The college down the street from me teaches an entire class on music business and every aspect of deals. It is taught by a member of the Recording Association by one of the most prolific songwriters out there.
@Thanos TM జ్ఞా most artist get shafted in the industry tho. nobody goes into that shit knowing the ins and outs. alot of people did sign out of desperation back in the day but the game is different now. labels arent what they used to be.
@James Young i never knew giving advice was egotistical, It is better to be independent it might be more of a struggle, But the amount of artists that get signed producers/artists and our unhappy with the deals they made and now they're stuck in a legal binding contract which they have to fufifill or face Having everything stripped from them, or deal with higher ups.
That admin deal sounds like what Master P did when he signed his distribution deal back in the day, his deal was genius because the major label obviously didn't believe that he would sell the numbers he got, and for every album he and his artist came out with, he got 85% and paid the label 15%....
I was in two ..the first in 97 I received $65.000 ..I produced 30 or so tracks then changed my name ..released three independent albums in 2000 under different names..signed with virgin aus and a German pub deal for $200000 that same year..virgin sold its share to vivendi/universal ive been stuck there for since
To each his on this, The pro that he didnt speak about was first rights, pre approved tracks, and an access to writers. When you sign a pub, lets say EMI, you gain all the years of networking that touches the entire music industry. So youll get a "whos looking" list from artists like Cher, beyonce, Taylor Swift, drake, as well as recently signed artist.... which means months/years in advance you can tailor your music, and manager to go after a HUGE Act. You also get of list all the writers who a publisher also decide to spend a 6 figure deal on which includes their contact info, so you can find someone that perfectly matches your style of producing. So 50% to swim in a pool thats worth Billions, Give you a 6 Figure advance ( That you can spend on whatever you want, Including but not limited to ( Building your own pro record studio, that you can make money without working, Opening a franchise/laundromat that ou can sit at home and collect, Rental properties, Bit Coin... you can buy yourself out a contract and still keep you industry connects and make 100%) Or Keep 92% of a pool of artist who might have a kid and quit mid project.
Unpopular Opinions literally the first thing I’m doing if I get signed is buy properties and companies to flip that signing money. My father is a producer and he always told me music is just a means to obtain the money you need for the dreams you really want. Because music won’t last forever.
The other thing that isnt mentioned is your music actually gets played and placement so u make money with royalties. Versus being indie where no one will ever hear your stuff
We appreciate the advice DJ Pain and StreetRunner and sharing your experiences. It confirmed the direction we want to go as new artists with publishing.
A few years ago, I took a college class on the music business from a member of the Recording Association who is quite a prolific songwriter. She warned about every aspect of the industry.
Well one thing which he probably didn't mention is that if you in a co-pub, the publisher works his ass off to push your music around, so that they can recoup the advance. That's why his music "generated way more than 6 figures" eventually. Get an admin deal from the start and your music might not reach very far. 50% of a million is better than 90% of a thousand.
What he did mention is that, these days, publishers only sign you when you're already hot. In that case, it makes no sense to let yourself be raped if you already got your name out there.
Most of the time that is how it happens. Your back is against the wall and you are given a sum of money you have never seen before. It usually happens when someone sees more value than you see in yourself.
Can’t go into business thinking like an employee expecting “boss” status you have to go in a boss to be a boss! And sustaining ownership of your publishing is for bosses! Going the indie route only works when you work it and most get caught up in the crossfire of the major’s instant validation and marketing muscle to remotely consider remaining independent. Four foundational pillars I focus on in helping artists establish & sustain independence are: 1. Growing/monetizing social media 2. Always be selling/generating cash flow 3. Establishing NEW distribution channels 4. Establishing strategic partnerships/sponsorships Don’t get followers counts mixed up w/ability & industry experience. 30 years in the game always cutting the edge for artists, I’ve seen the industry transform from the “record” industry to the “music” industry.
@@IAMEffelle are you an artist? If so we should connect! My company’s doing next level monetization for music artists on the emerging artist level no one has EVER done before & it’s going down RIGHT NOW! #BossesOnly is a mindset…not a status or title!
The key is you have to create actual great music truly great not mediocre at all and if you get a publishing deal you will be fine it will sell you will make money for them and yourself. And you have to pay them only because without them you’d have not as many networks to publish your music out to
Also, one other thing. A publishing deal is not like a record deal. In records deals (especially back in the day), you literally owed the company the money that you made. And they used all of your advance money for recordings, producers, publicity, etc. With a publishing deal, you literally get free money. The catch is that you have to recoup (make a certain amount specified in the contract) before you get more advance money. But you're never owing money to the publishers like artists have been known to owe money to record companies.
In addition to that, no two musicians/artists are treated the same. If you have two artists signed by Universal, both of them for all intents and purposes perform the same music and have the same fanbase, both have high charting gold and platinum singles and albums, both also may have the same image (Both rappers, both powerful soul divas, both blonde bombshell autotune singers, both feminine looking pretty boys, both long haired punk rocker guys, both boybands, whatever etc.) for no reason one artist will be given a lower budget for their promotional video, one artist will not get as much creativity and freedom with the tracks on their album, one artist will have a really disorganized music tour, and in some cases despite the identical success from both artists, one artist will be dropped from the label and their contract and deal will be breached. This is because no two artists in the music industry is treated the same, and for no reason people who sign deals and perform by a music label can have a completely different experience from another artist. To me I'd say if you don't care about conforming to what the industry wants you to do, and the fact no matter your success you can get dropped at anytime, get signed by Universal, Sony, A&M whatever etc. But most well known artists now are indie releasing their shit. Backstreet Boys (of all artists) are now independently releasing their music, and it's something to think about.
As an Indy artist/writer/ producer. I feel doing a co pub deal is super beneficial. If you sign as a producer for the 6 figures. You can use that money as your artist budget without signings record deal. That way you’re meeting you’re quota by using your own beats. Especially since once you are making yourself a bigger artist, you can get a bigger bag from performances, club hostings, etc
Why is life set up this way? If there's a million on table, why does the creator have to get screwed and take home like 20 grand? All cuz you fronted him a few bags, he's signing over his life? Damn man. This world is so wicked.
Only problem is Admin Deal is only good if you already got connects and get work yourself. If you a beginner a co-pub maybe better initially as rhe company should be getting placements for you AND paying you royalties on those placements.
Not if they give u an advance . All the royalties stay with them until you recoop 5hat money they gave you then after it's paid u can get royalties after everything you owed is payed back
I do not want to offend anyone. Thank you for your honest advice both of you. However I would love to have a co-publishing deal and $100,000. I am not surviving off my music yet. I am making minimum wage. I would love to make music and have a home of my own and maybe even win a Grammy like StreetRunner. Admin deals sound cool if you're a solo artist and aren't looking to be signed. But I'm a producer and would like to be signed and have my music put out to the worldwide audience. Any thoughts? Thank you for your time.
"the amount of money that my catalog generated was way more than those six figures [the advance]." It couldn't have been WAY more. If it were, he would've recouped and hit the next advance threshold. I'm not saying that his publisher didn't screw him over, but it's his job to have his lawyer advocate on his behalf and hire an auditor if he believes the publisher isn't accurately accounting. But to just sit there and claim his catalog made so much money ... bullshit.
Thank you for this information I wouldn't know about this stuff.The music industry is awful.It's easier to sell drugs or something.Maybe don't even bother with trying to make money off of music?It's sounds like a nightmare.
I dont see a problem people publishing and taking a percentage. If you hired someone to do it its the same thing but they would know the business model better
PROs are Peformance royalties collection agencies not a Publishing Company. Its just like, Sound Exchange, Harry Fox Agency and Music Reports that collects Mechanical royalties. They all work together to collect all of your royalty revenues. Admin deals are basically Publishing Administration companies that acts in a similar way as a traditional Publishing Company but without owning any rights to your music or locked into a 3 or 8 year contract deal. You can easy opt out of your contract after one year and bounce to another company of your choice if you like. Most Publishing Admins take between 10-15% in commission which is a fair deal given that they are helping you register your music all over the world. Signing a Traditional Publishing deal is pretty much a dumb idea unless you like loosing money and loose all the rights to your music. Admin deals it's where it's at as you have full control of your music and your copyrights. I use TuneCore/ASCAP combined. TuneCore offers Exclusive in-house Sync Licensing for pitching your beats to Film/TV, Video Game production companies as you can build your catalog in thier. CD Baby Pro and Kobalt offers pretty much the same thing. Many will even allow you to use third party Music Licensing Agencies for Sync Licensing. CD Baby Pro uses Songtrust as a 3rd party for its Publishing Admin.
@@charlesx5795 Works great. You just gotta keep building your catalog on there as your compositions basically populates the database for Music Supervisors to pitch your tracks to potential film, game, Commercial Placement deals. At least you Don't have to deal with paying advances back essentially a bank loan from Placment deals back like you locked in a Co-Pub deal as StreetRunner was deep into that rape for 8 years. I also self pitch my tracks directly to music supervisors as well. With Kolbat though, it's not like TuneCore or Songtrust that anyone can join, they have to sign you if they are interested in you. They don't accept unsolicited or unreleased submissions. Like Street runner siad, you gotta be active or have some placement deal. I basically signed my own self to TuneCore as its only $75. Just read the TOS aka Contract before you make that commitment and pay that $75. Many people forget to read those contracts or the fine print. I would never mess with Major Labels it's like taking out a massive student loan like 2 million dollars and you may never break past recoupment. It's a sad story for people suckered into these major contract deals and not know what they are getting themselves into. Far as I know Record Producer and Recording Engineers don"t get record deals, they are directly hired by the Record Company as an Employee. Beat Makers, Writers, Musicans and Artists usually get Publishing or Record deals.
Sign that shit get the money start a company sign producers and sell beats through the other company and other producer name problem solved. That startup money can put you in position to win sometimes
I know this is an old video but just wondering what percentage the IRS taxed on that six figure deal. I bet the taxes brought it down to a five figure deal.
Descola Bandz making noise ain’t that easy, and a lot of people you swear are making noise are real as quiet as a church mouse when you look at their profit margin
Little tid-bit. Every region of the country has a member of the Recording Association, you know, those people who decide who gets a Grammy? Before signing anything, look them up online and arrange for a meeting. Hell, offer them payment for their time and talk it over with them first. The woman in my area who is a chapter president just happens to teach a college level class on music business, i.e., contracts and negotiations. If someone you never heard of is suddenly banging on your door telling you they can make you a bunch of money, chances are good that they are nothing more than an ambulance chaser. catalog.shoreline.edu/preview_program.php?catoid=2&poid=373&hl=music+business&returnto=search
@@filthmusic but admin deals don't exploit your works they only handle the registration and paperwork so that still is not generating any revenue opportunities or get you on the charts. I know because I work in publishing admin.
