Industry Industry Advice

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God

Creator of the Universe
ill o.g.
Dear All:

I post a lot anyway when I have time.

Private Message me your questions, and then I'll answer one of them... preferably one a week, so I can be detailed in my response, and have time to kill.

I'll post the question, and questioner's name on this thread, and then answer.

If you do not have your question answered, it might be answered the next week.

Here are just a few rules:

1. PRIVATE MESSAGE ME YOUR QUESTIONS ONLY. DO NOT POST YOUR QUESTIONS ON THIS THREAD. I can only answer in detail questions when I have time, perhaps only one a week. Plus, posting questions on this thread will clog it.Private message me by clicking on the "PM" tab on my posts.

2. I CANNOT GIVE PEOPLE LEGAL ADVICE. Get a lawyer for that, you know that already.

3. DO NOT ASK ME WHO I AM, WHERE I WORK, OR WHO I WORK FOR.
A lot of people have PM'ed me that question, and it is in my best interest to NOT answer this question.

4. ASK PERTINENT QUESTIONS
Don't ask me, "What type of car do you drive, etc." Ask me something about the music business from which other members of this site can get help from.

5. DO NOT SPAM MY MAILBOX
I'll put you on the ignore list. We're all trying share information here.

Let's see how this works.

PM me your questions by hitting the PM tab on my post.

Hope this works out.

Sincerely,
God
 

God

Creator of the Universe
ill o.g.
I figured I'd get started early:

This is a question from Afriquedeluxe. You can check out his beats at: www.soundclick.com/afriquedeluxe

Anyway here's his question:

afriquedeluxe's Question

God:

wasup..

I believe there is no shortage of producers in the industry at the moment, and its completetly flooded with lots of people that want to make it. Now am wondering if a label wants a new sound, does it tell its current producers to adapt to the new style they want, hire one of the top producers at the time and tell them to adapt to the style they want, or does the label go out to search for a unique sound that they think will sell. Which of the above steps would be economically viable for a label?
As in would it be cheaper to hire a unknown producer , paying him a good amount, but much less than they would spend to pay a well known established producer? How exactly does a label search for a new sound, for a new artist who they have just signed up. In the search for a producer/beatmaker where do labels go? Do they at all browse the internet or do they feel the net is just a place for lots garbage ?(No doubt theres alot of garbage but ive also heard alot really nice beats on the net too). Do they search locally (making location an important aspect if one is to persue a career in this)? Or do they even go abroad?
How do they choose a producer? I mean beats quality is obvious, but are there any other influences? Presentation? Persistance? Being well known on the underground scene? Unique distinctive sound?

I know this is a long ass question lol but if you could answer even just a bit , id very much appreciate it.

Yeah, it is a longass question, afriquedeluxe, but I have time to kill, which is odd this time of day. I am going to break your question up into subsections so we may analyse each portion properly. OK? Cool. here we go.

God's Answer

Afriquedeluxe said:
Now am wondering if a label wants a new sound, does it tell its current producers to adapt to the new style they want, hire one of the top producers at the time and tell them to adapt to the style they want, or does the label go out to search for a unique sound that they think will sell. Which of the above steps would be economically viable for a label?

A major label, like Interscope, works with a one or two deep label like Shady Records or Aftermath. So, if I'm at Interscope, I have to approve the album or shelve it, to see if it is worth having UNI distribute it or not.

So to get back to what you're saying, if I'm a rep at Shady or Aftermath, I know there are producers who are making the "hits." So, I buy the "hits" off them from the stipulations presented in the budget (refer to my post in O.Prime's thread about splitting up a budget for selecting hits and fillers in albums here:Buying Hits and Album Filler (In O.Prime's original post) . That usually consists of me going to where they (the producer/beatmakers) are, and they play me the songs they have in the studio, or at lunch somewhere nice. They know what their hits are. If I am the executive producer or the rep... I select the songs, and then present them to the artist. If I'm a rep, I don't want to be perceived as having too much influence, so I leave it to the executive producer to deal with the musician, and have the executive producer deal with the garbage the artist tells him, like "I don't want to sing a love song." Usually the producer coaxes him, or talks with me about putting pressure on the artist's manager so the artist does our bidding. A little scare here and there usually works to get the artist in line, the manager understands.

At a major label, like, for example, at Island/Interscope I'm usually a reactive representative, as I've said before, it is possible to manipulate an underground scene with label or parent company money (refer to my previous thread of:GOD 103: How A&R/Record Companies Find New Trends)

So, yes, afriquedeluxe, if there is a style out there, the producers that are experienced and understand A&R's wants and needs, will make a selection of songs that are currently "in style." Those usually are well-received by the A&R and executive producer, because at a major label, we want to sell a record to the idiot that is driving his SUV, not just a small niche market. So, an apt producer, who knows the business doesn't even need to be asked to produce some tracks of "what is hot" at the moment. They do it anyway and solicit me with the material.

The purpose is to get as much out of a style of music as you can, then when the tides change, to move to that (in a reactive strategy.)

Ok.

As in would it be cheaper to hire a unknown producer , paying him a good amount, but much less than they would spend to pay a well known established producer?

I don't really risk my chances unless I am solicited through a reputable production company that has been around for a while or knows others that I know, who have been in for a while. Why deal with a no-name that could give me a headache when I can deal with a company directly that knows what I want, and deals with their own pool of beatmakers and songwriters (a writing pool of ghostwriters) instead of me. Read the writing pools thread here to get the lowdown on what I'm talking about regarding writing pools:Writing Pools

Remember, that looking for a type of sound is key, and that's why the bigwigs give A&R the power to sign acts, but there are a lot of politics involved among A&R people themselves. So, a new sound might generally NOT be what they're looking for, unless there is something involved in it for them. Again here's another post regarding the A&R and how it is NOT in their best interest to sign TOO MANY ACTS, because it hurts their market worth on the music industry joblist (Here's the link to the A&R post I had describing the politics involved: A&R 101

In the search for a producer/beatmaker where do labels go? Do they at all browse the internet or do they feel the net is just a place for lots garbage ?(No doubt theres alot of garbage but ive also heard alot really nice beats on the net too). Do they search locally (making location an important aspect if one is to persue a career in this)?

Usually, it takes too long to search the net (time is money), yeah, there are people that do that, and it has worked. But usually, if I'm a rep, I'm pretty well connected to a lot of production houses, producers, and others that notify me of what they think I should check out. These are friends (who I think know what they're talking about), business associates, other people in the company, other companies, agents, managers, whoever I have alliances with. If there is a band that a regional office calls me up on, I will have that person send me a demo, or if the hype is big, I might pay for a person to go out and check it themselves (or myself.)

Like I said in the A&R 101 post, which you should read, is that I want a high success with low probability. New sounds aren't generally what A&R might look for at a time maybe they just want a promotion or are stringing you along... again, refer to my A&R 101 post. It's good to joke on them, until they become president of your division.

In Los Angeles, the market is flooded with people that want to make it, same in London. If you want to get signed, the closest proximity to the music centre in your country is common sense, in order to increase your exposure or the chance that you'll "bump in" to somebody. But if you don't have the connections, it'll be a lot harder, because your competition pool is a lot greater. You have to be a foot soldier and get out there. The sad thing is, that not everyone that moves to a music centre is a success. I've seen 35-40 year old hip-hop producers that worked with somebody wayback-when, and they still haven't "made it." For every success story you see, there are hundreds upon hundreds of people that haven't, and are scraping by to survive with a hope and a dream and maybe a contact here and there that can't really do anything. It's quite sad, but reality.

How do they choose a producer?

A producer is chosen on their record of singles or solid tracks, and the rapport that producer has with the label. There are a lot of business deals that go on between the producer and label, and they are kind of shady. In fact, I might do a "Producer 101" post regarding the shadiness of these relationships, in all their sickening glory. It's not easy to be a producer and get on "The List," that A&R shows an artist and their management of "who they should work with." Getting on that list is gold, and I've seen people go to IMMENSE extremes to get on the list (you wouldn't believe it!) So, it's not just about how good you are, you gotta be able to sell, but politics comes into play once again.

Hope I answered enough...


HERE'S MY MAIN POINT

As a producer or beatmaker, afriquedeluxe, you can't just sit and expect somebody will eventually hear your music (maybe they have :) ) Even if somebody has heard your music, do you have the right attitude, are you a personable individual that is easy to work with, or very arrogant? Why would, if I was an exec, or rep, want to give you a shot when you are not out there trying to get in the circles that cound (in your country) and get your name known.

You have to constantly be out there pushing your production. Not just to friends in the street, but to radio stations, industry showcases. Go down to London and find out where the reps at EMI shop for clothes on their lunch break. Go there and BE PERSISTENT. Be tactful, yet persistent. Offer to work for free for the label, try to get in somehow, then work your way up. You have to be out and about living and breathing your work. Eventually you will come across a gatekeeper that will reject or like your work. Seize the day and make the effort. Offer to work for free at any record company, radio station, or music publishing company. Try to get in somehow.

Of course, once you establish a rapport, beware of the record rep, don't trust them, and always be aware of ways to move up and move people that aren't helping you out of the way.

Hope that helped somewhat, if you want me to elaborate further, just post some more below.

I really have to run, now! Bye!

Sincerely,
God
 
C

Copenhagen

Guest
Once again, a good post God.

I'm wondering one thing. I'm 25, live alone, and can't live without a paycheck. Now often, you mention working for free at labels, studios, radio stations etc, a solution my budget can't survive...so are there a few really good solutions for my situation? Some good tips on how I can possible try and get my foot in the door...?
 

classic

I am proud to be southern
ill o.g.
Battle Points: 90
good shit G,

(still cant call you by your name to much pride lol)

I got a question couple of questions.

Is it smart to send off a catloge of beats to a lable or should you hold off?(i heard kanye got signed that way). I edit video on the side also would it be a good idea to send a promotinal DVD (or video CD) to labels or should i not waste my time.

Secondly being an unsigned producer how much should i charge for a beat?


good lookin G

class....
 

RigorMortis

Army Of Darkness
ill o.g.
I dont believe all of you guys are reading..

Originally posted by God
.....Private Message me your questions, and then I'll answer one of them... preferably one a week, so I can be detailed in my response, and have time to kill.....
...PM me your questions by hitting the PM tab on my post....
 

God

Creator of the Universe
ill o.g.
Thanks RigorMortis! Yes, please PRIVATE MESSAGE me your questions!

Classic:
Please PM me your questions next time. I could answer it in detail (a really long answer), but I don't have the time now, I will consider your question among the other questions that are PM'ed to me.

Copenhagen:
I'll answer your question because it is quick... there are people that work for free and have another job. There are lawyers with degrees and are 30 yrs. old starting out at the bottom, working for peanuts in the lowest positions in various entertainment companies and agencies. They work at the company during the daytime, and make money on the side through a second job, barely existing. One disadvantage is that many of the people I see coming up through the ranks have parents or family that is able to support them, so that makes it easier for them, but I also see people working 2-3 jobs to survive.

It is tough, Copenhagen, and not easy. A lot of people do quit. You just have to weigh the costs versus the benefits.

Sincerely,
God
 

God

Creator of the Universe
ill o.g.
OK, here's a good question that tied in to what Copenhagen asked earlier.

mrjermaine asks:

Hello G,

I have a sizeable amount of hip hop beats that I am interested in soliciting to different artists/labels/production companies. I have a copyright for them all. I am very content in my career in the medical field, however, it has always been my dream to have my music released some how. I am willing to work for free part-time at a label, recording studio, production company, etc. to make appropriate connections. To be honest with you, I don't even care if I make any money on my production. Is this route a good viable route for me? I live in northern NJ (North Bergen) so I have access to many major industry outlets. Should I work at a studio, for free, cleaning, food runs, etc. or work for a record label for free? Your input on this matter is greatly appreciated

mrjermaine
(email given here)

Well, this is a good question because you are willing to sacrifice time to pursue your dream while also paying the bills by being somebody in the healthcare industry. That is commendable, and here is what I say:

1. Copyrighting is good for a songwriter, however, but, as I consistently say, a copyright can be lifted and completely circumvented by an apt industry individual (manager, agent, rep, etc.) Copyrights don't necessarily protect you when you deal with an entity that has significant leverage like a major label. IT IS GOOD YOU COPYRIGHT, AND YOU SHOULD ALWAYS DO SO. Hopefully you registered with the Library of Congress in the US for the copyright.

2. Back on topic, you want to know what strategy you should pursue regarding stepping into the door. What I like to think is first:

A: Who are contacts that I know that can help me?
Why? Because these people may get my foot through the door quickly. Such an example would be a best friend, relative that is on good terms with you working at Capitol/EMI, etc.

B: If I don't have any contacts, what should I do?
Well. There are various internships available and if you can talk very good, you can usurp the "college credit" needed, or have a college credit given to you through an internship program at one of the colleges in New Jersey, etc. There are community colleges that will let you sign up for one internship class and you can pay them for that one class. I would have to talk to somebody that knows about that, but that is how interns are generally received. Many interns are in their late 20s and even in their 40s (career change) so it is odd. If you are an intern and 40, I hate to tell them, you probably won't go very far in the industry because your decision making is reflected in the outcome of your life's choices and bad decisions... I won't go into a psychological assessment but that's usually what I do if I hear something odd like that.

Call up a temp agency and see if they can get you into an industry job. Try to work for an agency or record company mailroom. Be persistent... read more below, however.

C: There is something called the "UTA Joblist." The UTA Joblist is a list of industry positions of all levels given out among people networked into the "pulse" of the entertainment industry. People actually have paid money for this list because the access to the list is restricted. I WILL NOT GIVE THE UTA JOBLIST TO ANYBODY BECAUSE I DO NOT KNOW YOU, but there are ways of getting the list anyway if you are sharp enough. If you are sharp enough to get a copy of the list, that is already proof you might have some of what it takes to play the game of industry politics.

D: Here is a list of record companies. If you want to work at one of them, call up and find out how you can be involved in an internship or in a mailroom situation. The receptionists should be helpful if you don't badger them. Please use proper tact in contacting the numbers, or you will be politely "let go." If the number is for LA, then politely ask the receptionist for a number in New York, or the parent label in New York of the one or two deep label you are trying to contact.

Record Companies.
A&M Records 1416 N. La Brea Hollywood 90028 213-469-2411 213-856-2659

American (WEA) 3500 W. Olive #1550 Burbank 91505 818-973-4545 818-973-4571

Arista Records 8370 Wilshire Blvd 3rd Floor Beverly Hills 90211 213-655-9222 213-966-3945

Atlantic (WEA) 9229 Sunset Blvd 9th Floor W. Hollywood 90069 310-205-7450 310-205-7411

Atlas (PGD) 11150 S.M. Blvd #1000 W. L. A. 90025 310-996-7200 310-477-7622

Caliber Records 12754 Ventura Blvd Studio City 91604 818-985-0009 818-985-9292

Capitol Records 1750 N. Vine St Hollywood 9 028 (213) 462-6252 business 213-469-4542

Cleopatra Records 213-465-5438

Columbia (Sony) 2100 Colorado Ave Santa Monica 90404 310-449-2100

Delicious Vinyl (WEA) 6607 Sunset Blvd Hollywood 90028 213-465-2700 213-465-8926

Eastwest American (WEA) 9229 Sunset Blvd #8000 W. Hollywood 90069 310-205-7450

Elektra (WEA) 345 N. Maple Dr. #123 Beverly Hills 90210 310-288-3800 310-274-9491

Emerald City Records (IND) 1615 Wilcox Avenue #3919 Hollywood 90028 323-525-8007

EMI Records Group (CEMA) 8730 Sunset Blvd, 5th Floor W. Hollywood 90069 310-659-1700 310-659-9008

Energy Records 545Eighth Ave 17th Fl New York 10018 212-695-3000 212-695-5584

Epic (Sony) 2100 Colorado Ave Santa Monica 90404 310-449-2100

Epitaph Records 6201 Sunset Blvd #111 Hollywood 90028

ERG/Chrysalis 1290 Avenue Of The Americas New York 10104

Frontier (BMG) P.O. Box 22 Sun Valley 91353 818-506-6886 818-506-0723

Geffen/DGC (UNI) 9130 Sunset Blvd W. Hollywood 90069 310-278-9010 310-271-4563

Giant (WEA) 8900 Wilshire Blvd #200 Beverly Hills 90210 310-289-5500 310-289-7333

Hollywood (WEA) 500 S. Buena Vista Burbank 91521 818-560-5670 818-845-4314 818-841-6270

I.R.S. (CEMA) 3939 Lankershim Blvd Universal City 91604 818-508-3130 818-373-7173

Imago (BMG) 8222 N. La Cienega Blvd W. Hollywood 90069 310-289-7799 310-289-8008

Impact (MCA In USA) EMI (WW) 6255 Sunset Blvd 21st Floor Hollywood, 90028 213-466-6900 213-957-2311

Interscope (WEA) 10900 Wilshire Blvd #1230 L. A. 90024 310-208-6547 310-208-7343

Island (PGD) 8920 Sunset Blvd 2nd Floor W. Hollywood 90069 310-276-4500 Lightstorm Music (Sony) 919 Santa Monica Blvd 3rd Floor Santa Monica 90401 310-587-2512 310-393-3702 MCA (UNI) 70 Universal City Plaza 3rd Floor Universal City 91608 818-777-4000 818-777-7116 Megaforce Records 908-972-3456 Mercury (PGD) 11150 Santa Monia Blvd #1100 L. A. 90025 310-996-7200 310-473-0380 Mercury Records 825 Eighth Av New York 10104 Metal Blade 2345 Erringer Rd. #108 93065 805-522-9111 805-522-9111 Metal Blade Records 2345 Erringer Rd #108 Simi Valley 93065 805-522-9111 805-522-9380 Mogull Entertainment 7758 Sunset Blvd Hollywood 90046 213-850-1300 213-850-6117 Morgan Creek Music Group (PGD) 1875 Century Park E. 6th Floor L. A. 90067 310-284-8282 310-788-9428 Motown (PGD) 6255 Sunset Blvd Hollywood 90028 213-468-3500 213-461-4853 Noise Records 8721 Sunset Blvd #P6 W. Hollywood 90069 310-289-2515 Parachute (PGD) 11150 Santa Monica Blvd #1000 W. L. A. 90025 310-996-7200 310-477-7622 Polydor (PGD) 11150 Santa Monica Blvd #1000 L. A. 90025 310-996-7200 310-477 7622 Priority Records 6430 Sunset Blvd #900 Hollywood 90028 (213) 467-0151 alyssa (213) 856-8796 213-993-3269 Private Music (WEA) 9014 Melrose Ave W. Hollywood 90069 310-859-9200 310-859-7408 Quest (WEA) 3800 Barham Blvd #503 L. A. 90068 213-874-7770 213-874-5049 RCA (BMG) 6363 Sunset Blvd 4th Floor Hollywood 90028 213-468-4000 213-468-4040 Relativity Records 187-07 Henderson Ave Hollis 11423 718-740-5700 718-464-9510 Rhino (WEA) 10635 Santa Monica Blvd L. A. 90025-4900 310-474-4778 310-441-6575 Roadrunner Records 225 Lafayette St #407 New York 10012 212-219-0077 212-219-0301 Rodell Records 1750 E. Deere Ave 2nd Floor Santa Ana 92705 (714) 474-7955 work (714) 474-7954 (714) 644-8537 Sansei Records 321 S. Doheny Dr #4 Beverly Hills 90211 310-246-9455 310-574-7400 EX 105 Scotti Bros 2114 Pico Blvd Santa Monica 90405 310-450-3193 310-396-7147 Sire (WEA) 75 Rockefellar Plaza New York 10019 212-275-4560 212-581-6416 Slash (WEA) 7381 Beverly Blvd L. A. 90036 213-937-4666 213-933-7277 SST Records P.O. Box 1 Lawndale 90260 310-430-7687 310-430-7286 Statue Records (310) 371-5686 (310) 542-9858 Victory Music (PGD) 8455 Beverly Blvd #600 L. A. 90048 213-655-6844 213-655-6814 Virgin (CEMA) 3338 N. Foothill Beverly Hills 90210 310-278-1181 310-278-6231 Warner Bros/Reprise (WEA) 3300 Warner Blvd Burbank 91505 818-846-9090 818-953-3423 818-846-8474 Wax Ring Records 22817 Ventura Blvd #874 Woodland Hills 91364 818-884-8436 WEA Corporation 11 N. Hollywood Way Burbank 91505 818-843-6311 XXX Records P.O. Box 862529 L. A. 90086-2529 (213) 221-2204 Zoo Entertainment (BMG) 6363 Sunset Blvd 5th Floor Hollywood 90028 213-468-4250 213-468-4207

Sorry about the formatting, but I won't take time to put the spaces in.

FINALLY:

Once you get into a place like a mailroom or as an intern, work hard and get ready for industry politics. Everybody is as hungry as you, and will go to amazing lengths to get you out of the way. This happens at every level in a corporation. So watch your back, trust no one, and be smart about choosing alliances and sides with people to move up in the company.

Good luck, I enjoy the PM's... keep them coming!

Sincerely,
God
 

God

Creator of the Universe
ill o.g.
Here's a good question from J-Malice. You can check out his production at: http://www.soundclick.com/bands/1/commercialbeats4salemusic

yo wasup god, i just got santana's mangers number today, and i want to know how i should approach him. this is the situation so you can be able to help as much as possible.

santana came to town and gave this number to a gurl he met in the mall. the gurl gave the number to my boi and then i eventually got it. my boi tried callin and got hung up on because he mentioned santana's name, so off the top i know not to do that. my other boi called and didnt mention santana's name and actually got thru a convo, but ended up with an address to send a demo to. those calls were made back in september, so im gona try and call now. i want to know if there is any certain way i should approach him. i am not tryin to get a record deal for rappin or nuthin like that. but this would be more production concentrated. so should i mention "I have beats" im not thinkin this would be the best thing to say, he prolly hears that all the time. should i ask for an e-mail address to send a link to?

as always any and all information is appreciated.
thanx ahead of time.

First of all, just to clear things up:
This seems misspoken in your email.
"yo wasup god, i just got santana's mangers number today"
and
"those calls were made back in september, so im gona try and call now"

So you got the number now from your friend that got Santana's manager's number before and now gave it to you, right? OK, I just needed to clear that up for myself.

MY ANSWER:

In all probability, you will not go far with Santana's management. From what I know, Santana's taken control of the situation himself with Clive Davis, so do you actually have Santana's management or booking agent.?

If you have this number (the area code and prefix- I will not include the last three digits of the suffix) then you have his booking agent: (310) 288-4xxx.

PRODUCERS HAVE THEIR OWN MANAGERS, AND ARTISTS HAVE THEIR OWN MANAGERS. They are two different things.

An example of a manager that represents producers and engineers is McDonough Management:
http://www.mcdman.com/client_roster.html
Don't even try emailing them or contacting them, because you need a track record, but I posted the site to open up your minds to know that a manager of a producer is the one that tries to get the producer on as many record company lists as possible, and tries to score deals with reps, etc. DO NOT CONTACT THEM

Ahem, I'm getting off track. But the point is that Santana's management, even though you have a number (if that is indeed his management's number, not the agent) will probably politely give you the address (as they did) then throw your demo away, because it is unsolicited. THERE IS NOTHING MORE ANNOYING THAN HAVING PEOPLE KNOW A REP'S NUMBER AND CONSISTENTLY BUG THEM. Would you like somebody calling you out of the blue all the time? Probably not. Especially if it is unsolicited. Chances are, the rep or management personnel will grow to despise you because you are bothering them, and always lead you on or pass you off politely. It follows the same psychology of the friend everyone has that calls and bothers them all the time, and thus devalues their "worth" as a friend, because they consistently bother you, but you have to be nice to them, until you're sick of them.

Also, sometimes the talent gets arrogant, like "What can you do for me?" is the first question asked. The response is: "Who are you, and what can you the artist do for me?"

So what do you do?
Make a slick press package, with your beats, it's gotta be professional, and try to market yourself that way. See who the producers for Santana are, and try to track them down, maybe they will need a beat? The thing is, realistically, if I'm a manager of a rock band, I will probably not use an unknown to make a beat for Santana for his more pop/hip-hop oriented tracks. The management will probably not go out of their way to take your unsolicited (or somewhat solicited) demo CD and give it to a person at a label in charge of hip hop. What's in it for them, nothing? Nobody makes money off you, because you're unproven.

In fact the secretary (it sounds like that is who your friend talked to) might tell you to write something on the envelope like "OK: SUBMIT" or something. Though you think that is a "code word" for them actually approving your solicitation, it's a way for the secretary to know that the envelope in fact should just go into the garbage, and that's their code word for getting rid of your envelope because you didn't go through the proper channels (a friend of management, lawyer, etc.) to contact them. It's just a nice way of fooling you. In your follow up calls, they'll pass you off nicely. Trust me on this. It's a quick way to filter out unwanted mail.

Just remember, there are managers that represent artists, and managers that represent producers/mixers/engineers. Keep that in mind.

Hope this helps somewhat, post a question below if you want me to elaborate further.

I think your situation is where you don't have anything to lose by calling the number, the question is, that even if you have a number, it doesn't necessarily mean you have the key to open the gate. Try to get a respectable contact, like a well known music attorney, get more history (like, J-Malice produced 300 rappers-- I'm exaggerating) and then approach managers then. Never appoint a "friend" as a manager. They usually don't know what the hell they're doing.

Sincerely,
God
 

J-malice

PRODUCER ALMIGHTY!!
ill o.g.
aight coo, knew you would come through. the number i got had a 917 area code. i think thats a new york number, im not sure. but yea even though i have nuthin to loose, im not gonna call until i have a little somethin to show.

just a side note. does that fact that i have another connection to dipset matter. I have a stronger connection to a newly signed artist on theer label. does that matter any? i know that new artists dont really count. so i know have a minor hand of cards to play. and i have nuthin to loose so my question to you is how should i play these cards?

its kinda like a last stand type a thing, even though im workin wit basicly nuthin, how should i go down? what should i do with the little that i have?
 

God

Creator of the Universe
ill o.g.
First of all, the link to your page doesn't work the "beats4salemusic" at soundclick.

Secondly, if you don't have a cogent plan to approach a rep or a person that could help you out in a professional manner, meaning, having a presentable portfolio of beats, production history, etc., I would recommend not exhausting your connections. It is better to be prudent and wait until you have everything together, and then try to utilise your connections.

Imagine if I was Santana's manager, and I followed the link to your beat site, and it didn't work. That shows me unprofessionalism right there. Is that somebody I would want working on my project, probably not. It just says "404-Not Found. Redirecting to Home Page." You might want to fix that, and reassess your game plan.

Sincerely,
God
 

J-malice

PRODUCER ALMIGHTY!!
ill o.g.
aight i get what you are sayin. im just gonna wait until i get everything together b4 i even call the number or try to work thru any connections. and i do have alot of them. but none are too direct. my homeboy (real friend not friend of a friends brother) chills with pastor troy and he says he knows a couple AnR's and they said it was coo for me to let them hear what i got. So should i hold out on that one too? as in wiat until i get some kind of track record. should i make an album and start pushin that so show i can sell records? should i keep track of sales in beats that i make? should i hook up with my local station and keep track of requests for my songs? well now that i said it i will most likely do all of that. and o yea thanks for lettin me know my link didnt work. i fixed it.
 

God

Creator of the Universe
ill o.g.
This is great, keep the questions coming.

Freakwncy wrote

yes, I'm making plans to sale it on a local internet site. I definetly want it on the streets too... the fans make the stars, the record companies only sign them and their paychecks....

thanks again...

quote:
God wrote on 03-08-04 04:15 PM:
Market it so a record company can pick up the project? Who do you want the music to be 'sold' to. Do you want it pitched to A&R to get signed, or people on the streets? If you reply I'll answer it.

quote:
Freakwncy wrote on 03-08-04 10:45 PM:
Merc. and I have put together a collabo w/ me on the boards and Merc. on the mic...and hints on how to market it...

This is my response:

I think what is needed is a reality check. In no way am I going to demean you or your situation. However, I do want to shed light on the abilities for your album to become a success and the intricacies involved with the market today and distribution.

This post is going to be very long, and I will define both the independent strategy and its correlation to major label strategy in order to give you, and the rest of the people reading this, a broader picture. People must read this because it will happen.

A viable internet strategy would require the effective use of your personal time for promotion, an apt marketing plan and the ingenuity to disseminate information about your product to your targets. Friends and family can account for some sales, but in order to become viable, orchestration and timing is necessary.

FIRST:
First of all, the internet is a good way to release an album, because it enables a purchase from a remote location possible through payment of credit cards, etc. Also, it provides you a way to instantly showcase your album, press kit, to individuals from any remote location in the world. This, obviously, is something you already know, but how can you make your independent record worth the business risk?

MONEY:
The main factor is money. Money gives you the ability to press CD's, money gives you the ability to make posters, to make flyers. MONEY IS WHAT GETS YOUR CD on the front of the distributor's list sheet. MONEY is what enables you to take reporters from the local paper out to lunch, and hob-nob with the local media "elites" (what punters!) Without a significant investment behind your product, I doubt that there will be success. Most people I have seen have had some large form of investment behind them before they ever became anything. If you have enough money to flood the streets with your banners and posters, you're off to a good start, if not, read on.

GO LOCAL:
Perform at local shows. Find a connection by getting in your local music scene (this takes social skills and the ability to smoothtalk) to a major local promoter (Clearchannel, etc.) that can use you as an opening act. While doing this, try to build a fanbase by "exaggerating" the truth about who you are. The media loves this, and you should probably have some sort of gimmick. Always give the media what they want. If it's local media, they want to show that their local acts may be "better" than the mainstream, so if you are underground really really talk about how "true and underground" your music is. Most local media people are looking to get to a better paper, are usually in their late twenties early thirties, and know a lot about literature. Correlate your work with not just other rap artists, but famous writers, painters... etc. They will eat that up. If you are different from the other people in your area, you will establish yourself as somebody personable any media can talk to. Do not have an attitude with them, and always be personable. However, make sure to play your part.

LOCAL MEDIA:
Any media attention will draw some, though not extremely significant response. That's usually why bands with backing hire a press agent or public relations specialist (they have local ones, I'm sure... some thirty-something woman that always wears tight designer knock-offs, looks slightly aged but still attractive, and is trying to 'make it on her own' after she got fired or quit a reputable PR firm or advertising agency.) It is this person's job to consistently send press releases to the contacts. Furthermore, the contacts are people the press agent wines and dines to establish a relationship. The media people will be more receptive to a press agent than a young rapper because of stereotypes (oh, he's a rapper, he must not know anything) it's just their unfortunate internal discrimination against people that aren't "like them." Anyway, it has to be dealt with. So if you can't hire a press agent, hit the phones to find out who you know that knows somebody at a paper. Take that person out to eat, pretend to be their friend, and then keep pushing your information in their face. ONE PUBLISHED ARTICLE ON YOU WILL NOT DO ANYTHING. YOU NEED REPETITION. THE MORE YOU ARE IN A NEWSPAPER, THE MORE YOU ARE 'LEGITIMISED' GIVING YOU MORE POWER THAN YOUR COMPETITION. Media is fickle, you have to get in it to establish yourself. That's how people base some of your worth as an artist on..

Another more devious way, shower reporters with gifts in exchange for an article. THAT IS WRONG, I DO NOT CONDONE THAT. Wait that also happens in radio. Don't even try to get to radio unless you have a good friend that works for a station.

So you need to get your name out in the press, also, establish a "mailing list" where your fans can enjoy benefits from being signed up to your website. Don't spam them, and NEVER EVER MAKE A WEBSITE FORUM WHEN YOU KNOW A SMALL AMOUNT OF PEOPLE WILL POST. That's pathetic.

LOCAL RECORD STORES:
If people like your album, you have to consistently keep it in their face. Cut deals with local record stores. Honestly, I don't deal with such things, because department stores are a lot easier to deal with, especially when you have legal payola occurring there. Record companies pay for the positioning of a record in a store chain, so it's easier to work with one person in charge of a lot of stores, than many in charge of mom and pop stores that barely make a profit per month. With local record stores, perhaps it is possible to cut a deal with them and see what they want in exchange for placing your album in a listening station. Remember, though, that mom and pop stores deal with major record distributors, so you are competing with their money for placement in a listening station. If I owned a business why would I risk putting you in a listening station when UNI already has an established deal with me? Do you catch my point? You are new and pose a risk to the business owner.

GRASSROOTS:
Getting a grassroots movement going of people that actually follow you, and you consistently putting out music and playing shows, will over time, help you grow. That's common sense. But you have to always tour and not do it with a half-heart. However, I also know of smart record reps that have hired actors or used their interns to create a "mob scene" at a show to promote a nobody, or to push a record in a teen crowd, and then orchestrated the entire event with the local media. And this is for an artist that just got signed. The whole point is to make it "look real" without people knowing. Anyway, without such deviousness, the thing is, that people have to like your music. I have not heard your music, but people tend to be fickle. The key is to expand beyond friends and family. You have to constantly interact with your fans, make your website personable and something that is an extension of what they believe in. Have your friends that believe in you to brainwash their friends. Give them shirts and other things to promote you. Make it interactive.

***TOUR AND MANAGE YOURSELF:***
You have to be your own manager, book a tour, get a small van, and drive around. Keep playing shows outside of your city and expand your audience, even though only 15 people per venue will see you. If you are cocky and say "I need a booking agent" what booking agent will take a risk of dealing with you when you are starting off? NONE. You really need to constantly tour to stay in people's minds. Remember, when you tour, you are going to have to send press releases to every music publication in the area where you are going to route your tour. So, you have to research everything on the internet regarding contact numbers for venues and press, etc. If you don't have a lot of money, having somebody sell your merchandise at the show is the best way to get money. Tour, tour, tour... you will hate it at first, but if you stick to it, it might pay off, and you might sell 500-1000 records depending on how many cities you hit with a van. You'll probably go into debt, and that will hurt. Do you have the time to take a couple months off from regular life to tour? AND DO NOT LET A FRIEND MANAGE YOU. MANAGE YOURSELF. When you tour, after you tour, you can talk to idiot reporters about how your tour went, so it in itself is a media event.

If you are persistent, and dedicate most of your time to your dream in music, a small real independent label might pick you up (a label that is independent, but managed to get independent distribution through a national non-major distributor... one like Caroline Distribution.) The thing is, touring is an effective strategy of making money by playing shows and selling your record. The problem is that you can't SoundScan record sales at a concert, so you don't have anything to send to A&R if you want to get signed.

I disagree with you that fans will get you a record contract. I have seen it go too many times the other way, where I can make YOU get a lot of fans after I signed you as a nobody.

OK. Here is what I would do from a major's standpoint to put out a record.

My name is God, and I am president of Columbia Records.

I have to release a record that nobody has ever heard about.

I test the record in sample demographic groups (to find the audience.) OK, I found my audience. They are 12-18 year old girls. They like rap.

I call PR. I say "hype this rapper. Subcontract another company to put out exagerrated stories. Have people place orchestrated posts concerning the record. Use the punters at an ad agency to get their psychological marketing gurus to make the story about the rapper and a believable text 'plants' to hype the rapper. Have that sh#t all over the internet and in the media. Get word of mouth working. What the f*ck am I paying you idiots for." - or something like that.

I call my independent promoter. I have lunch with him at the Four Seasons. We talk sh#t about family, friends. He accepts to push your first single.

That first single will cost me 1 million dollars nationally in the US, 300.000 or more pound sterling in UK, etc. The independent promoter will assume liability (usually) for any type of legal payola he does, like buying cars for radio stations to give away for contests, in return for spins on the radio. The promoter has a good network of individuals at the major radio networks, and they will give their underlings in each market marching orders.

I will usually send my most attractive in-house radio promotions rep to different markets. She will wine and dine the GM's or the programme directors. She will serve as a relationship conduit between my company and the radio market.

The single will get spins. People will hear it. "It better be on the A-list. I'm f#cking paying for that sh*t." Usually, I'm angry.

A video, in the meantime is made. Usually for a smaller budget, and it will be give to MTV for free (as it always is) or for a "token sum." In return, I have an ad on MTV. I will have lunch or dinner with a certain executive there, who will do what I (or a promoter) says.

KICKBACKS, WHICH ARE WRONG, OCCUR.

I send his family on vacation to St. Barts, or a promoter does that. They like their new tans. Either way, the song is on MTV2.

I call up my ad reps. Is there a new product Nike wants to sell? What are they called... Air Force Twos? Okay, my artist will be wearing Air Force Twos. He doesn't like them? NO, is not a word I like to hear. HE WILL LIKE THEM. Money from Nike exposure changes his mind. In fact, the video might be recut to show them. You should also go back in the studio and say something about Air Force Twos. It will cost more, but Nike will back you. Maybe they'll have your song on one of their ads. Nike has a deal with MTV already beforehand to push product (you didn't think they DIDN'T do that, did you?) and your single will be on the air on Main MTV.

If you stop right there- I've already put you (the artist) in the ears of millions of listeners and viewers. In one month I can do much more than you are ever do going from the ground up. It's morally wrong, but it's business. You can be the best rapper in the world. I still can make the biggest garbage to have exposure, making sure that the garbage artist has the right direction from producers, etc.

Now, a friend of yours is at one of your shows, there's fifteen people in the audience. After your show your friend comes up to you and says, "Great show, man, I know you'll be great. Just keep touring for another year, somebody will see you." You look at his shoes. He has a new pair of Air Force Twos on his feet. You say: "Yeah, man, I'm trying." Later his girlfriend picks you up. She's playing a CD from MY ARTIST. Your friend tells his girlfriend to "turn that crap mainstream garbage off." She does. They put in your CD. Your friend is still wearing Air Force Twos that my artist promotes. You go home, turn on the TV, and it's my artist's song in a Nike Commercial with some athlete. I've legitimised my artist through some simple media orchestration. You hate him because he sucks. I don't care what you think as long as he brings in money.

Do you see what you're dealing with? You're competing, on some level with the mainstream. I think it's imperative you start grassroots and sacrifice, and tour as much as possible to bring in a loyal fanbase if that is what you desire. If you want to stay underground, than be AS UNDERGROUND AS POSSIBLE and play that to your advantage. If you want a major label deal, then that's a different story, unless there's a label that can make money off you (there is.) If you have a small underground fanbase that can buy your records, you may make a living.

Sure, fans buy records. But who are your fans. How big is your market? Are they sophisticated enough to care about what you're rapping about, or does someone like Nelly appeal to them when he has a "love" song. Who makes more money?

Sincerely,

God

I hope this has helped somewhat. If it didn't, post telling me how to reanalyse things.
 

God

Creator of the Universe
ill o.g.
Goldy_C asked:
Mixtape, good idea or no?

Ok heres my little situation, Im currently recording a mixtape that I plan to put out on the streets in a large amounts to quickly build up some clout in the city, that way I can approach a good manager with something physical to show Im a good investment. I have a pretty good financial backing and dont plan to make any money off of the mixtape its just promotional so I was going to give them out in record stores and clubs I figured that people would be more willing to listen if they didn’t have to pay anything to listen to it (aside from that theres copywrited material on it that’s not mine), Im recording a few tracks with original beats on there so I can try to get radio spins with some of the tracks down here, I know that A&R’s look at radio spins in the major cities to see who’s really hot at the moment the more you get the better. I going to promote the mixtape like an album posters flyers (etc) so that people can look at it and say “Oh I saw the posters for that and my friend says its tight so Im going to give it the time of day”. So basically what I have is a Mixtape that Im giving out for free for promotional porposes that Im going to try to get radio spins for so I can quickly build up a name in Houston. Do you think this is a good idea? Would I be better off just makin a real nice looking demo package and sending it to various companies? Do I need a manager? Im putting a lot of money behind this because I plan on dishing out a few thousand copies of it and if its not I good idea

First, I am not here simply to provide definitive advice on the actions of a person. Each situation is unique, and I am not aware of all the circumstances regarding your situation that you have not provided me. Should I be privy to that information, I would not simply be presenting an opinion, but I would be in essence an advisor. That, in your case, I am not.

Overall, I don't think a mixtape would be a good idea. I will provide some information below about some pros and cons.

With that said. I am going to talk about the main points.


1. Define your objective. In your case, I am assuming, your objective is "I want to press X amount of CDs so I can build up a "reputation," get clients, and then approach a manager." Is that right? I will go back to this.


2. Exercise prudence. Many younger people try to jump on something without judgment. I think that having somebody help you with your situation that knows you directly, and can rationalise your method will help you make an educated decision. This would preferably be somebody with legitimate business experience. If, after researching and taking a second-look at your situation, if the cost and benefits do not solidify the follow-through of your plan, it is better to not do the plan than to go forward.


3. Make a budget. If there is money that will be given to aid you in your musical career, write down every dollar. Then think about all the costs that will be incurred should you follow through with the plan. How much will pressing cost? How much will printing cost? How much will taking a manager to lunch cost? How much would getting into the South by Southwest Music Conference cost? How much would gas for your transportation to and from somebody's office cost? How much will your time handing out CDs cost? You catch my point? Money should never be thrown away. Not only should you look over your budget, but as I said, somebody that knows about business should look it over and double-check.


4. Are there alternative ways to achieve my objective? Is there a different way I could get a manager or exposure without the investment of thousands of dollars in printing CDs. You know, it's funny, for artists, heavy promotion can give them a fanbase. With mixtapes, New York is a great market (from what I read and hear.) Los Angeles is horrible for mixtapes because it is a large city. London has a different scene. Berlin has a good underground dance scene with many small labels. How does Houston rate? Is it worth all the effort to put out a thousand CDs in Houston? As a producer, you also have several original beats. I assume the others are sampled beats that you've manipulated into original beats? Or are they songs that you just 'mixed' in with your song? Usually producers, as you probably know, make beat CDs that are sent through contacts from label to label (again, infringement may occur.) The thing is, as a producer, it is harder to get known than a performing artist because an artist can play shows and there is an audience that can be achieved directly through that personal presence (i.e. a show.) If you know how to mix on tables, that would be good for you to establish a presence. Success doesn't come overnight. A good example is the English DJ Paul Oakenfold, DJ Sammy who is Spanish, but lives in Germany (I think).


Oakenfold was spinning and gaining a presence in dance music since the early 80's. The same thing is with DJ Sammy. They only got big in recording terms as of recent years (worldwide.) Funkmaster Flex, in hip-hop, has been pushing for many years as well. Timbaland worked was an apprentice producer in a studio in the early, early 90's. It took him a good six to eight years to come to the forefront.


If you can DJ, throw your beats and play shows, establish yourself that way. If you can't, then do something novel other than simply throwing money. You can't really "tour" as a producer. If you flood the streets with your ads and banners, can you keep up the repetition to have your name instilled in people's minds?


On top of that, your production better be good. How much competition do you have? Are there other people doing the same thing you're doing? How can you differentiate yourself from somebody else in the crowd?


5. Do you know any managers for producers? Do you even know of a manager that works and has a track record in getting producers in the Houston area? Have you located at least one that you REALLY know, not some independent punter, that can deliver the goods?


I think before you ever spend a penny, you need to research and find your target audience, which is ultimately a manager. The street audience, if you want clientele, is a WHOLE DIFFERENT STORY regarding your method of promoting yourself.


Ultimately, the decision is up to you and the people working with you. You are playing a crapshoot everytime you try to get a name for yourself when you don't know somebody inside already. That's because with people on the inside, a producer can consult and strike deals with the person. An artist has more ways of getting noticed than a producer. For a producer, it seems like rather than just spending your money, you need to think about what you want to do. You are not an artist, you are a producer, those are two different things, and two different approaches.


Find some influential circles in the Houston area, and rather than pressing thousands of CDs that may hit three or four customers, go to those circles of influential hip-hop people, and deal with them.


MY MAIN POINT:


I think trying to find some sort of arrangement to work in a studio, and learn more about production, and get a good resume, is more effective than to simply hit the streets with a mixtape that would cost a lot of money. The people that come through a studio would be more easily approachable for solicitation in order to create a clientele for production. You will make more connections as a producer, working for a studio (as a grunt) than you will just releasing one mixtape in Houston. And it will be a lot cheaper. The longer you are involved with that scene, the more connections you'll have. The engineer might say, hey, Goldy_C, wanna go for lunch with "so and so." That "so and so" maybe somebody worthwhile, like a record rep, or a manager. The music industry is about relationships. You won't cultivate those business friendships that are necessary for success by putting out a thousand CDs and then sitting down on your couch and waiting for a phone call. As a producer, getting your beat CD into the right circles, like handing a beat CD to an A&R man in the studio carries much more weight than a thousand CDs to nobodys.


***A punk band might try to get the word out about their band through promo CDs, because they are looking for fans, that listen to music and will eventually follow the band and buy their music. So, the listening of music, in this regard, is the end product. But to hand out a thousand CDs for beat production, how many of the people that will listen to your CD will be rappers or people that need beats? Your end product is gaining a clientele to build your production repertoire. Your target audience is not just some kid that buys music, as they are with artist. Your audience is one that needs to use your services of a producer! So, you see the circle of who will respond to your promotion in the way you define it, has narrowed.


Here's a quick example:


Hand out 1,000 CDs


out of a 1,000 CDs. Maybe 50 are people that need production. The rest may just "like" your music or maybe not. Maybe 5 will actually pay for production. Is the cost worth the benefit? Is there a cheaper and better way for a producer to get noticed? (YOU ARE NOT AN PERFORMING ARTIST, i.e. rapper who needs fans to buy his/her music!)


YES!


You have to be around the people that are involved in the business everyday to think like them, and be successful in your pursuit of a production career. Be a grunt at a studio, get involved with your local scene that way. See what they're like, listen and put a word in about your beats, you will have direct access to clientele that way. Also, you will more likely come across a manager in the studio, than just shotgunning your demo and spending a lot of money. A manager or agent of some sort will be more ready to accept you as a producer, because of your involvement in a studio, and because they know you personally, than just through solicitation. Producers are not only artists, they are businesspeople, and need to get entangled in a web of connections for their success. An artist can, if they want to, not care about anything, show up high or drunk at a studio, sing or rap, then leave to go to a strip club as the producer toils over the track, and A&R is trying to do eight to ten things at once...


The best thing to do is to try to get in at a studio somehow. It will not cost you money, and will increase the probability of you getting somewhere as a producer. It's a long road either way, and take care of your money, don't spend it if you don't have to.


----------


This does not consitute business or legal advice.
 

Craig Gantt

Microphone Violator
ill o.g.
Thanks god, Im not producing Im rapping Im not doin any producing at all the material that Im using thats copyrighted is unoriginal instrumentals, thats my fault for not tellin you that that I tried to make the question as direct as possible but forgot the most important part, my bad, but I can apply what your talkin about to what Im dong and yes I would have been doin this to build up reputation. I can understand what your saying about if Houston is really a place to print up thousands of mixtapes......I guess my problem right now is I really dont understand how these companies work do they want people that are known? Do they want rappers that can write for themselves? do they want someone that can record gems or someone that can give excellent live shows? I dont know anyone that deep in a major label that can say what criteria they base selection off of, I understand that your not here to give personal advice but I get the feeling you know what your talking about and I dont know anything about the busisness aspect so Im gonna listen to you. Is there anything different that you told me that would change for a live preformer?
 

God

Creator of the Universe
ill o.g.
afriquedeluxe asked another really good question:

This is rather a short question,
when i do my cd that am planning to push (to labels,radio stations and other media companies), should i have rappers on it, or can i just do an instrumental cd? What do labels prefer? Or they're not bothered?

1. Make beats without rapping on it. If your demo is good, somebody will rip your CD and then loop it, or rearrange it. They will then make a demo song out of your beat. The rapper will have a chance to rap over it and hear what a rough draft of the song will sound like. If they want to use the beat on an actual record, and are pleased with the outcome of the demo, you will be contacted.

Also, if you can write catchy hooks. You may include an alternate snippet of the same beat with the hook. But make sure that the artist has a chance to have a chorus beat without your hook in case they make a better one.

Listing would be:
1. Track 1
2. Track 1 w/vocal chorus added
3. Track 1 bridge snippet
and so on...

Also, make sure, if you write choruses and bridges, that on the alternate tracks, they are very short and highlight strong points in the overall song/beat. A lot of people do not do the choruses and generally leave it up to the artist, or another producer to write a hook if necessary.

A disadvantage to including your hooks is that if you want to pack a CD with beats, you are using up space on the CD for the same beat rather than including new ones. The beat you leave out might be the one that they would like. So it's your call on that. I wouldn't include vocal hooks unless it is extremely, extremely catchy

Make the beat snippet short, so the people listening to it can get the overall feel of the beat, without a five minute loop of the same thing. They can loop it if they want to in ProTools or whatever editor they use. Also, if you keep your beat snippets short, you can add more audio tracks to the beat CD. You don't want to make them too short, but reasonably short so a person can quickly flow over it and say "yeah, yeah, I like it." Then the people get into it, and they then want to use your beat (though a good ear will immediately tell if a beat is a hit or shite). So they take it to ProTools or something and change up the arrangement (if necessary), loop and cut it.

Each producer seems to have their personal preference for how long a shopped track should be, because that's what works for them.

2. Another one would be a "gimmick" CD, like the "Grey Album," where the DJ wanted to promote himself, so he used the acapella from the Black Album, and the White Album samples from the Beatles and then promote himself. The thing is, this is good for name recognition, but he still needs to produce good original beats described in step one and shop it. You can use acapellas of really big artists to make a name for yourself, because if your beat works nicely with an established artist, a lot of the common people will say "shite, afrique, you can make songs for Jay-Z, 50 Cent, Nas, whoever."

A lot of producers are big talkers, they can promote themselves well. It's about being able to be a salesman, and really be able to promote yourself in a good way when you have 1 minute with a rep or something. It's a business where you're constantly pitching a product or project while building business relationships or fake friendships (which may turn real) with people, etc.

Hope that helps out somewhat. If it doesn't tell me.

Sincerely,
God
 

God

Creator of the Universe
ill o.g.
J-Malice asked:

i just seen this thread started by holomizi entitled shoppin tracks without gettin bit.
https://www.illmuzik.com/forums/show...=&threadid=4535

i seen a reply by NUG sayin he should try to setup a listenin session. and im just wonderin. do you think that could be a route i should try when i finally do call santanas manager, because rite now im thinkin that would be my best shot. i never thought about it. and another thing. lets jus think wild for a second...suppose he agrees to a "listenin session" what exactly would i do? do you know what goes on at a listenin session exactly? it has to be more then jus playin some beats...or is it? thank you.

Santana's manager probably won't have time to deal with that, unless you know him personally somehow. Look at it from his perspective. He doesn't know you, he has a busy schedule, and since time is money, spending a half an hour, or even 15 minutes with you, plus a drive to wherever you have a listening session will not be beneficial from his take on it. He could be doing something else with his time, like taking care of other affairs that do have a definite benefit (like a business deal) touching base with somebody, etc.

If you really want to approach him, he has to be solicited, and he has to listen to it on his time, or you have to force him to listen to it, like, you chase him down on the street, corner him and say: "hey listen to this for a second on this Walkman." (Actually, don't say "a second, though, because if he's an a-hole, he'll actually listen to a song for a second, literally, and then brush the hopeful person off. I've seen people do that. I'm not joking.)

Regarding a listening session. A session can be in somebody's car, where both of you are listening to it. It can be in somebody's house, where people are drinking or smoking and you say "listen to this." Or, you make a time to have the session, offer him something to eat or drink, put the track in, let him listen to it. If he likes something he'll tell you. A listening session can be just about anywhere. On a stereo near a pool, there are no "definite guidelines."

Sincerely,
God
 

God

Creator of the Universe
ill o.g.
God,

As aspiring producers, how do we get in the door? there has got to be a way to shop your tracks around. i know most producers get in the door by means of producing for an up and coming artist. but what about those of us who just want to submit some tracks to sell. i myself want to sell some beats to some major labels for some cash without having to hook up with an aspiring artist. Even though we wont get the recognition, it would be nice to ghost produce for some cash. dont get me wrong, im in it for the love of music but i want the $$ too.

Amen

If there was a definitive way, everybody would be doing it. People "get through the door" through contacts, friends, managers, chance occurrences, working and manipulating a specific group of people to your advantage, etc. There is no "real" way.

Tracks, for an unknown, are not shopped easily to the "important" people. Those people have many gatekeepers. That's why it is hard for many to get into the industry. That's why you're asking me this question. Perseverence, luck, and intelligence all count in establishing contacts from nothing.

A lot of my posts deal with the situations regarding this subject. You might want to browse my previous posts by doing a search. Maybe you will be able to narrow your question? Good luck in your endeavours.

Sincerely,
God
 

God

Creator of the Universe
ill o.g.
Afriquedeluxe:

Can you identify specifically, rather than just saying "the whole thing," what you want to know more about in shopping tracks.

You can't just send a track to a major and expect a good probability that you will be picked up. Shotgunning tracks does not generally work. You work your way into a circle which gives you access to shopping a track.

Can you be a bit more specific?

Thanks,
God
 

afriquedeluxe

ILLIEN
ill o.g.
Battle Points: 221
Oh i get it now, basically having contacts on the inside, passing your tape on to those people who mite be friends etc, who in turn then recommend the tape (if its hot) to people in higher positions of a record a label
 
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