I'm very active in the music industry right now, working w/ all these artists & labels & I can tell you, THIS interview is the most important 1 on this channel. The avg ent lawyer wouldn't dare give all this information out FOR FREE. Y'all should really thank this man. This is literally EVERYTHING you need to know.
There's a *HUGE* difference between just making a beat and sending off to get a placement vs acutally physically collaborating with the Artist in the studio producing the finished record. *P-Diddy, Pharrell, Timbo, Dre, and Scott Storch* are real Record Producer's like Quincy Jones as they all oversee the entire production from A to Z all the way to the mixing and mastering stage. None of them acutally sells beats. They have their own set rates as they charge an Advance per Master Recording. Timbo was charging around $200,000 per Masters.
For every producer starting now please negotiate your own agreements. Tell the artists how much your want for your work. Know your worth. Trust me if an artists wants your beats they will paid for it. Stop selling out when you need to eat.
Instead of selling beats, why don't people Produce the finished record in the studio with the Artist as the correct way? DR. DRE, Timbaland, Scott Storch, Pharrell Williams doesn't even sell beats as they are real Record Producer's like Quincy Jones as they acutally collaborate with the Artist and Engineer in the studio that sees the whole thing through all the way down to the mix.
PG, really appreciate y'all listening to the community and getting an entertainment lawyer to break the ugly side of music (the business side) down. Please keep in touch with him and keep bringing on more music business related content for the community to get educated on. Gonna have to rewatch this a few times to let it all sink in.
Yoo every producer big and small needs to watch this multiple times and take notes!! Too much game right here and for FREE!! Producergrind the real MVP 🔥
MAD LOVE ! THIS WAS HEARTFELT. Im a producer of 2-3yrs now. From a lil city called Lawrence, ma and I tell you its tough out here for a producer. Especially, when your in a different lane of production. GOTTA stick to your guns and stay knowledgable, seriously.
@@Jon_cb also take under consideration the fact that him being in the interview gives him kind of more recognition, so it's a win-win situation i would say. the community gets knowledge and he gets more recognition :D
Y'all arent gunna do the craziest numbers on this interview but its one of the most valuable interviews you have ever done and you need to have more conversations like this, the kids are listening and for anyone who wants more information I would suggest reading "All you need to know about the music business" by Donald S. Passman
Interesting...Before I signed my Pub-Deal with Dreamworks my attorney said I had to make a publishing co. I see my company and Dreamworks split percentages on the BMI site. I understand if you dont have a pub-deal then you need to get your publishing administrated...They call it a Admin deal. The difference is an Admin deal on gets like 10-12% where a traditional Co Pub-Deal gets 50% with 10 reversion!
Some producers are looking for them quick beans because they need to eat. Getting paid $400 for exclusive rights... then that beat makes millions and you're left with $400.
Exclusive means that rapper will exclusively use that particular beats doesn't mean u lose your rights/backend as a producer. Thats misinformation. Now if u do a work for hire all the producer will get is the advance payment and no back end.
@@action903 an Advance is pre-payment of future royalties. If you get no Royalties, then it's an up front flat fee. Only real Record Producer's gets an Advance that goes against Points on an Album based on the SRLP or Net Receipts pro-rated by the number of Masters on the Album that the Producer produced that comes out of the Artist share of their Record Royalties. Let's say 3% is the basic rate. In a Producer Agreement, the Producer's rate can also be pro-rated for other exploitation of the Masters such as Master Use License in audio-visual Synchronization, forigen sales that maybe one-half the of the basic rate, record clubs, etc. Beat Makers generally don't get points because they aren't real Record Producer's like Quincy Jones.
First off, thank you guys for answering my question. I much appreciate it!! I do have a general question, because I’ve heard it said by everyone... what’s constitutes “real money” ?
Only Artists signs up for Sound Exhange as the Label or Artist owns the Master's. Producer's, Mix Engineers and Audio Engineers are only eligible for SoundExchange royalties via a *LOD (Letter of Direction)* when a *Mixer* or *Record Producer* ask for Record Points. The Artist is the one that has to send out the LOD to SoundExchange to account to Producer of Artists share royalty percentage. These types of royalties aren't made for some one that makes beats because Beat Makers are considered Composer's which is why they get Publishing as they aren't acutally producing the finished record with the Artists Vocal Peformance which is the Masters. Thats where real Record Producer's and Beat Makers differ. Real Producer's get Points as they don't even have to Make beats or compose anything to receive Points. *P-Diddy* is a Producer and doesn't make beats.
TO ALL RECORD COMPANIES LISTEN...U DON'T WANT PRODUCERS TO GO ON STRIKE FOR 2 MAJOR REASONS...1...SHOW ME ONE ARTIST WHO CAN SELL SHOWS WITH NO MUSIC BUT ACCEPELLA????...2...A STRIKE WOULD NOT ALLOW U TO PUSH YOUR MESSAGES ON THE MINDS OF PEOPLE....NOW GO THINK ABOUT THAT
I have watched alot of these type of videos. I am thinking...get a decent job......and just rock and make beats for family and friends....this shit just is not easy fam....No stress
I totally agree producers need points & half the master ownership. The industry is using an out dated model. They used to be able to claim ownership based on paying for studio time & manufacturing /pressing CD's or Vinyl but in the digital age most producers record, mix,& even master everything themselves. There's no big commercial studio or manufacturing cost anymore as almost everything is being streamed or downloaded.
Why would a beat maker need points on the album when they aren't even producing the to finished record in the studio with the Artist? Real Record Producer's like *QUINCY JONES* receive points as they are producing the final Master Recording for distribution. You don't even have to Make beats to get points on an Album as its on for the Sound Recording copyright which has nothing to do with the Musical Composition such as the Beat or Lyrics.
The Record label *OWNS* the Masters. There shouldn't be no reason for a Beat Maker or even a Record Producer to own the Masters. It clearly states in a Producer Agreement that the Masters is *WORK-FOR-HIRE.* The only time a *"Record Producer"* would own a percentage of the Masters if they are signing Artist's into a Demo-Deal with a Production Company that shops the demo Master Recordings to the labels. Once the Producer secures a Record deal for the recording Artist, the Producer assigns the Copyright ownership of the demo Masters to the Record Company.
At first he was saying “loops cannot he protected” and then when asked again in a different way, he says, “there’s definitely some recourse for that” yet doesn’t explain. Since when can music not be protected? FOH.
Illmind's BLAPCHAT episode with lamont Graves interview blows this completely out the water! You can get paid for streams on RU-vid and he didnt break down the different type of deals, admin deals (Graves recommended), MDRC, Co-Pub deal.
Artists don’t shout out their producers and it upsets me... producers are already getting fucked behind the scenes, you can’t acknowledge them publically? It’s not about clout, more attention more fans puts you in a position to create and take more opportunities for yourself... Producers deserve 50% of the master The percentage that the label takes from the artist, should be out of the artist’s 50% Im not gonna quit but damn this interview pissed me off, a lot of things I didn’t know I learned watching this. It’s a great interview guys I’m just mad that the truth
This dude didn't do a good job of explaining what Mechanical royalties are. Mechanical royalties are what you get when your composition is manufactured on a CD, downloaded from an online music store like iTunes, or streamed on an online music service like Spotify.
Mechanical royalties are only issued out to Songwriter's and Publishers for the underlying musical composition embodied on the Masters each time it's duplicated. Technically a Beat Maker is a Songwriter as they are Composer's on the Music side. A Song is 50% Music and 50% Lyrics. real Record Producer's on the other hand get Points on the Album Producer known as the Producer's Royalty which is a percentage of the Artist record royalties based on the SRLP pro-rated by the number of Masters on the Album that the Producer produced. You have two copyrights, the Master Recording and the Underlying Musical Composition.
@@DJPain1 Nope. You are getting the Copyrights mixed up bro. Take the time and research instead making assumptions because I did the homework for you. I'm pretty well experienced in the Music Publishing. Mechanical royalties is for the *Underlying Musical Composition* embodied on the Masters which is for Publishing, hint where *Harry Fox* comes in to the equation. Songtust pays out Mechanical royalties. Did I not talk to you before about *Songtrust?* Sound Recording royalties and Mechanical royalties are two entirely different royalty streams and two different Copyrights. Might want to check the 1976 Copyright Act. Sound Recording royalties such as digital Peformance Royalties from SoundExchange is for the Master Recording. Points on the Album that a Record Producer negoicates is for the exploitation of the Masters. In my Producer Agreement, my Royalty Point's are based on the *SRLP* pro-rated by the number of Masters on the Album that I contributed. The *Record Royalties* comes out of the Artist record royalties as an all-in deal from their Recording Agreement. Let's say the Artist gets 18 Points of Net Sales of the SRLP and Producer gets 3%, the Artist gets 15 Points as an All-in. There is this Mechanical License clause in my contract called *Controlled Compositions* when a Producer is a Co-Writer on a song such as composing the beat or writing the lyrics. The Controlled Composition clause states Mechanical royalties payments as a license for the musical composition based on the percentage share of the song each time the song embodied on the Masters is duplicated.
@@eman0828 I was just on tour with songtrust. Before that, I uploaded 3 interviews I did with a songtrust rep. Songtrust themselves called what soundexchange collects a 'mechanical.' They also call it a 'digital royalty' and it might be semantics. Appreciate the condescension either way, I expected no less from you.
So that’s why producers get paid on the front end because according to what I’ve seen royalties are paid quarterly such as January September so forth correct me if I’m wrong
Man, I'm confused. There's extreme amounts of music being released every single day. How is producers NOT getting payed? On the other hand, where is the money supposed to come from? I need to learn more about this.
Beatmakers whining that they aren't getting paid. The problem is they are still just Beat makers as the labels take advantage of them as the Label gets to pick and choice how much their beat is worth. A Real Producer produces the finished record from A to Z in the studio with the Artist as they have their own set rates they charge per Masters. You don't see Scott Storch, Pharrell Williams or Timbaland complaining because they are real Record Producer's, they don't sell beats. Timbo was charging around $200k per Masters.
