This is why I’m happy I started making my own beats & I been recording, mixing & mastering & engineering all my music for the past 10 years & I have my own set up to continue doing so. I plan to buy more equipment & equip myself with more knowledge. That’s why I’m here watching this video aha, I’m very happy with my progress but I still got so much to learn.
Definitely, a big plus to do it all on your own, congratulations - the downside I feel doing the same as you for many years is .. I miss these collabs and being together, that's what music is all about, and learning from each other - learning from other mixing engineers how they would do stuff - and other producers how they approach their lines! Smart to learn it all, being aware what's going on and good to also get out there and get this experience with others - That's where the real experience comes from, when we get out of our fortress ;)
As a fellow beatmaker I look at it like this. Take away lyrics from nearly popular song and you still have a solid instrumental people still listen to regularly. On the other hand you have basic lyrics that don't sound good alone in a lot of cases.
Couldn't have said it better myself, I don't know when music producers stopped being called artists, Music without words is still music and words without music is a poem or story
But the finished worl requires promotion, art, engineering, etc. none of those expenses are covered by the producer and without thise the finished work gets no plays, no plays no royalties. The producer already got paid upfront, but wants 50% of the backend too but doesnt do anything to actually sell the final product. Im fine with some, but not 50%. Im cool with 50% after expenses. Expenses dwarf the initial cost of the beat. And i disagree theres tons of shitty lyrics on good beats and good lyrics on shitty beats. Promoted correctly and both sell
@@wonderwallz99 at the same time how many accapellas are? It's a joint venture. Best to just do it all like I do. Write your own lyrics and produce your own beats.
A real producer will run the session,including coaching the vocal(adding/replacing lines)telling the engineer(or engineering) what to turn up/down,how they want the sound eq'd,and be apart of the final mix session..unless the label wants to use someone else to mix the record....I'm still receiving checks and signing new licenses years later....the higher your skill set,the more you will be envolved and BE KNOWN for being envolved The better your demos sound(not just the beat) they will began to ask where did u record that,and that's when the magic starts to happen The main frequency is based on cooperation and mutual Respect,when the artist and producer are on the same wave GREAT records and Relationships are made...always approach it as a formula Not a ONE and DONE
@@BrianG8367 You have producers and audio engineers mixed up there buddy. You say a lot of stuff but none of it is true. Let me guess, you don't have any real music and have never been in a real studio? Gtfoh, you children don't know what a producer is. Producers make beats, executive producers push the product and do much of what you claim a "real producer" does, while an AUDIO ENGINEER receives the stems from the producer, records the vocals, mixes the song and the vocal, and sends it to a mastering engineer. It is very likely that you can do all of those jobs but from day ONE the producer has only ever been the beat maker.
i produce for ppl/myself and i’m an artist - here’s the thing - producers are essential, yes. - but at the same time producers get a few AND 50% AND never have to promote or perform the song etc. so people definitely need to rethink everything- producers get the same thing as artists when producers job is done - but the artists has just begun. pub splits 50/50 - records idk bro 20 max even if i was indie - cause you’re getting paid off top and i have to pay for everything and do everything from here on out 😂
you prob know this, but saying for others. pub splits vary. if its country, the producer rarely gets writing - for example. they get their fee, 50% recoupable.. plus points. alt, pop, indie, and similar.. the producer is usually in the room co-writing and making the music with everyone in the room. pub splits usually even in those cases. there are 'track' people that ask for pub and usually get it because they're in the room. producers get paid fees because they invested in the gear, plugins, etc.. plus host a studio space (some charge a studio fee).. and the artist takes the song and has more upside. artists get money from touring, merch, etc.. and the producer doesn't. for indie on the master.. if they can't afford a fee, 50% is usually fair -- net of course. this way the artist can promote the record. i posted a diff comment here if you sort by new.
Should be 50/50. Yes, artists do all the promo, but they also get all the money from the promo and shows.. Producers ain't getting that show money. Producers should get 50% of the publishing because they made 50% of the song.
They should get half of the writers side bc they wrote have of that song. If they were not in the studio to produce the record, then they didn't produce half of that record. When this is the case they should come off some of the publishing side of that finished new song. I think 20% is fair. This would mean if a whole song is split 50% for writers and 50% for publishing, then the person who produced the in studio session deserves 10% of that publishing.
😭😭😭😭 Casey I'm so tired of nobody knowing nothing but screaming like they do. It's crazy. Thank you so much for letting them know. I learned the rest of the game after studying with you in 2020 from LearnMBE and they come from Warner, Universal, and Sony and got my music business certificate and these producers STILL think they know it all smh. Now I will say you should mention on the Publishing side that the publisher is going to want the publishing for working and administrating the composition. Many music lawyers agree when these beatmakers make a beat and it's without the artist present, that's important to note. At that point, publishing isn't even on the table for the producer. Only masters since the recording was all that was dealt with. Time and space matters. If we were together and you made the beat tailored to my flow of lyrics I wrote already or I wrote lyrics simultaneously as you were making the beat, that's composing. Of course, like I seen someone else say, all can be negotiated down here at the independent level.
As a music artist and producer myself through five different decades now, I see both sides of this coin. However, I had come to realize that I just don’t want to have to split percentages with producers today when they literally can produce up to a dozen beats a day. Producing beats IMO is the easiest part of music making and creation now. And If I am paying you $500-$1000 for a beat that I end up having to remix anyway (because most beat makers today don’t know how to actually mix or master the levels correctly), write lyrics, produce the song and the master recording and finally promote and push the record. Then some of the beat makers still want 50%. No thanks. I have gotten to the point, I will just do it all myself. Make the beats, write, record, mix, master and promote. I don’t think beat makers deserve 50% when all they do is supply a beat, that most times can be created in less than an hour today. If they are making $500-$1000 off that beat, they are making damn good money. On a good day, I have created 6-7 banger beats with a couple of fillers as well. So if I can make 8-10 beats in one day, I know super fast producers can do more than that. And with AI on the forefront today, beat-makers are not gonna be able to charge crazy amounts and percentages much longer. The artist and the label are the ones taking all the risk today. And beat-makers make more than most independent artists make today. Like I said, I am saying this as someone who works both sides of the music. Artist, beat-maker and producer. The music world and environment is quickly changing in today’s world. And beat makers need to either adapt and provide more friendly terms, or they are going to see their revenue streams dry up and disappear. Mark my words. After nearly 45 years in the music and film industry. 🤷♂️
What you just described is not a professional music producer, that’s an amateur beat maker. Especially if you think the easiest part of music is the track, you’re absolutely going to get shitty trks.
@@willnadaout of everything I wrote, this is what you came up with? 🤦♂️🤦♂️🤦♂️ The majority of these “beat makers” out there are flexin as producers. That was my point…
Anyone making a dozen beats a day is using samples for a start and it could b argued that someone assembling beats from other peoples sounds is essentially a glorified dj not a music producer
@@TrippyTechnologyMusic good point!!! Btw they getting paid up front off a sample track that may not get cleared. So that can be $500 down the drain for the artist. They also lease beats for $20 per download hundreds of times, then exclusive rights still doesn't mean the artist owns the beat. The traditional way these contracts work are not in the artist favor at all. Artist Please Learn The Music Business Before Making Another Record 😢😢🤞🤞👍👍
Nice vid but as an entertainment attorney I feel I need to give some realistic expectations for producers. There is a difference between a "producer" and a "beatmaker". Producers generally see the record to completion from making the music, to the studio session, to getting the best performance out of the artist, arranging the song, etc. A beatmaker makes a beat. If it is a beat already out, probably also leased to someone else or a "xxxx...type beat," it is unrealistic to expect a payment and to get points (a percentage point of royalties from the artist's share of royalty percentage). Why? The question the producer needs to ask themselves is: Does your producer name add value? Is it a signature sound no other producers sound like? Does saying produced by so and so make anyone want to listen to it? Can the label or artist use the producer's name to market the record? If not, probably no royalty percentage, just a payment. Saying an unknown beatmaker is entitled to 4-5 points [4-5% out of the artist's royalty share (generally 18% up to 50%, )] is not realistic and any artist signed to a label, whether Indie or major, will think you have no idea what you're talking about and just find another beat because 4-5 points is known producer territory and 10-15% is celebrity producer realm. A sample based beat or a beat using bought royalty free melodies and chords make anything other than a payment even less likely.
If the beat maker/producer and the artist wrote the composition and was part of the project from the beginning (meaning I didn't have to pay anything up front for the beat ) then Yes the beat maker should get half of the master. If I paid for the unlimited license or exclusive to use the beat. I'm not giving away points/master rights of the song I created. I do split 50/50 on the writers share no question
@@yhaww_kill Ok and how are you gonna rap without a beat mixing and mastering, this is label talk people are leaving labels and doing it themselves, everybody is eating now and the label isn't invited, thus is why they are pushing Atmos because they are scared.
people complaining but y’all gotta understand if you want master royalties 5050- then let’s also go 5050 on all expenses lol - again i produce for ppl too but my artist side kicks in and ppl have no idea how much more annoying it is to be an artist - much love and respect to producers but your job is done when the song is turned in
True but you also have to know when you're crossing the line. Crossing the line will sometimes get you kicked out of the room never to return. Always be sure you know where the line is before you push it or cross it so you can still make the deal happen.
This is exactly what I’ve been looking for. As a producer I’ve been railroaded by artists and it has been my fault for not understanding business and lowballing myself. This is exactly what I’ve been needing. I just subscribed and I am going to invest in this material. Thanks 🙏🏿
I think people are getting producers & the engineers mixed up. Study the clarity of each. Back in the day, these two severed different special duties in the production arena.
let him produce himself, clear his own samples, mix his own record, and master his own recording, then let him film his own video, market his own song, manage his own career, and form his own label, and be his own accountant.
Basically let you cut your own wood, make your measurements and make your own table, sand it , bake it, paint it, prime it, assemble it, cure it and put it your own dining room. Charge your own price for the product ,service, delivery and set up. Keep your own inventory and invoices. Most gas stations and bars don't advertise and there still is demand. It can happen. Mind over Matter
I read your comment as sarcasm because most underground rap artist dont know music theory, dont know anything about music, most of them dont even know what 16 bars is. I always make sure I have sample clearance before I send out a beat to an artist. I have to purchase those loops and I also add my own sounds on it. I had to purchase a laptop, MPC, GrooveBox, Microphone, Guitar, Keyboard, Record Player, CDs, Vinyl LPs, Studio Monitors, DAW, College Music Courses, Marketing tools, Plugins, VSTs. This is not counting the years it took for me to have my own sound. And the artist/label want to pay me peanuts? Nah bro. I could have spent the same dedication and time on a small business and would have made a million dollars by now by running my own thing, but I chose music for many reasons. It doesnt mean it has to be Cheap just because I love what I do.
@@JDvirtexactly your work your rules. Heck demand 80% of the royalties if you want lol. If the rapper doesn’t like it then let them spend hours in the studio and compose their own damn music.
As the "writer", "producer", and "engineer", I still give Distrokid royalties of 65% and CD Baby royalties of 60% (Depends on whether it's a collab, or a remix with the original producers approval)
Why so much? Will you explain to me how that is so high? Because as a music writer, producer, artist myself, the percentage I give to CD Baby is much lower than that…
None of this matters. Every contract is independent within itself. Whether you negotiate 50% or not is your business, literally. There is no rule that says you need to follow the "industry standard". Ask for what you want and know your worth.
They are trying to standardize prices and rules in an unregulated industry. No two producers are the same. Each producer determines their own worth. Each producer's Brand has different power and influence levels. Artists need to stop crying and if they want more percentage learn to make their own beats.
@@PresidentProductions You act like it's hard. I started making beats a month ago and already got most of them sold. I am not a pos producer who asks for ungodly amounts of royalties either. Creating beats is simple and one of the simplest things in the composition of making music. Vocal editing takes 1000x more skill than producing beats ever will. Sitting down and writing takes a lot more skill and brain power. I have set up and arranged 6 beats in a day before. Your job isn't hard, producers who are willing to negotiate that percentage down are a dime a dozen and I can sit and listen to any of your beats and come up with a composition that will fit my lyrics within 20 minutes. You idiot producers do nothing but take advantage of artists.
Your a straight up genius for this video. I also really appreciate this subject being spoken on as the game is failing as result of ignorance of the true functionality of music business. I personally think that you took the thoughts right out of head. These new age producers are extra silly and beyond goofy with there basic understanding of what they feel they deserve but did not truly earn. Honestly, I couldn't of said it any better. Big ups for taking the time. It was necessary.
I’ve been doing this for years bro! This information is more of what you feel. I worked with most of these labels on the production from the 90’s to now. Some artist just want the beat and will record while in tour, I still got my 50%. It’s still my work. If they had anything extra played like on a record that I did, a discussion was had first. It was always work for hire or they get a agreed percentage. Everything is negotiable in this game, nothing is done one way. What you saying is more of your opinion of how you feel it should be.
I think you’re referring to leasing the beat? If you’re not giving exclusive rights then yea this will be the case. They don’t own your beat, so they would need permission to use it for touring or anything else. You should also think about it this way. When your beat is finished, you’re getting paid and transferring over rights from you as the creator to the user or the artist. It’s always been this way in music, movies, books etc. I own an e-commerce business, i had a graphic designer help me design my logo, the graphic artist gets paid and transfers rights over, however if my logo ends up on a billboard, he doesn’t get to message me and attempt to claim any more than what was agreed. The graphic designer should not get paid royalties when the logo is on a magazine or a water bottle. Therefore the beat maker should not get anything after publishing is done and done. This is regarding exclusivity rights of course.
Bruh u got me Fd up 💯 I run my own independent label and I do EVERYTHING on my own I write and make beats so if I make the beat and write my verse and mix and master and all u do is write 16 bars …. Yes I get 50% cause all u did was write.
If you do ALL the sound work AND have a feature on. You're getting more than 50%! Maybe 75%. 50 for sound work (beatmaking and engineering) and 50 for the recording artist. If you're all sound and one of two recording artists it should be 75%.
As a music producer I learned that most underground rap artist dont know music theory, dont know anything about music, most of them dont even know what 16 bars is. I always make sure I have sample clearance before I send out a beat to an artist. I have to purchase those loops and I also add my own sounds on it. I had to purchase a laptop, MPC, GrooveBox, Microphone, Guitar, Keyboard, Record Player, CDs, Vinyl LPs, Studio Monitors, DAW, College Music Courses, Marketing tools, Plugins, VSTs. This is not counting the years it took for me to have my own sound. And the artist/label want to pay me peanuts? Nah bro. I could have spent the same dedication and time on a small business and would have made a million dollars by now by running my own thing, but I chose music for many reasons. It doesnt mean it has to be Cheap just because I love what I do.
It depends if i pay for the beat the producer is getting no royalties until the song gains traction because i came out of my own pocket. If i didnt i will contact them before i drop it and let them know because I already loose money buy paying for content id and ads I have to give my investor 25% of the royalties. artist 50% producer 25% investor 25%. But I realized by doing this im loosing a lot of money I might change my splits to benefit me in the future because i mix master record and write all my songs.
Your right on this video.... End of the day, 1st impression is always the best impression. "Longterm commas in the account. Depending on the amount relationship respect"
Long time producer manager (ex A&R, Artist manager) . Hip Hop and Dance/EDM have skewed a lot of the publishing side of this. Beats are really important for those genres. For whatever reason, most say the beat maker deserves 50% of the publishing for that. I disagree, but it happens often. The only headaches I have are when I work in those genres. Alternative, Country, Indie and Pop work differently. Co-Writes are different too. Example for my world: Producer writes / makes the music in the room with the artist and/or co-writers. 3 in a room, it's 33.33% for each (33.34% usually to the artist, to equal 100%). Producer doesn't really get a buyout, in a sense. Lets say a producer's fee is $10,000, the standard is 50% of that is recoupable against royalties. So, essentially.. half of it is an advance. Now, with small artists with zero budget: You'll see artist managers offering 50% of the master with backend upside. For example, Artist has a decent following.. you let them spend the budget on marketing, etc.. you get 50% of net income from the master. I would typically ask that all syncs are included in this agreement. There are no rules in music. Fighting over splits will ruin your reputation. Early days there's no money and everyone fights. The top songwriters are more generous with splits because they are confident they will have more success. In the lower levels of the industry you see a lot of ignorance and fighting over 2.5%. It's a long game. GET CREDITS. Credits will get you more cuts. More cuts means more opportunities. More opportunities means more chances at getting a hit. I have notifications off for youtube replies.. so I apologize if I never get back to anyone. Again, no rules in music.. and if people screw you, karma is real.. just keep working and work with good people.
Okay So say I bought a beat from a producer, we split publishing 80/20, I record my lyrics onto there, is that how the “controlled composition” is made? N for that being said , having to pay 100% mechanical royalties at the minimum statutory rate, meaning I only have to pay the 20% of that 100% of the minimum statutory rate? So the minimum is 9.1 cents per song, would I take 20% of that to calculate the mechanical royalties to split with the producer? Thank you!
It really depends on the project and the particular artist and producer involved I think some producers deserve more than 50% when the beat or their name is the driving factor of the tracks success. People don't go to clubs and PAs to listen to acapellas. For that you go to a wine bar and listen to spoken word and applaud by clicking your fingers
Some producers have a larger name and require a larger compensation yes. But for the most part, y’all are not wondergirl or skrillex so why tf is anyone asking for more than 50%
honestly, in the beginning of the video I wasn't sure if was going to agree with you at all. This is so well said and put together that one cant help but concur. Not enough chiefs explaining how this goes. I've been creating income from music for more than 15yrs now, and can fully back you when you say that new artists/producers just don't understand the scope nor the field of grass that the snakes are slithering in.....
If the beat maker makes the beat , records the Vocs , put the polish on the vocs and all the scrubbing of the vocs and so on, and the artist only dropped the vocs , I think when it goes on the shelf for sell they should split the profits every time the track sells ! As far as the artist shows that’s the artist profit ! But when they’re both at home and listening to a track they both made , it should be split a joint project ! Because I have heard artist and the first thing I notice is that the beat is gunfire ! The artist don’t be saying nothing ! Point is a good beat maker helps a good artist to express himself !
People forget who a Producer actually is... A Project Manager, who delivers a viable Master Recording to the Label on behalf of either the artist or production company the producer controls. There are producers, and then there are beatmakers. You are right, sir. The rights and licenses for licensor and licensees need to be defined clearly. You're doing a great job!!! Love your channel
@@morrisday9916 i was listening to biggie's one more chance yesterday and i kept hearing puffy's voice underneath biggie's rap lol, i was like puffy bout to get some royalties off compositions too? like for ever. Khalid jack puffy's blue print. if the artist stop been popular, Khalid and puffy always switch to the next hot thing and the repeat the process, that's what have observed , if u look at it from business stand point.
What about all the engineering and instrumental worx,the time that went into the beat.all beats aint loops....and I mostly record vocals too....then the mixing and mastering...I do allatt and.more.it may take a true beatmaker days or months to perfect a beat who looks for the right sound.i write lyrics too and they are easier to lay and come up with...most our words are off the top...freestyle.js.
If the person that composed the music wants 50% maybe they should stop charging the lyricist. Maybe...just maybe.... More people should start finding composers to collaborate with rather than taking the shortcut and giving somebody you don't know, money, for a 'beat' that they composed without YOU in mind. If you always pay money for beats, that should be your goal.
I produced most of an album for a well known, underground UK emcee, plus several other side projects that we released. I fell for the 'exposure' as payment and ended up getting nothing at all. This emcee, who is constantly touring, didn't pay me a penny. I'm the idiot for going ahead believing the exposure would benefit me. Nothing came from it. I also had a US emcee who was on Stones Throw at the time take two beats from me, paid me $100 for one, $150 for the other. In my limited experience the emcees I've dealt with just don't want to pay. It seems that they think they're doing the producer a favor by taking your beat. I've stopped trying to sell beats now as it just made me feel tired of the process and my music felt worthless.
now on the flip side i do understand on a labels point of view because the label is paying all of the funds to market the song as a whole so i understand as a CEO i can't pay the producer 50% of the record that's why is very important to understand independency .......when you have a nice budget of your own and you are producing and writing your own material as well as marketing your own record at that point you will see 100% also being good at producing your own vocals engineering your own doing it all ......everybody is not capable of being that guy/girl but being independent is the best way to go if you have that component to do it all on your own you will be better off
I've been a studio session musician, Writer, Arranger, producer, and publisher since the 70's..long before the " beat makers " type music was even used. The terminology and title descriptions Have changed drastically today. What's being called a producer today, Wouldn't have been labeled that. A Producer is a Producer, someone who makes beats is a beat maker.
I dont really know where a person draws that line. That’s a strange way to frame it. A “beat” nowadays is a complete musical composition. Many times it includes melodies, harmonies, synth leads, bass lines, guitar riffs, the drums and percussion. At that point it’s literally a musical composition. “Beat” is just slang for a “song”. I mean one could argue all the musicians using synths like Moog and Korg and Drum machines for all the hit 80s tracks were “just machine users” but I dont think anyone would ever claim that.
What I actually meant was that I was around when EVERY SOUND was made by a real instrument and Musicians, playing together, from Charts written and arranged by an arranger, and overseen by what was considered to be a Actual Producer.. I also have the virtual Studio now and use Vsti plugins and have Computer DAWs and a 24 track 2 inch Analog Recorder..
@@Moneyemusic_unlimited It’s true. If you have to compose a percussion section, keys, strings, synth, bass, at that point it’s just a musical composition and we call people who make those “composers”. There are certainly some exceptions where people are merely using samples or loops, then again even the greatest composers of the past used Modes in the same way modern pop music uses 4-5 chords as a standard. Music has always been based around repetitive patterns that become standard for a time. We now only use two modes, that we call Major and minor. Ultimately calling an instrumental musical composition a “beat”, is just slang. It could range from a full guitar lead, strings section, synth arps, bass lines and a percussion section, or it could be a sampled drum break with some vinyl scratches on top. But ultimately a “beat” in the modern era is just an instrumental piece with a focus on percussion and bass.
@@Moneyemusic_unlimited I understand the distinction between live session players and the in the box world, but ultimately it’s irrelevant for the composer. Mozart and Bach did not compose with a live orchestra or even an organ, they composed with a personal instrument like a harpsichord, and before that musicians used a lute or a Pythagorean mono chord to work out the composition well before any performances. A daw is analogous to sheet music of the past, except we have the benefit of being able to audition the sounds and even use sounds that can replace the real instrument via synthesis. But ultimately a Daw at its core is a musical sketch pad. One could export stems, or one could export sheet music and have a live session player finalize the composition. Ultimately it’s a testament to the progress of musical technology that we can synthesize libraries for every instrument on earth and even convincingly enough to replace a real orchestra or band.
So on my exclusive agreements. I state 50% publishing and 50% writing. Artists keep 100% royalties sale. I never mention producer points in my agreement but I state a upfront fee. So I guess at 07:35 because I'm a beatmaker I need to lower my publishing percentage?
Beatstars have updated their contracts, and now they actually list how the song will split writers share and publishing, and they have the best maker name and PRO in the contract. So the contract now is clearer than it was a couple of years ago.
If they produced, mapped out arrangements for bars, hooks, and bridge's,did a mix of the instrument's arrangements worked on effects/reverberation etcetera then they absolutely deserve that percentage. Essentially all the artists has to do is through up on the mike! This production i described above is fully service which most producer's may not be able to offer and provide!😮
@Music Money Makeover Show hello... I'm kind of new to the rapper/beatmaker world (I'm a rock & metal musician/producer myself), but I was wondering something... when rappers pay a certain price for "exclusive rights" to a beat, are the beatmakers also signing over any mechanical or master points rights they would be entitled to if the rapper used their beat to record a song and released it? I'm sure it depends on the agreement both parties agree upon, but I've talked with two rappers in the comments section on this video so far that said they don't give points to beatmakers because they paid $300-500 for "exclusive rights". Correct me if I'm wrong, but "exclusive rights" simply means the beatmaker agrees not to allow other rappers to use the beat for a certain amount of time. They aren't buying the actual audio are they? Again, I'm not of the rap realm so if this is the way it works then I guess I'm wrong. Thank you for your response.
Question. If you paid for Studio time let’s say. 4hr block for $200 and you sat there and make the beat with you mouth and the producer/Engineer plays exactly what you want. You tell him the certain instruments, certain sound, you arrange where the hook and break down it and after that you drop your vocals. Can that producer/Engineer claim the beat and they want 50% of Production and you get 50% of writers. Is that a Fair exchange?
Thanks a lot king….pls in my case am the producer and also the record label so how do I deal with this situation bcos the artist is paying nothing for now
So I produce the track have the artist come into my studio record the artist vocals have it mixed and mastered and than put song some of the songs out thru distrokid for the artist what should my deal look like with the artist
A producer was going to charge me 200$ for a beat but then said he automatically gets 50% on royalties. I offered him 20-25% on royalties and we still couldn't come to an agreement.
Had a similar experience, producer wanted 50% publishing, 20% royalties and a percentage from money earned off live performances. Long story short, same song different production
You make good points. Especially regarding the artist, engineer, studio time and so on. This is why I do everything myself now. I don't focus on artists at all, it's a waste of time because most rappers have bipolar disorder. To save stress I only release instrumental albums now, and rap on my own beats if I feel like it. Releasing a 'beat' isn't enough. You need a catalogue that people can listen to, and if an artist wants to buy one I'll remove it from UA-cam/Spotify once I'm paid. I've got producer friends who rap/sing on their own beats and it's less hassle. Do it all yourself (Inc registering your work) and it is an easier life. Plus you will own EVERYTHING. Hopefully that helps somebody - I'm not on here to argue it is just MY opinion on how I do things.
How much % should a producers get from upfront sync fees ? 17:20 only reason why I’m asking it’s because logistics showing me to create a app or questionnaire that allows people to answer questions from the artist standpoint that will generate a contract for producer! 18:41
It completely depends on the usage. A synch on TV that is only aired in America is gonna be way less than one that has worldwide territory rights. Depends if the synch is for TV, online, movie etc...
That's why i give 50 -50 thanks for bringing this out.and i actually felt like why should i give 50 percent of my publishing and they do push the tracks with me. But i got my instrumentals at a deal.
Educate! 🔥 What we'd add is not be 100% particular with distribution some people have Sony companies like AWAL and The Orchard so the splits in their systems aren't so clear, BUT since it's a contract artists/labels are still obligated to pay those royalties as it's really not the distributor responsibility anyway, so we'dadd an audit clause to make them show the books if need be. Also point of clarification on the composition side: by Publishing you also meant PRO side too right? As in usually 50% PRO is also 50% Publishing right?
Yeah so at the PRO if the writer and producer split the composition 50/50 then on the publisher side it will reflect the same thing 50/50 and thenyou can add administrators form there. If some one buys the publishing from one of the two or a share of their publishing, you'd add them in on the publishing side ONLY!
@@MusicMoneyMakeover exactly. Just making sure what was said and understood are the same because as you said, publishing can be bought and split up different ways but that won't necessarily impact the pro side of the composition. But in the early days they may be one in the same. Thanks🔥
Okay So say I bought a beat from a producer, we split publishing 80/20, I record my lyrics onto there, is that how the “controlled composition” is made? N for that being said , having to pay 100% mechanical royalties at the minimum statutory rate, meaning I only have to pay the 20% of that 100% of the minimum statutory rate? So the minimum is 9.1 cents per song, would I take 20% of that to calculate the mechanical royalties to split with the producer? Thank you!
The sonics of a record is what matters the most ........producers who even guide the artist with reference tracks, and pre written hooks , should even get more , lots of so called producers today are just beat makers not music producers , who can create production on the spot with the artist is not seen as much anymore.... if you only using software no hardware creating production that already puts you in the beatmaker that should make less category. If Dr Dre made your track you should get only 25% as he still mixes with analog multi track , no eqs in pro tools before dumping it there . giving that rich sound... that processs alone is time consuming and costly where all the money should be deserved.
Honestly we looking at this as a major label / artist stand point. Getting 4% is different when you getting 20k or 100k or more upfront to produce a track. Or even 5k if you just delivering the stems. But on the independent side most producers or not only producing but recording/mixing/ and mastering the song. We putting in the most hrs on the song and sometimes bring in another musician to play on a recording. For me that 50%.
Using todays rap as an example…. Isn’t the producer the one making the magic happen? We aren’t listening to acapella songs, and most of the popular music is NOT bumped due to the genocidal , superficial ignorant lyrics… it’s the beat that sets the vibe and gets the head nodding, no? I think 4% of masters is ridiculous . If the label MUST have 80% , then I think the producer should be entitled to at least 10%. Some of these artists should be the ones getting 4% . Maybe even less due to some of the content they are pushing . Some of these lyrics today would make the KKK smile. Am I wrong ?
@@FeR-kt1jt 💯. If producing a song for a major artist that’s under Sony, I’ll take that 4% because they control radio and streaming playlists. But independently the producers and artists need to work as a team.
I always get mad when producers ask for 50% that made me set up my own production firm and now I charge whatever percentage I and the artiste agree upon, it all falls down to the Artiste and Producer in my opinion, I have gotten beats with royalties and some with no royalties at all it all falls down to your agreement with the producer I have met producers who literally don't care about royalties just pay them off and they are good.
That's why I say artist learn music. This is the music business.....so learn music and music theory, or find some real musician and write your own music and pay only the producer/producers that is there physically producing.
Producers should get 50% of everything the artist makes, not the label we don't care what the label did with the artist we agreed 50% of the monies paid or collected by the licensee (artist) from the song made with the beat.brev we might never get any other artist or sale thats how we gonna eat brev edit: of course i will provide mix and master for free for every beat, it they dont like the first then we'll continue until they like it. also promo on my website, socials etc becouse we will both benefit of the song being streamed etc. and if the license costs 155$ (unlimited) then i will give them permission in the license to keep 155$ from my royalties so they can get their money back and the money that we will make will be the 50/50. more fair than that i cannot think of.
Help. So if I have did LOC/Copyright office do I need BMI. BMI asks me do I have a PRO. I said no. I don’t know what loc is now. And I don’t want bmi think I lied because I am reading and listening and learning what’s what.
11:01 bad analogy they didn’t hire a pacific farmer to grow a pepper. The farmer worked for that company so no. now if they reached out to a farmer, that grew one type of pepper and I was in a contract. He may be entitled, depending how it is structured. 12:05 that sound better
I think this video clears a lot of things up because , yes some artist dont understand coming to an agreement. But some of these producers leases are kinda crazy when you really read the agreement they be worse than 360 deals. In this game As an Indie artist i have spent just as much money if not more than a beat maker or producer on just getting a single made. They have to understand we all trying to make it somewhere and its better with each other versus by your lonely because no one wants to work with you. Dont drain the life out of artist and then when they make it big you want more, make these agreements make since at ALL levels not just when you get a placement. Make sure you respect everyones area they are at bc they may be starting or more intermediate but dont take people for granted just because you think you can. Good business starts with whats in your heart. Be real and Be honest it will take us all a lot further.
Honestly, I don't pay twice. I offer producers the opportunity to invest the beat for royalties or Im buying rights and publishing. It's one of the other with me.
They do not deserve 50% they provide the beat that the artist paid for even though the same beat is being sold to any and everybody. 2 they don’t mix or master any vocals nor be present for the studio session that the artist pays for and last they do not repost or promote it’s just yea i good you can release on all platforms then you run into content Id and monetizing issues
The Producer owns the composer half of the PA copyright, how can you logically not feel they deserve what the law deems their right? Without that music you would have no song, just an accapella. Maybe just start creating your own music to avoid paying others.
All of this is to be negotiated. If the beat maker is not present for the session they have to realize that their beat is not the only thing that the composition is comprised of.
If I paid for the unlimited license or exclusive to use the beat. I'm not giving away points/master rights of the song I created. I do split 50/50 on the writers share all day
@@WillTheWeirdo never a problem with paying others or giving them their credit I’m jus saying to sell the same beat to multiple artist and sit bac and collect 50% is an issue I know better so I’m doing better that’s exactly why those same composers are selling bundles now with verses from artist like Jadakiss that has been used and released already years ago
Only reason they dont deserve 50% is because they dont pay for marketing, promotion, art, etc that goes into the finished work, which arguably is why theres any royalties to begin with. People may hear a beat because they like the rapper, but no one hears a beat then tries to find songs that use it
This is why I’m happy I started making my own beats & I been recording, mixing & mastering & engineering all my music for the past 10 years & I have my own set up to continue doing so.
I plan to buy more equipment & equip myself with more knowledge.
That’s why I’m here watching this video aha, I’m very happy with my progress but I still got so much to learn.
Definitely, a big plus to do it all on your own, congratulations - the downside I feel doing the same as you for many years is .. I miss these collabs and being together, that's what music is all about, and learning from each other - learning from other mixing engineers how they would do stuff - and other producers how they approach their lines!
Smart to learn it all, being aware what's going on and good to also get out there and get this experience with others - That's where the real experience comes from, when we get out of our fortress ;)
facts
Same fam same 🤣🤣😂
As a fellow beatmaker I look at it like this. Take away lyrics from nearly popular song and you still have a solid instrumental people still listen to regularly. On the other hand you have basic lyrics that don't sound good alone in a lot of cases.
Facts😂
Couldn't have said it better myself, I don't know when music producers stopped being called artists, Music without words is still music and words without music is a poem or story
But the finished worl requires promotion, art, engineering, etc. none of those expenses are covered by the producer and without thise the finished work gets no plays, no plays no royalties. The producer already got paid upfront, but wants 50% of the backend too but doesnt do anything to actually sell the final product. Im fine with some, but not 50%. Im cool with 50% after expenses. Expenses dwarf the initial cost of the beat.
And i disagree theres tons of shitty lyrics on good beats and good lyrics on shitty beats. Promoted correctly and both sell
Yeah but how many instrumental tracks are at the top of the radio and streaming charts?
@@wonderwallz99 at the same time how many accapellas are? It's a joint venture. Best to just do it all like I do. Write your own lyrics and produce your own beats.
Engineers are the miracle worker for both producer and artist
They still shouldn't get half. May be a quarter.
@@mysoundmindz I agree but I Engineer and Make Beats so a Win is a Win lol.
@@mysoundmindz Engineers deserve a hell of a lot more than producers. Without engineers, all your favorite rappers would sound like sh*t.
A real producer will run the session,including coaching the vocal(adding/replacing lines)telling the engineer(or engineering) what to turn up/down,how they want the sound eq'd,and be apart of the final mix session..unless the label wants to use someone else to mix the record....I'm still receiving checks and signing new licenses years later....the higher your skill set,the more you will be envolved and BE KNOWN for being envolved
The better your demos sound(not just the beat) they will began to ask where did u record that,and that's when the magic starts to happen
The main frequency is based on cooperation and mutual Respect,when the artist and producer are on the same wave GREAT records and Relationships are made...always approach it as a formula Not a ONE and DONE
@@BrianG8367 You have producers and audio engineers mixed up there buddy. You say a lot of stuff but none of it is true. Let me guess, you don't have any real music and have never been in a real studio? Gtfoh, you children don't know what a producer is. Producers make beats, executive producers push the product and do much of what you claim a "real producer" does, while an AUDIO ENGINEER receives the stems from the producer, records the vocals, mixes the song and the vocal, and sends it to a mastering engineer. It is very likely that you can do all of those jobs but from day ONE the producer has only ever been the beat maker.
i produce for ppl/myself and i’m an artist - here’s the thing - producers are essential, yes. - but at the same time producers get a few AND 50% AND never have to promote or perform the song etc.
so people definitely need to rethink everything- producers get the same thing as artists when producers job is done - but the artists has just begun.
pub splits 50/50 - records idk bro 20 max even if i was indie - cause you’re getting paid off top and i have to pay for everything and do everything from here on out 😂
you prob know this, but saying for others. pub splits vary. if its country, the producer rarely gets writing - for example. they get their fee, 50% recoupable.. plus points. alt, pop, indie, and similar.. the producer is usually in the room co-writing and making the music with everyone in the room. pub splits usually even in those cases. there are 'track' people that ask for pub and usually get it because they're in the room.
producers get paid fees because they invested in the gear, plugins, etc.. plus host a studio space (some charge a studio fee).. and the artist takes the song and has more upside. artists get money from touring, merch, etc.. and the producer doesn't.
for indie on the master.. if they can't afford a fee, 50% is usually fair -- net of course. this way the artist can promote the record. i posted a diff comment here if you sort by new.
Should be 50/50. Yes, artists do all the promo, but they also get all the money from the promo and shows.. Producers ain't getting that show money. Producers should get 50% of the publishing because they made 50% of the song.
Thank u bros. Explain to him
I'm doing that for myself as a independent producer
They should get half of the writers side bc they wrote have of that song.
If they were not in the studio to produce the record, then they didn't produce half of that record.
When this is the case they should come off some of the publishing side of that finished new song. I think 20% is fair.
This would mean if a whole song is split 50% for writers and 50% for publishing, then the person who produced the in studio session deserves 10% of that publishing.
😭😭😭😭 Casey I'm so tired of nobody knowing nothing but screaming like they do. It's crazy. Thank you so much for letting them know. I learned the rest of the game after studying with you in 2020 from LearnMBE and they come from Warner, Universal, and Sony and got my music business certificate and these producers STILL think they know it all smh.
Now I will say you should mention on the Publishing side that the publisher is going to want the publishing for working and administrating the composition. Many music lawyers agree when these beatmakers make a beat and it's without the artist present, that's important to note. At that point, publishing isn't even on the table for the producer. Only masters since the recording was all that was dealt with. Time and space matters. If we were together and you made the beat tailored to my flow of lyrics I wrote already or I wrote lyrics simultaneously as you were making the beat, that's composing. Of course, like I seen someone else say, all can be negotiated down here at the independent level.
As a music artist and producer myself through five different decades now, I see both sides of this coin. However, I had come to realize that I just don’t want to have to split percentages with producers today when they literally can produce up to a dozen beats a day. Producing beats IMO is the easiest part of music making and creation now. And If I am paying you $500-$1000 for a beat that I end up having to remix anyway (because most beat makers today don’t know how to actually mix or master the levels correctly), write lyrics, produce the song and the master recording and finally promote and push the record. Then some of the beat makers still want 50%. No thanks. I have gotten to the point, I will just do it all myself. Make the beats, write, record, mix, master and promote.
I don’t think beat makers deserve 50% when all they do is supply a beat, that most times can be created in less than an hour today. If they are making $500-$1000 off that beat, they are making damn good money. On a good day, I have created 6-7 banger beats with a couple of fillers as well. So if I can make 8-10 beats in one day, I know super fast producers can do more than that. And with AI on the forefront today, beat-makers are not gonna be able to charge crazy amounts and percentages much longer.
The artist and the label are the ones taking all the risk today. And beat-makers make more than most independent artists make today. Like I said, I am saying this as someone who works both sides of the music. Artist, beat-maker and producer. The music world and environment is quickly changing in today’s world. And beat makers need to either adapt and provide more friendly terms, or they are going to see their revenue streams dry up and disappear. Mark my words. After nearly 45 years in the music and film industry. 🤷♂️
What you just described is not a professional music producer, that’s an amateur beat maker. Especially if you think the easiest part of music is the track, you’re absolutely going to get shitty trks.
@@willnadaout of everything I wrote, this is what you came up with? 🤦♂️🤦♂️🤦♂️ The majority of these “beat makers” out there are flexin as producers. That was my point…
Anyone making a dozen beats a day is using samples for a start and it could b argued that someone assembling beats from other peoples sounds is essentially a glorified dj not a music producer
@@TrippyTechnologyMusic good point!!! Btw they getting paid up front off a sample track that may not get cleared. So that can be $500 down the drain for the artist. They also lease beats for $20 per download hundreds of times, then exclusive rights still doesn't mean the artist owns the beat. The traditional way these contracts work are not in the artist favor at all. Artist Please Learn The Music Business Before Making Another Record 😢😢🤞🤞👍👍
@@blackrocky6605 well said and on point.
Nice vid but as an entertainment attorney I feel I need to give some realistic expectations for producers. There is a difference between a "producer" and a "beatmaker". Producers generally see the record to completion from making the music, to the studio session, to getting the best performance out of the artist, arranging the song, etc. A beatmaker makes a beat. If it is a beat already out, probably also leased to someone else or a "xxxx...type beat," it is unrealistic to expect a payment and to get points (a percentage point of royalties from the artist's share of royalty percentage). Why? The question the producer needs to ask themselves is: Does your producer name add value? Is it a signature sound no other producers sound like? Does saying produced by so and so make anyone want to listen to it? Can the label or artist use the producer's name to market the record? If not, probably no royalty percentage, just a payment. Saying an unknown beatmaker is entitled to 4-5 points [4-5% out of the artist's royalty share (generally 18% up to 50%, )] is not realistic and any artist signed to a label, whether Indie or major, will think you have no idea what you're talking about and just find another beat because 4-5 points is known producer territory and 10-15% is celebrity producer realm. A sample based beat or a beat using bought royalty free melodies and chords make anything other than a payment even less likely.
If the beat maker/producer and the artist wrote the composition and was part of the project from the beginning (meaning I didn't have to pay anything up front for the beat ) then Yes the beat maker should get half of the master. If I paid for the unlimited license or exclusive to use the beat. I'm not giving away points/master rights of the song I created. I do split 50/50 on the writers share no question
And who’s going to promote the song after 50% split?
@@yhaww_kill Ok and how are you gonna rap without a beat mixing and mastering, this is label talk people are leaving labels and doing it themselves, everybody is eating now and the label isn't invited, thus is why they are pushing Atmos because they are scared.
people complaining but y’all gotta understand if you want master royalties 5050- then let’s also go 5050 on all expenses lol - again i produce for ppl too but my artist side kicks in and ppl have no idea how much more annoying it is to be an artist - much love and respect to producers but your job is done when the song is turned in
You deserve WHATEVER you can NEGOTIATE, BOTTOM LINE! When your services add VALUE, you make your OWN price point!!!!!
True but you also have to know when you're crossing the line. Crossing the line will sometimes get you kicked out of the room never to return. Always be sure you know where the line is before you push it or cross it so you can still make the deal happen.
@@MusicMoneyMakeover I'm following your lead, TRUST ME!
@@MusicMoneyMakeover Yep, and that line starts with the composer half of the PA copyright.
Right! Like nobody really can say what’s fair.
All facts!!! You determine your own value. In my case, all beats are composed from scratch and I never come up off of my rights.
This is exactly what I’ve been looking for. As a producer I’ve been railroaded by artists and it has been my fault for not understanding business and lowballing myself. This is exactly what I’ve been needing. I just subscribed and I am going to invest in this material. Thanks 🙏🏿
You're welcome
If you have to do a album project, then that artist or his producer has to pay that engineer a flat scale hourly rate.
I think people are getting producers & the engineers mixed up. Study the clarity of each. Back in the day, these two severed different special duties in the production arena.
let him produce himself, clear his own samples, mix his own record, and master his own recording, then let him film his own video, market his own song, manage his own career, and form his own label, and be his own accountant.
Independent route
Basically let you cut your own wood, make your measurements and make your own table, sand it , bake it, paint it, prime it, assemble it, cure it and put it your own dining room. Charge your own price for the product ,service, delivery and set up. Keep your own inventory and invoices. Most gas stations and bars don't advertise and there still is demand. It can happen. Mind over Matter
I read your comment as sarcasm because most underground rap artist dont know music theory, dont know anything about music, most of them dont even know what 16 bars is. I always make sure I have sample clearance before I send out a beat to an artist. I have to purchase those loops and I also add my own sounds on it. I had to purchase a laptop, MPC, GrooveBox, Microphone, Guitar, Keyboard, Record Player, CDs, Vinyl LPs, Studio Monitors, DAW, College Music Courses, Marketing tools, Plugins, VSTs. This is not counting the years it took for me to have my own sound. And the artist/label want to pay me peanuts? Nah bro. I could have spent the same dedication and time on a small business and would have made a million dollars by now by running my own thing, but I chose music for many reasons. It doesnt mean it has to be Cheap just because I love what I do.
@@JDvirtexactly your work your rules. Heck demand 80% of the royalties if you want lol. If the rapper doesn’t like it then let them spend hours in the studio and compose their own damn music.
legendary comment@@BeeLineInternational
As the "writer", "producer", and "engineer", I still give Distrokid royalties of 65% and CD Baby royalties of 60% (Depends on whether it's a collab, or a remix with the original producers approval)
Why so much? Will you explain to me how that is so high? Because as a music writer, producer, artist myself, the percentage I give to CD Baby is much lower than that…
@@DangerousDevilOfficiali think hes explaining a split
None of this matters. Every contract is independent within itself. Whether you negotiate 50% or not is your business, literally. There is no rule that says you need to follow the "industry standard". Ask for what you want and know your worth.
They are trying to standardize prices and rules in an unregulated industry. No two producers are the same. Each producer determines their own worth. Each producer's Brand has different power and influence levels. Artists need to stop crying and if they want more percentage learn to make their own beats.
@@PresidentProductions You act like it's hard. I started making beats a month ago and already got most of them sold. I am not a pos producer who asks for ungodly amounts of royalties either. Creating beats is simple and one of the simplest things in the composition of making music. Vocal editing takes 1000x more skill than producing beats ever will. Sitting down and writing takes a lot more skill and brain power. I have set up and arranged 6 beats in a day before. Your job isn't hard, producers who are willing to negotiate that percentage down are a dime a dozen and I can sit and listen to any of your beats and come up with a composition that will fit my lyrics within 20 minutes. You idiot producers do nothing but take advantage of artists.
@@PresidentProductions facts
Your a straight up genius for this video. I also really appreciate this subject being spoken on as the game is failing as result of ignorance of the true functionality of music business. I personally think that you took the thoughts right out of head. These new age producers are extra silly and beyond goofy with there basic understanding of what they feel they deserve but did not truly earn. Honestly, I couldn't of said it any better. Big ups for taking the time. It was necessary.
I’ve been doing this for years bro! This information is more of what you feel. I worked with most of these labels on the production from the 90’s to now. Some artist just want the beat and will record while in tour, I still got my 50%. It’s still my work. If they had anything extra played like on a record that I did, a discussion was had first. It was always work for hire or they get a agreed percentage. Everything is negotiable in this game, nothing is done one way. What you saying is more of your opinion of how you feel it should be.
I think you’re referring to leasing the beat? If you’re not giving exclusive rights then yea this will be the case. They don’t own your beat, so they would need permission to use it for touring or anything else.
You should also think about it this way. When your beat is finished, you’re getting paid and transferring over rights from you as the creator to the user or the artist. It’s always been this way in music, movies, books etc. I own an e-commerce business, i had a graphic designer help me design my logo, the graphic artist gets paid and transfers rights over, however if my logo ends up on a billboard, he doesn’t get to message me and attempt to claim any more than what was agreed. The graphic designer should not get paid royalties when the logo is on a magazine or a water bottle. Therefore the beat maker should not get anything after publishing is done and done. This is regarding exclusivity rights of course.
Then produce your own record thanks - management
Bruh u got me Fd up 💯 I run my own independent label and I do EVERYTHING on my own I write and make beats so if I make the beat and write my verse and mix and master and all u do is write 16 bars …. Yes I get 50% cause all u did was write.
In your case, absolutely 💯 but not for them cats that just makes a beat and don't own equipment buildings or none of that. You bringing 50.
If you do ALL the sound work AND have a feature on. You're getting more than 50%! Maybe 75%. 50 for sound work (beatmaking and engineering) and 50 for the recording artist. If you're all sound and one of two recording artists it should be 75%.
Same here bro.
8:48 that is fair. We did our part. This music is half of the composition. I need my publishing and my royalties
As a music producer I learned that most underground rap artist dont know music theory, dont know anything about music, most of them dont even know what 16 bars is. I always make sure I have sample clearance before I send out a beat to an artist. I have to purchase those loops and I also add my own sounds on it. I had to purchase a laptop, MPC, GrooveBox, Microphone, Guitar, Keyboard, Record Player, CDs, Vinyl LPs, Studio Monitors, DAW, College Music Courses, Marketing tools, Plugins, VSTs. This is not counting the years it took for me to have my own sound. And the artist/label want to pay me peanuts? Nah bro. I could have spent the same dedication and time on a small business and would have made a million dollars by now by running my own thing, but I chose music for many reasons. It doesnt mean it has to be Cheap just because I love what I do.
It depends if i pay for the beat the producer is getting no royalties until the song gains traction because i came out of my own pocket. If i didnt i will contact them before i drop it and let them know because I already loose money buy paying for content id and ads I have to give my investor 25% of the royalties. artist 50% producer 25% investor 25%. But I realized by doing this im loosing a lot of money I might change my splits to benefit me in the future because i mix master record and write all my songs.
Your right on this video....
End of the day, 1st impression is always the best impression.
"Longterm commas in the account.
Depending on the amount relationship respect"
what about offering a discount on production to retain some master rights / higher producer royalties?
Bro u explain everything with so much detail. Real Informative 🤯
this video was excellent. up to date information and explained very clearly. great job Casey, thanks for getting everyone on the same page
Whether you call me music producer or beat maker, if you don't get my music its just an acaplla. That's why its 50%
💯
Long time producer manager (ex A&R, Artist manager) . Hip Hop and Dance/EDM have skewed a lot of the publishing side of this. Beats are really important for those genres. For whatever reason, most say the beat maker deserves 50% of the publishing for that. I disagree, but it happens often. The only headaches I have are when I work in those genres.
Alternative, Country, Indie and Pop work differently. Co-Writes are different too. Example for my world: Producer writes / makes the music in the room with the artist and/or co-writers. 3 in a room, it's 33.33% for each (33.34% usually to the artist, to equal 100%). Producer doesn't really get a buyout, in a sense. Lets say a producer's fee is $10,000, the standard is 50% of that is recoupable against royalties. So, essentially.. half of it is an advance.
Now, with small artists with zero budget: You'll see artist managers offering 50% of the master with backend upside. For example, Artist has a decent following.. you let them spend the budget on marketing, etc.. you get 50% of net income from the master. I would typically ask that all syncs are included in this agreement.
There are no rules in music. Fighting over splits will ruin your reputation. Early days there's no money and everyone fights. The top songwriters are more generous with splits because they are confident they will have more success. In the lower levels of the industry you see a lot of ignorance and fighting over 2.5%. It's a long game. GET CREDITS. Credits will get you more cuts. More cuts means more opportunities. More opportunities means more chances at getting a hit.
I have notifications off for youtube replies.. so I apologize if I never get back to anyone. Again, no rules in music.. and if people screw you, karma is real.. just keep working and work with good people.
Okay So say I bought a beat from a producer, we split publishing 80/20, I record my lyrics onto there, is that how the “controlled composition” is made? N for that being said , having to pay 100% mechanical royalties at the minimum statutory rate, meaning I only have to pay the 20% of that 100% of the minimum statutory rate? So the minimum is 9.1 cents per song, would I take 20% of that to calculate the mechanical royalties to split with the producer? Thank you!
Hfa, Music Reports, the MLC and Mcps have to do with masters but they are on the wrong side of the chart in The 2 Rights of Copy part of this @ 3:28
Knowing the business makes all of the difference. Thank you Casey you rock!👍❤️💯
That's why I rap and make the beats 😂💯
producers spend no money on promotion on the song that makes the song money generating anyway
I do..That's what takes a producer to executive producer.
Broooo your phone call was a life saver. Oh She Ft Zaytoven out on all platforms. Cory check that thing out
Thanks I was just listening to it the other day! I gotta send you that email.
It really depends on the project and the particular artist and producer involved I think some producers deserve more than 50% when the beat or their name is the driving factor of the tracks success. People don't go to clubs and PAs to listen to acapellas. For that you go to a wine bar and listen to spoken word and applaud by clicking your fingers
💯
Some producers have a larger name and require a larger compensation yes. But for the most part, y’all are not wondergirl or skrillex so why tf is anyone asking for more than 50%
honestly, in the beginning of the video I wasn't sure if was going to agree with you at all. This is so well said and put together that one cant help but concur. Not enough chiefs explaining how this goes. I've been creating income from music for more than 15yrs now, and can fully back you when you say that new artists/producers just don't understand the scope nor the field of grass that the snakes are slithering in.....
If the beat maker makes the beat , records the Vocs , put the polish on the vocs and all the scrubbing of the vocs and so on, and the artist only dropped the vocs , I think when it goes on the shelf for sell they should split the profits every time the track sells ! As far as the artist shows that’s the artist profit ! But when they’re both at home and listening to a track they both made , it should be split a joint project ! Because I have heard artist and the first thing I notice is that the beat is gunfire ! The artist don’t be saying nothing ! Point is a good beat maker helps a good artist to express himself !
Thank you Thank you Thank you! Much appreciate all that you do.
I’ve Been Tryin 2 Have This Conversation 4 Many Years…
Thank You, Great Topic Explained ✨
People forget who a Producer actually is... A Project Manager, who delivers a viable Master Recording to the Label on behalf of either the artist or production company the producer controls. There are producers, and then there are beatmakers. You are right, sir. The rights and licenses for licensor and licensees need to be defined clearly. You're doing a great job!!! Love your channel
Will that be dj khalid and puffy?
@@dayosonictv They are executive producers, not musical composition producers.
Puff iz like tha ring leader at the circus orchestrating tha talent.....dont know 'bout khalid but....he aint tha be$t
@@morrisday9916 i was listening to biggie's one more chance yesterday and i kept hearing puffy's voice underneath biggie's rap lol, i was like puffy bout to get some royalties off compositions too? like for ever. Khalid jack puffy's blue print. if the artist stop been popular, Khalid and puffy always switch to the next hot thing and the repeat the process, that's what have observed , if u look at it from business stand point.
@@morrisday9916 but he be going number 1 and getting to the bag fast with endorsement though.
What about all the engineering and instrumental worx,the time that went into the beat.all beats aint loops....and I mostly record vocals too....then the mixing and mastering...I do allatt and.more.it may take a true beatmaker days or months to perfect a beat who looks for the right sound.i write lyrics too and they are easier to lay and come up with...most our words are off the top...freestyle.js.
this is one of the best videos i have seen explaining this topic.
If the person that composed the music wants 50% maybe they should stop charging the lyricist. Maybe...just maybe.... More people should start finding composers to collaborate with rather than taking the shortcut and giving somebody you don't know, money, for a 'beat' that they composed without YOU in mind. If you always pay money for beats, that should be your goal.
I produced most of an album for a well known, underground UK emcee, plus several other side projects that we released. I fell for the 'exposure' as payment and ended up getting nothing at all. This emcee, who is constantly touring, didn't pay me a penny. I'm the idiot for going ahead believing the exposure would benefit me. Nothing came from it.
I also had a US emcee who was on Stones Throw at the time take two beats from me, paid me $100 for one, $150 for the other.
In my limited experience the emcees I've dealt with just don't want to pay. It seems that they think they're doing the producer a favor by taking your beat.
I've stopped trying to sell beats now as it just made me feel tired of the process and my music felt worthless.
The game is rigged
Name the UK artists you worked with…
Thanks for the info from Illinois grand rising Reflections peace and blessings Gods and Goddesses ASE
now on the flip side i do understand on a labels point of view because the label is paying all of the funds to market the song as a whole so i understand as a CEO i can't pay the producer 50% of the record that's why is very important to understand independency .......when you have a nice budget of your own and you are producing and writing your own material as well as marketing your own record at that point you will see 100% also being good at producing your own vocals engineering your own doing it all ......everybody is not capable of being that guy/girl but being independent is the best way to go if you have that component to do it all on your own you will be better off
Needed to hear this topic. Been searching for something similar to the talking points. I'm a artist and I do my own beats. Great shxt G🔥💪🏽
Glad it was helpful!
I've been a studio session musician, Writer, Arranger, producer, and publisher since the 70's..long before the " beat makers " type music was even used.
The terminology and title descriptions
Have changed drastically today.
What's being called a producer today,
Wouldn't have been labeled that.
A Producer is a Producer, someone who makes beats is a beat maker.
I dont really know where a person draws that line. That’s a strange way to frame it. A “beat” nowadays is a complete musical composition. Many times it includes melodies, harmonies, synth leads, bass lines, guitar riffs, the drums and percussion. At that point it’s literally a musical composition. “Beat” is just slang for a “song”. I mean one could argue all the musicians using synths like Moog and Korg and Drum machines for all the hit 80s tracks were “just machine users” but I dont think anyone would ever claim that.
@@ghost-user559 LOL😂
What I actually meant was that I was around when EVERY SOUND was made by a real instrument and Musicians, playing together, from Charts written and arranged by an arranger, and overseen by what was considered to be a Actual Producer.. I also have the virtual Studio now and use Vsti plugins and have Computer DAWs and a 24 track 2 inch Analog Recorder..
@@Moneyemusic_unlimited It’s true. If you have to compose a percussion section, keys, strings, synth, bass, at that point it’s just a musical composition and we call people who make those “composers”. There are certainly some exceptions where people are merely using samples or loops, then again even the greatest composers of the past used Modes in the same way modern pop music uses 4-5 chords as a standard. Music has always been based around repetitive patterns that become standard for a time. We now only use two modes, that we call Major and minor. Ultimately calling an instrumental musical composition a “beat”, is just slang. It could range from a full guitar lead, strings section, synth arps, bass lines and a percussion section, or it could be a sampled drum break with some vinyl scratches on top. But ultimately a “beat” in the modern era is just an instrumental piece with a focus on percussion and bass.
@@Moneyemusic_unlimited I understand the distinction between live session players and the in the box world, but ultimately it’s irrelevant for the composer. Mozart and Bach did not compose with a live orchestra or even an organ, they composed with a personal instrument like a harpsichord, and before that musicians used a lute or a Pythagorean mono chord to work out the composition well before any performances. A daw is analogous to sheet music of the past, except we have the benefit of being able to audition the sounds and even use sounds that can replace the real instrument via synthesis. But ultimately a Daw at its core is a musical sketch pad. One could export stems, or one could export sheet music and have a live session player finalize the composition. Ultimately it’s a testament to the progress of musical technology that we can synthesize libraries for every instrument on earth and even convincingly enough to replace a real orchestra or band.
Fantastic video
So much game in one video. Thank you
So on my exclusive agreements. I state 50% publishing and 50% writing. Artists keep 100% royalties sale. I never mention producer points in my agreement but I state a upfront fee.
So I guess at 07:35 because I'm a beatmaker I need to lower my publishing percentage?
No don't lower it but if the artist wants to negotiate be open to it.
Beatstars have updated their contracts, and now they actually list how the song will split writers share and publishing, and they have the best maker name and PRO in the contract. So the contract now is clearer than it was a couple of years ago.
beatstars is still 🗑️
@@nine27 Yea i don't use it i think its an unnecessary expense.
Beat stars is ass.
You had to get a lawyer make sure contract is legit
If they produced, mapped out arrangements for bars, hooks, and bridge's,did a mix of the instrument's arrangements worked on effects/reverberation etcetera then they absolutely deserve that percentage. Essentially all the artists has to do is through up on the mike! This production i described above is fully service which most producer's may not be able to offer and provide!😮
tell these niggas lol
I agree bump that
Great thoughtful content that's needed. New subscriber
You have great work ethic & experience. Will remember you ; )
Bro Thanks for this! You cleared up a lot of confusing for us....
Happy to help!
Everything is negotiable unless you done signed some papers you didn't understand. Great channel.
Suppose I am only the lyricist and I have copywritten my work, how do I figure in the scheme of things?
Thank you, good content deserves the sub
Great info fam!!! You stay dropping gems.
Always
@Music Money Makeover Show hello... I'm kind of new to the rapper/beatmaker world (I'm a rock & metal musician/producer myself), but I was wondering something... when rappers pay a certain price for "exclusive rights" to a beat, are the beatmakers also signing over any mechanical or master points rights they would be entitled to if the rapper used their beat to record a song and released it? I'm sure it depends on the agreement both parties agree upon, but I've talked with two rappers in the comments section on this video so far that said they don't give points to beatmakers because they paid $300-500 for "exclusive rights". Correct me if I'm wrong, but "exclusive rights" simply means the beatmaker agrees not to allow other rappers to use the beat for a certain amount of time. They aren't buying the actual audio are they? Again, I'm not of the rap realm so if this is the way it works then I guess I'm wrong. Thank you for your response.
Question. If you paid for Studio time let’s say. 4hr block for $200 and you sat there and make the beat with you mouth and the producer/Engineer plays exactly what you want. You tell him the certain instruments, certain sound, you arrange where the hook and break down it and after that you drop your vocals. Can that producer/Engineer claim the beat and they want 50% of Production and you get 50% of writers.
Is that a Fair exchange?
No its not he's just doing as you say. However you're not going to find many engineers that will want to sit down and do all of that work.
Bro I really enjoy these videos man
da sauce! go head bro teach!
Thanks a lot king….pls in my case am the producer and also the record label so how do I deal with this situation bcos the artist is paying nothing for now
So I produce the track have the artist come into my studio record the artist vocals have it mixed and mastered and than put song some of the songs out thru distrokid for the artist what should my deal look like with the artist
Great vid. Keep up tha good work young fella'
Question
I want to lease and license my beats. How do I do that Step by Step. ???
A producer was going to charge me 200$ for a beat but then said he automatically gets 50% on royalties. I offered him 20-25% on royalties and we still couldn't come to an agreement.
Had a similar experience, producer wanted 50% publishing, 20% royalties and a percentage from money earned off live performances. Long story short, same song different production
These producers are wild as fuck, demanding so much. Marketers are what make sales.
@@WeMajor154thEntwhen you say 20% royalties you mean of your master ? Of from the polishing side?
@@damientrujillo4470 they wanted in on both royalties and publishing.
Are we talking Master or Composition?
So true
You make good points. Especially regarding the artist, engineer, studio time and so on.
This is why I do everything myself now. I don't focus on artists at all, it's a waste of time because most rappers have bipolar disorder.
To save stress I only release instrumental albums now, and rap on my own beats if I feel like it.
Releasing a 'beat' isn't enough. You need a catalogue that people can listen to, and if an artist wants to buy one I'll remove it from UA-cam/Spotify once I'm paid.
I've got producer friends who rap/sing on their own beats and it's less hassle.
Do it all yourself (Inc registering your work) and it is an easier life. Plus you will own EVERYTHING.
Hopefully that helps somebody - I'm not on here to argue it is just MY opinion on how I do things.
Now that's sound better
How much % should a producers get from upfront sync fees ? 17:20 only reason why I’m asking it’s because logistics showing me to create a app or questionnaire that allows people to answer questions from the artist standpoint that will generate a contract for producer! 18:41
It completely depends on the usage.
A synch on TV that is only aired in America is gonna be way less than one that has worldwide territory rights.
Depends if the synch is for TV, online, movie etc...
it's about residuals... %s are set for a reason.. 10% for 10 years straight is better than 50% on ONE project
That's why i give 50 -50 thanks for bringing this out.and i actually felt like why should i give 50 percent of my publishing and they do push the tracks with me. But i got my instrumentals at a deal.
Thanks fam
Real gems, thanks so much for making this. Clears up a lot of confusion.
I like your content. Fuego.
Very informative… helped alot… Thanks 💪🏼💪🏼
Educate! 🔥 What we'd add is not be 100% particular with distribution some people have Sony companies like AWAL and The Orchard so the splits in their systems aren't so clear, BUT since it's a contract artists/labels are still obligated to pay those royalties as it's really not the distributor responsibility anyway, so we'dadd an audit clause to make them show the books if need be. Also point of clarification on the composition side: by Publishing you also meant PRO side too right? As in usually 50% PRO is also 50% Publishing right?
Yeah so at the PRO if the writer and producer split the composition 50/50 then on the publisher side it will reflect the same thing 50/50 and thenyou can add administrators form there. If some one buys the publishing from one of the two or a share of their publishing, you'd add them in on the publishing side ONLY!
@@MusicMoneyMakeover exactly. Just making sure what was said and understood are the same because as you said, publishing can be bought and split up different ways but that won't necessarily impact the pro side of the composition. But in the early days they may be one in the same. Thanks🔥
Okay So say I bought a beat from a producer, we split publishing 80/20, I record my lyrics onto there, is that how the “controlled composition” is made? N for that being said , having to pay 100% mechanical royalties at the minimum statutory rate, meaning I only have to pay the 20% of that 100% of the minimum statutory rate? So the minimum is 9.1 cents per song, would I take 20% of that to calculate the mechanical royalties to split with the producer? Thank you!
Great vid...
... Just became your newest sub... 👍🏽 👍🏽 👍🏽
Ayee Thanks!
The sonics of a record is what matters the most ........producers who even guide the artist with reference tracks, and pre written hooks , should even get more , lots of so called producers today are just beat makers not music producers , who can create production on the spot with the artist is not seen as much anymore.... if you only using software no hardware creating production that already puts you in the beatmaker that should make less category. If Dr Dre made your track you should get only 25% as he still mixes with analog multi track , no eqs in pro tools before dumping it there . giving that rich sound... that processs alone is time consuming and costly where all the money should be deserved.
Good material captain.
Honestly we looking at this as a major label / artist stand point. Getting 4% is different when you getting 20k or 100k or more upfront to produce a track. Or even 5k if you just delivering the stems. But on the independent side most producers or not only producing but recording/mixing/ and mastering the song. We putting in the most hrs on the song and sometimes bring in another musician to play on a recording. For me that 50%.
Using todays rap as an example…. Isn’t the producer the one making the magic happen? We aren’t listening to acapella songs, and most of the popular music is NOT bumped due to the genocidal , superficial ignorant lyrics… it’s the beat that sets the vibe and gets the head nodding, no? I think 4% of masters is ridiculous . If the label MUST have 80% , then I think the producer should be entitled to at least 10%. Some of these artists should be the ones getting 4% . Maybe even less due to some of the content they are pushing . Some of these lyrics today would make the KKK smile. Am I wrong ?
@@FeR-kt1jt 💯. If producing a song for a major artist that’s under Sony, I’ll take that 4% because they control radio and streaming playlists. But independently the producers and artists need to work as a team.
I always get mad when producers ask for 50% that made me set up my own production firm and now I charge whatever percentage I and the artiste agree upon, it all falls down to the Artiste and Producer in my opinion, I have gotten beats with royalties and some with no royalties at all it all falls down to your agreement with the producer I have met producers who literally don't care about royalties just pay them off and they are good.
That's why I say artist learn music. This is the music business.....so learn music and music theory, or find some real musician and write your own music and pay only the producer/producers that is there physically producing.
This was so good and it shedded light to artists that do both vocals and arrangements doing the 60 / 40. Also, I love Tabasco.
👏🏽👏🏽Great info👍🏽
This applies mainly to hip hop/rap music
Producers should get 50% of everything the artist makes, not the label we don't care what the label did with the artist we agreed 50% of the monies paid or collected by the licensee (artist) from the song made with the beat.brev we might never get any other artist or sale thats how we gonna eat brev
edit: of course i will provide mix and master for free for every beat, it they dont like the first then we'll continue until they like it. also promo on my website, socials etc becouse we will both benefit of the song being streamed etc. and if the license costs 155$ (unlimited) then i will give them permission in the license to keep 155$ from my royalties so they can get their money back and the money that we will make will be the 50/50. more fair than that i cannot think of.
Help. So if I have did LOC/Copyright office do I need BMI. BMI asks me do I have a PRO. I said no. I don’t know what loc is now. And I don’t want bmi think I lied because I am reading and listening and learning what’s what.
11:01 bad analogy they didn’t hire a pacific farmer to grow a pepper. The farmer worked for that company so no. now if they reached out to a farmer, that grew one type of pepper and I was in a contract. He may be entitled, depending how it is structured. 12:05 that sound better
I think this video clears a lot of things up because , yes some artist dont understand coming to an agreement. But some of these producers leases are kinda crazy when you really read the agreement they be worse than 360 deals. In this game As an Indie artist i have spent just as much money if not more than a beat maker or producer on just getting a single made. They have to understand we all trying to make it somewhere and its better with each other versus by your lonely because no one wants to work with you. Dont drain the life out of artist and then when they make it big you want more, make these agreements make since at ALL levels not just when you get a placement. Make sure you respect everyones area they are at bc they may be starting or more intermediate but dont take people for granted just because you think you can. Good business starts with whats in your heart. Be real and Be honest it will take us all a lot further.
I’m getting my 50% 💪🏾
Honestly, I don't pay twice. I offer producers the opportunity to invest the beat for royalties or Im buying rights and publishing. It's one of the other with me.
Link to your music?
This isn't something anyone needs a video on. If you write the music you own half the song. The End.
They do not deserve 50% they provide the beat that the artist paid for even though the same beat is being sold to any and everybody. 2 they don’t mix or master any vocals nor be present for the studio session that the artist pays for and last they do not repost or promote it’s just yea i good you can release on all platforms then you run into content Id and monetizing issues
The Producer owns the composer half of the PA copyright, how can you logically not feel they deserve what the law deems their right? Without that music you would have no song, just an accapella. Maybe just start creating your own music to avoid paying others.
All of this is to be negotiated. If the beat maker is not present for the session they have to realize that their beat is not the only thing that the composition is comprised of.
If I paid for the unlimited license or exclusive to use the beat. I'm not giving away points/master rights of the song I created. I do split 50/50 on the writers share all day
@@WillTheWeirdo never a problem with paying others or giving them their credit I’m jus saying to sell the same beat to multiple artist and sit bac and collect 50% is an issue I know better so I’m doing better that’s exactly why those same composers are selling bundles now with verses from artist like Jadakiss that has been used and released already years ago
@@hobbyfreebird I split the 50 I do feel they don’t deserve the full 50 though jus my opinion
I appreciate the clarification
Only reason they dont deserve 50% is because they dont pay for marketing, promotion, art, etc that goes into the finished work, which arguably is why theres any royalties to begin with.
People may hear a beat because they like the rapper, but no one hears a beat then tries to find songs that use it
Industry rule number four thousand and eighty.....
Writing my own lyrics...Composing my own music recording...
Peace to Q-Tip
Being independent don't get involved before you handle business with artist and producers
Not one producer has ever accepted the splits on distrokid trying to do right but after months of no acceptance I remove em
Gotta do what cha gotta do. It is mainly because Distrokid makes you pay $20 a year for processing
So who gets to control the right of the publishing? The artist or producer? I understand is a 50/50 ownership right?