and arranged the strings for Black Eyed Peas Where Is The Love, Vanessa Carlton Thousand Miles and Mary J. Blige Be Without You. But today you don't really see live strings on most records these days with some exceptions. Meek Mills - Believe ft. Justin Timberlake is the only very recent record I can think of with live strings that was arranged by legendary string Arranger Larry Gold. Larry Gold is the same philly string Arranger that arranged the strings for Cry Me A River. Another is the technology and tools available now today at your finger tips that has dramatically changed how music is made today. more and more music is becoming more programmed meaning less session players you have to hire. Although I do still work with session players. One of my guitar session players that I personally work with was one of Motograter's guitar players that just recently left the band. I am starting to branch out into rock and metal genres.
6:19 thank you. Thats the producers job. Just rap/sing on it. I hate when rappers get the beat and alter it.
I export my beatstars wavs and mp3s at 5dbs so the artist has room to add their vocals. My stems are also exported at this level. So a rapper bought a track out license from me, which comes with the stems, wav and mp3 version of the beat. So he made mention that the mp3 /wav was low. He was using it to vibe and write lyrics to. So I explained the intended use of those files, which is to record over them. So I sent him the louder preview version that you hear when you're browsing beats. Do any of you have confused customers when it comes to headroom? Or do you just make 0db mp3 leases 😁
I don't sell mp3 leases
What a about selling to non rappers? Would be great to have someone to talks about the world of beatsb in diffenrents genres aside hiphop...
selling beats to opera singers?
@@DJPain1 mmm no, I mean rock, pop, country, etc.. I would like to know more about the world of beats from another perspective different than hiphop/rappers 👍
@@anyelabatiz192 i could be wrong but rock and country are band-based, so thats why there's not a market for pre-made rock and country production. The online pop beat market is almost indistinguishable from the online rap beat market. I interviewed the top pop producer online (Mantra) about a year ago.
@@DJPain1 i really appreciate your response. band-based music is really tough to pre-make
@@DJPain1 yep, I actually agree. That's why I find intriguing to see those categories on Beatstars website...🤔 I'll check the interview! Thanks 🤗
man yo dog must been shedding everywhere when you made this💯
The vocal is the most important instrument that goes in music rn
11:40 I wonder if rappers can recognize “recycled” drums also?
Why video cuts out mid sentence?
Loved this interview! Makes sure you guys go check Jaelynn out, she’s an amazing artist💯
As soon as they mentioned RapChat, I immediately thought of you!
InflightMuzik haha thanks man!
Was just coming to mention your shoutout and figured you'd already be tapped in haha 🔌💯
@@9DMBEATS thanks mane!
My big question would be what exactly does it mean when producers say "keep all your profits"? I mean is this a statement of "Royalty Free" which would mean the producer would get nothing more then the lease fee and no publishing? Or can you set it up to be Royalty Free as far as Mechanical/Streams and still retain your publishing rights and proper writer/composer splits?
They need to explain it, don't they? I don't think the majority of them even know what they mean.
@@DJPain1 I'm thinking the same thing, maybe just a marketing ploy to get people to click? I asked one producer what it meant and he replied "you keep all your profits bro". lol
Really intereating video. I just started my Beatstars account and i was looking for ways to actually gain followers and to get to start actually
Good timing
Commenting for the algorithm. Peace.
Thank you
I'd be glad to re-structure the beat for artist if it's going to help him out. I dont see anything wrong with it. That's our job in the end. Some dudes are just stubborn i guess.
AF
1 thing I don't like is that things can end up adversarial over the unwillingness of either party (rapper or producer) to take the next step in evolving themselves. If you're an artist and you're not "technical" and don't know anything about structuring beats, you should probably figure that out. What happens when you run into that ONE ... that ONE ONE ... that beat that you feel in your gut is a HIT, but it needs to an additional 1 minute to the run time and the producer is unresponsive when you reach out? You just going to say "skip"? Or are you going to figure that out?
The question I would ask is this: As a producer, do you want to take that risk by not being responsive to the people buying your music and giving you a livelihood?
@@DJPain1 Of course not. I'm an idiot if I conduct myself like that. But life happens sometimes ... Imagine Lil Nas X saying "skip" to that Old Town Road beat because he wanted it to be 3:30 and the MP3 was 2:00 and Young Kio had a family emergency and couldn't respond to emails to help out.
Artists are somewhat spoiled in that there's a vast amount of stuff for them to choose from. They can get in their own way if they get too nit-picky because they know there's so much to choose from.
@@agent234 Almost all consumers of a service/product have that option though
@@DJPain1 Definitely, but sometimes you gotta put forth the effort to DIY some shit to get around obstacles to get what you want/need.
Treating things like they have to be 100% curated to your specific tastes and handed to you on a silver platter or they simply get "skipped" all of the time might cost you some money and a career.
@@agent234 It's odd, in my opinion, to expect the rapper to produce the song and to expect them to settle on a beat they aren't completely comfortable with, as paying customers. Guess we'll just agree to disagree.
dope info DJ PAIN 1 I LOOK UP TO YOU
Great Video, but I believe that the Splits should be 60/40 or even 70/30 and not just 50/50 let me explain. 80% of a song is made by the producer, from mixing to mastering, making the beat. Because most Rappers want me to mix and master it aswell. At the end of the day, nobody listens to acapellas but there are many Beats on Spotify. So it's not half of my work and half of yours, it's 70% of my Work and 30% yours or 60/40, that's why I believe the splits shouldn't be even. Let me know what you guys think! Love your content!
I would never ask for 60/40
You are confusing songwriting publishing with other roles that have nothing to do with the beat or Songwriting process. You don't do Songwriting splits just because you may have the mixed the song or played an instrument on the record. Doesn't work that way. Yes Producers typically see a song from the beginning stages to the final mix stage as the end product but not all of them are Engineers or Musicians. A Producers skill set can background vary a lot. Some are hands on while some are hands off. Producers and some times Mixing Engineers do get what's called points on the record. Most Producer's in the record industry doesn't mix thier own records they produce as they often send the stem sessions of the finished song off to a Professional Mixing Engineer. Same goes for Mastering Engineers. Theres only a small number of Producer / Mixing Engineers out there that wears both hats. But there is plenty of Producer / Engineers.
how can I reach these rappers I've got some beats i would like for them to hear.
Hit me up
iamJafarlee hit you up on ig:D
6:10 that shit's the producer being lazy, If the artist wants to change the structure of the beat they should be able to message the producer and get it restructured and sent out within 24 hours.
Mixing? He doesn’t get trackouts?
🔥
I can't agree with a 50/50 split cause a producer makes a beat and their done. As a artist I have to write, pay to record, pay for mixing/mastering, pay for distribution, pay for promo/marketing but the producer still takes 50%? Nah
We're talking about a composition split. In terms of a composition split, anything less than 50/50 (between two writers) is something I'd walk away from. With the master, you as the artist releasing the music gets the majority of those royalties. Labels, who pay the advances, almost always own the masters outright. But to really avoid miscommunication, we have to all learn the two copyrights, what they mean, the royalties each copyright generates, how to collect them, and what is fair and reasonable.
@@DJPain1 well that still gets pretty tricky if ur buying beats online. Cause I work with a couple of sync placement outlets and they state that inorder to submit music u must own the rights. If not they won't accept it. And u know a good sync placement can be a bag± royalties.
@@thanerdchi No legitimate synch company tells a band, "Hey, only the lead singer can own this song. The guitarist, drummer and co-writer need to be cut out in order for us to shop this." They don't tell a rapper, "If you don't cut the producer who composed this beat and the singer who wrote the hook completely out of this song, we're not placing this." And I have done a lot of synchs, with various companies over the years. That's devil shit.
@@DJPain1 well that would be a band so that would be one entity. And if they place the song how do the other writers get paid if the sync account is in ur name? or u have to wait on their approval for the placement. Now the time line has passed cause it took them a week to get back to u.
@@thanerdchi you really don't understand publishing.
Might aswell make the Beat too if u gone restructure it😂
Or get co-production credit
Ight
This is gold but is she just using free beats or what? Complaining about producer tags messing up her vocals?!? Purchase a lease and tags are gone lol.
Not always
How do you know if you like the beat if you can’t even flow on it to begin with? Why would you buy it without knowing?
Some artists are copycats. What that means is they can't hear a beat that they've never heard before and flow to it. They wait til a famous artists has flowed on it then they take the cadence and then rap. An artists should be able to rap to any beat should they? No. Also many artists will ask for beat like this guy or like that guy, thats a sure sign that they are not orignal and can't rock to new style beats or other beata that don't sound exactly like whats popimln right now.
Road to 100k subs
Almost bro
I will say as a producer for over 15 years much rather have the artist input on ideas or possible changes!!! But that's just me! But the same time if your not the artist getting on the beat then I don't want your input lol that's not the vibe
Well you technically aren't really doing your job as the Producer that's producing the record. It's a 50/50 collab otherwise theres really no point of an Artist working in the studio with a Producer. The Producer suppose to assist the Artist and help take their song to the next level. I work with many clients and assist them esp on the hooks. I direct and coach them during the recording process and bounce ideas with them while they are in the booth to sing it like this or rap like this, make suggest to try this or push the Artist to give it more engery in their voice. That's what Sean Diddy Combs does when directing and calling the shots behind the board. Many Producers collab on the Songwriting process esp Pharrell. To be a great Producer, you have to see a song from the beginning stages to the final mix down process as the end product. That's why Dr. Dre was such a great Producer because he had a great hear.
This really got no comments huh
It has been out for 15 min.?
@@colbyisart it's seems weird lol
I appreciate a break from all the fickle "fan" comments
@@DJPain1 True that
🎵🎵🎵☑️💪🙏
Loop beats all sound the same. all the melodies are super pop sounding no matter what effect you throw on them
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