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.
@@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
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.
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.
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
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.
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!
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 🔥
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
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.
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.
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.
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.
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” ?
The reason why the Producer points are so low is because the actual role of the producer isn't to write and play the music on the record. The role of the producer is to put the talent together to make the record. But, since the hip hop community is so bent on beatmakers being referred to as producers you are putting yourself in a role that isn't beneficial when it comes to actual busniess.
Craftmaster Productions big facts hints to why young berg is eating but no “beatmaking”... sounds like people need to step their pen games up and actually make demos
Yeah there is a HUGE difference between a Beat Maker and a Record Producer. Real *Record Producer's* don't get signed to Labels as they work independently with the Majors that are hired by labels as an Independent contractor via a *Producer Agreement* for the engagement of their service's to produce and deliver the Masters on behalf of the *Signed-Artists* label. It's the same contract, that *Dr. DRE, J.R Rotem, Rodney Jerkins, Pharrell Williams, Scott Storch, Timbaland* etc enters in each time they are *HIRED.* Many Record Producer's run their own Production Companies esp *Teddy Reily, Tricky Stewart* or have their Vanity Labels or Imprints as a Joint Venture with a label such as *Timothy Mosley Group.* I'm not sure what these weird Production Deals comes from because far as I know, a *Production Deal* is when a Record Producer signs an Artist to a Production Company into a demo-deal to develop the Artist and shop the Artist's demos to the labels to secure a Recording contract. This weird Production Deal must be a modified Producer Agreement specially for Beat Makers not real Record Producer's as I never heard of a real Producer like *Quincy Jones* get signed to a label. I have an 18 Page Producer Agreement with a label it discribes my role as a Record Producer to produce the Masters that embodies Artists Peformance. I'm engaged to Direct, Supervise and control the recording sessions.
Eman 08 the problem today is that kids get all weird with this shit... it’s ok to be a beat maker... wanna be a producer then get in the damn room and connect the dots
@@marcusdavis9011 Yup. The labels are using the wrong type of contracts for these beat makers that call themselves so call Producers because Producer Agreements aren't even designed for selling beats. I've seen some modified ones, and was reading some of the clauses and didn't make any sense to what I have. The labels are taking advantage of these beat makers as they get give them what they think the beat is worth. On the other hand, real Producer's have their own set rate that they charge per Masters that comes out of the Recording Budget funds as they are basically paying themselfs. Timbo was charging around $200,000 per Masters.
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
Yo what the fuck is he talking about you should join BMI and ASCAP? You can only belong to one or the other and BMI has to invite you. Then he saying that you won’t collect performance royalties and that ASCAP doesn’t pay? All the other info I’ve been looking up says the exact opposite. It’s much harder to get mechanical royalties than performance royalties. I think this dude is an industry plant to confuse people about how to get paid
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.
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
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
The reason why Producers do not get paid correctly, is because when the music industry started, the Producer was basically the Engineer. He/she did not play a instrument/make beats. They were 99% of the time, just a engineer/mixing and mastering. Which to me is the best part of the song, because a good Master can make a corny song Hot. @Karlfowlkes if you want to change it bro, you have to start with what i said. Once you distroy the old meaning of the word Producer, producers will get paid and respect. Peace fam good show.
You got that backwards the Producer and A&R was a one person role. The Producer was the director as the Ochestrator and Label A&R that scout for talent. Now those roles have split. The primary objective of a Producer still to this day is to oversee the entire production from A to Z rather if you make beats or not. Many Record Producer's wear many hats as it varies by genre. P-Diddy is a Producer and doesn't make beats. He's the dude that sits behind the mixing board calling the shots. Rodney Jerkins, Bryan-Michael Cox, Timbaland, Scott Storch, Pharrell Williams, Dr. DRE, Teddy Reily are Hybrid Producer's as they are a real Record Producers that are basically wears two hats as the Ochestrator and Composer as it doesn't just end at the beat. They all see the whole thing through all the way down to the mix.
@@eman0828 You are saying the samething that i am saying. When the Recording industry was started, the Producers job was basically to Direct, and find talent, and than Mix and Master the song/songs. So nobody is going to give a Producer any Points or ownership on a Recording for doing those things. He/She will just get paid and there name on the record. You used Diddy as an example, but the only reason people like Diddy can get Points or even be called a Producer is because he owns the Record company. If he did not own the Record company a person like him wouldnt even be mentioned by todays standards. Nowadays Producers do everything, so we have to bring that to the table and seperate the jobs of the Producer of the past from the more current Producers. If we do not state the diffrence, we will never win or have a case. Peace Fam
@@THEPR3SID3NT When was the last time you saw a *Producer Agreement?* I have an 18 page one from UMG I can post a screenshot in this thread so that you can see for yourself. It's the same contract, that Timbaland, Scott Storch, Pharrell, P-Diddy, DJ Kahled, enters in each time they are hired by an Artist, even Producer's outside of Hop such as Jazz, Gospel, Country, Raegae, Classical uses this same contract. Producer's never mixed records back then, that was the Engineers job. P-Diddy is a real Record Producer. The role of a Record Producer still remains the same today as like I said the primary objective is to see the whole thing through. DJ Mustard said that he oversees the entire production as he said, if you think you a Producer that makes beats, that's not necessary the case as a Producer oversees the recording, mixing mastering. Scott Storch pretty much said the same thing in his 2015 Beat Camp video as he said he don't send beats out to people as he said he works with the Vocalist in the studio to help get the best vocal peformance just like what P-Diddy does. Yes many Producer's wear many hats than others but not all of them do as some are strictly directors esp in Rock, Country, Jazz genres. Look outside the box as there's more genre's than just Hip Hop. Most Rock Producer's are dual role Producer / Engineers like *Chris-Lord-Alge.*
@@eman0828 All of the Producer's you are speaking about have Power now. So they can get all of the rite titles, points, money etc. But in the Beginning they gave up EVERYTHING, and you can put your Top Dollar on that. So they are irrelevant to this conversation, unless you're going to speak about there humble beginnings and how they we're all Used. And in the Beginning of Recording the Producer's did Everything. But you're only focussing on the late 60s or 70s when they invented better equipment. So All companies hired Real Electrical Engineers. To build mixing boards, eqs etc. Like I said if you don't start at the (BEGINNING) you can't repair the problems, or see them. And Diddy or people that do what he does, are not Producer's. When Diddy started he was something like a Producer because he was doing the sampling. So he had the main idea for the song, but at the end of the day, just sampling doesn't make you a Producer. And I'm sure every real Producer will agree with me. So forget the contracts that are giving out nowadays, we have to be honest and give out the money and credit to the people/ person who's truly doing the work. Not to the people who have power or the people that understand a contract better that the next man. Peace Fam
@@THEPR3SID3NT What are you talking about? P-PIDDY DOES NOT MAKE BEATS! as I said hes a Record Producer. The contracts do matter esp when it comes to getting paid, who owns the Masters, RECORDING budget, RECORDING Cost etc. Here's what a label contract looks like with the engagement of a Record Producer. I have another one for myself when working with Indie Artist's that hires me to produce the Masters. s682.photobucket.com/user/anonymous777/media/Mobile%2520Uploads/20190515_142259_zpskpwaszmd.jpg.html
Real *Record Producer's* don't get signed to Labels as they work independently with the Majors that are hired by labels as an Independent contractor via a *Producer Agreement* for the engagement of their service's to produce and deliver the Masters on behalf of the *Signed-Artists* label. It's the same contract, that *Dr. DRE, J.R Rotem, Rodney Jerkins, Pharrell Williams, Scott Storch, Timbaland* etc enters in each time they are *HIRED.* Many Record Producer's run their own Production Companies esp *Teddy Reily, Tricky Stewart* or have their Vanity Labels or Imprints as a Joint Venture with a label such as *Timothy Mosley Group.* I'm not sure what these weird Production Deals comes from because far as I know, a *Production Deal* is when a Record Producer signs an Artist to a Production Company into a demo-deal to develop the Artist and shop the Artist's demos to the labels to secure a Recording contract. This weird Production Deal must be a modified Producer Agreement specially for Beat Makers not real Record Producer's as I never heard of a real Producer like *Quincy Jones* get signed to a label. I have an 18 Page Producer Agreement with a label it discribes my role as a Record Producer to produce the Masters that embodies Artists Peformance. I'm engaged to Direct, Supervise and control the recording sessions.
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.
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.
NOOOOOOOOOOOO CAP ON THAT!!!
FACTS‼️🏁
Most underated comment been followin dough for while. He aint lying
DOUGHBOY Beatz sad thing is people still gone look past this
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.
Y’all should get a engineer I think it would be cool bc I don’t think engineers get a lot of credit for what they do
they did caveman
@@dollarsigndavebeats4649 when cave monster?
I like how he explains things without making you feel stupid lol good interview guys
Laptop Legends haha fasho no problem bro
Ay, appreciate the shout-out!
"DJ BEATS 1!"
@@GoodxJ you just had to ruin my moment 😭
we're lucky the lawyers aint tryna hide the knowledge like most producers 😤
Bro your drum kits just keep getting better and better! keep it up!
lawyers don’t hide knowledge but they usually charge you for their time.. this dude seems to have good intentions
@@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
If you a producer you need to watch this...really know your rights
Black Mel 💎💎
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.
audiodopebeats for sure bro this just the beginning
Definitely gonna watch this over and over to make sure I miss nothing 😂💯🤷🏿♂️
make sure you peep the truth here: ruclips.net/video/oCROKo7GjVo/видео.html
faactss
great interview!
I hope you guys do more interviews like this💯💪🏾
ClassE Beats most def got u bro 💯
Producergrind 2.0 appreciate y’all, keep up the great work🔥
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.
💯💯
You should do a compilation of the most important gems that have been dropped on the show
Probably the best episode so far no cap
Producers forget that the music industry is a business, and you have to have your paperwork right.
Steak Taco Beats I see you everywhere man 😂
@@XRXONE thanks for checking up on me lol
Steak Taco Beats so do I
thats why you have to have a youtube channel, so you can have a business to support you while you're out here chasing placements and clout
need more content like this! really thankful for yall at Producergrind. and s/o Karl Fowlkes for dropping GEMS!
Why go to school when there's producer grind 💪🏼
speedy rïo lol no cap 🤣💪
In so many words...its a cap era. No money
BEST ONE YET! YALL KILLIN IT!!!!!!
16:07 can’t believe they actually answer my question 💪📈📈📈🔋💯
Sam So ayye thanks for submitting bro 💯
Good Gems in this interview. Thanks producer grind.
Def an informative podcast everyone that makes music should/needs hear this
Keep in mind Songtrust works with harry fox . Harry Fox only deals with us mechanical royalties.
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
Thanks bros for this foreal we need to be educated with this game
Ryan Barr yessir we all need it
This interview is a gem 🙏🏼 thank you
Favorite episode to date. Appreciate everyone for this.
It would be so fire if yall got Poo Bear on here.
This interview is key
LEE BLACKMAN 🔑🔑🔑
This was a great session!! Thank you for providing this valuable information. I have more work to do... always learning!!
Major props on putting this out. It was so helpful!
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.
64 GB maybe he was referring to chords or that the producer gave the loop out for free with no legal binding
Essential video for any producer good looks y’all I learned alot
southside fallout with interscope should be a red flag not to sign with labels... signing with 808 mafia however is a different topic
Thank you guys! This really pushed the bar & you guys did a real nice switch up
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!
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 🔥
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
On God
😂😂😂😂😂😂😂
The money left when cds and tapes left.
This is a must watch for producers AND artists
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.
Julius St. James thats why you dont sell publishing rights
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.
@@eman0828 get help
@@scoobydoo6836 Who needs help? Your talking to some one that's been doing music for the past years as I know what the hell I'm talking about.
Producergring for the culture
TheMobs Beatz ✊✊
Fr
Fact check all that you hear do your research the music business is business....
Watching one podcast will not get you where you should be...
The big producers have leverage! Key word “leverage”!!!
Bless this channel
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.
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.
You should buy everything you need to know about the music industry.
@@eman0828 Not true. Mechanicals are paid out on the master side as well through Soundexchange.
@@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.
more like this "with lawyers" good ?'s
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.
Aye as a producer and artist this helped me a lot
Zainab Abdul-Malik glad it helped bro 💯🙏
please get more real info like this
One of the best interviews ! s/o Karl Fowlkes - every article I've read from homie is A1
The information in this video!! Thanks Producer Grind and Karl Fowlkes
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” ?
I love you guys man!
allthewayLive TV 🖤🖤
Big Thanks producergrind for this interview it clear up alot of questions i had. I appreciate it. Knowledge is Power.
Jay Jean glad it helped fam 🙏💯
Important episode guys, I needed this fr fr.
I would have paid for this one it's that valuable
The reason why the Producer points are so low is because the actual role of the producer isn't to write and play the music on the record. The role of the producer is to put the talent together to make the record. But, since the hip hop community is so bent on beatmakers being referred to as producers you are putting yourself in a role that isn't beneficial when it comes to actual busniess.
Craftmaster Productions big facts hints to why young berg is eating but no “beatmaking”... sounds like people need to step their pen games up and actually make demos
Yeah there is a HUGE difference between a Beat Maker and a Record Producer. Real *Record Producer's* don't get signed to Labels as they work independently with the Majors that are hired by labels as an Independent contractor via a *Producer Agreement* for the engagement of their service's to produce and deliver the Masters on behalf of the *Signed-Artists* label. It's the same contract, that *Dr. DRE, J.R Rotem, Rodney Jerkins, Pharrell Williams, Scott Storch, Timbaland* etc enters in each time they are *HIRED.* Many Record Producer's run their own Production Companies esp *Teddy Reily, Tricky Stewart* or have their Vanity Labels or Imprints as a Joint Venture with a label such as *Timothy Mosley Group.* I'm not sure what these weird Production Deals comes from because far as I know, a *Production Deal* is when a Record Producer signs an Artist to a Production Company into a demo-deal to develop the Artist and shop the Artist's demos to the labels to secure a Recording contract. This weird Production Deal must be a modified Producer Agreement specially for Beat Makers not real Record Producer's as I never heard of a real Producer like *Quincy Jones* get signed to a label. I have an 18 Page Producer Agreement with a label it discribes my role as a Record Producer to produce the Masters that embodies Artists Peformance. I'm engaged to Direct, Supervise and control the recording sessions.
Eman 08 the problem today is that kids get all weird with this shit... it’s ok to be a beat maker... wanna be a producer then get in the damn room and connect the dots
@@marcusdavis9011 Yup. The labels are using the wrong type of contracts for these beat makers that call themselves so call Producers because Producer Agreements aren't even designed for selling beats. I've seen some modified ones, and was reading some of the clauses and didn't make any sense to what I have. The labels are taking advantage of these beat makers as they get give them what they think the beat is worth. On the other hand, real Producer's have their own set rate that they charge per Masters that comes out of the Recording Budget funds as they are basically paying themselfs. Timbo was charging around $200,000 per Masters.
Best channel for Musicians!
Fashow People United 🙏🙏 thank you
Thanks
Can do an interview with marketers in the industry?
Wow
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
Yo what the fuck is he talking about you should join BMI and ASCAP? You can only belong to one or the other and BMI has to invite you. Then he saying that you won’t collect performance royalties and that ASCAP doesn’t pay? All the other info I’ve been looking up says the exact opposite. It’s much harder to get mechanical royalties than performance royalties. I think this dude is an industry plant to confuse people about how to get paid
Just rewatched....SXSW is that deal....This interview is that deal, too....
ayo tlyall really are appreciated on this end. keep up the incredible work fellas
Amazing Episode Guys!!! Karl explain very good! Good Job!
Great Interview!!! Hmu for beats hahah!!!!
On everything!! Best interview yet !
Amani Sun 💎🔑💯
Thank you, producergrind crew!
What u mean u dont need a publishing company ? thats the other half of the copyright of composition..
Thank you. I subscribed.
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.
its unethical fs we need that producer union asap
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.
@@eman0828 word
Who's here watching this in 2023?
Honestly only interview y’all ever needed to do tbh.. a lot of gems..y’all sleep if you arguing with hi, about what he saying.
Almost not worth getting into music!!!!
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
I LOVE YA'LL QUESTIONS!!!!
St. Nicc Supa Thowed thank you!!
Awesome interview my bros. Thank you for getting him on!! So many gems - this will help artists big and small. Keep it up. Love for the UK
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
DOPE
Gems on Gems
Read books on the music business as well ! I’m glad i did and i am still reading. These terms where listed and talked about in the books
Sometimes you just gotta pull the stick out to get half
16% of your own Music is INSANE!!! Why would any artist sign such a horrible deal! Even 25% is horrible!
Fantastic interview fam, you have to take out your pen and paper for this one! So much to learn.
Interview mr.2-17
Had to come back to this
This the most fire interview you guys have had so far...period.
I wonder if producers can find opportunities with NFTs
Too many gems 💎
Yes please.
Super dope
That's the standard for masters? Hellll nahhh shiddd
The reason why Producers do not get paid correctly, is because when the music industry started, the Producer was basically the Engineer. He/she did not play a instrument/make beats. They were 99% of the time, just a engineer/mixing and mastering. Which to me is the best part of the song, because a good Master can make a corny song Hot. @Karlfowlkes if you want to change it bro, you have to start with what i said. Once you distroy the old meaning of the word Producer, producers will get paid and respect. Peace fam good show.
You got that backwards the Producer and A&R was a one person role. The Producer was the director as the Ochestrator and Label A&R that scout for talent. Now those roles have split. The primary objective of a Producer still to this day is to oversee the entire production from A to Z rather if you make beats or not. Many Record Producer's wear many hats as it varies by genre. P-Diddy is a Producer and doesn't make beats. He's the dude that sits behind the mixing board calling the shots. Rodney Jerkins, Bryan-Michael Cox, Timbaland, Scott Storch, Pharrell Williams, Dr. DRE, Teddy Reily are Hybrid Producer's as they are a real Record Producers that are basically wears two hats as the Ochestrator and Composer as it doesn't just end at the beat. They all see the whole thing through all the way down to the mix.
@@eman0828 You are saying the samething that i am saying. When the Recording industry was started, the Producers job was basically to Direct, and find talent, and than Mix and Master the song/songs. So nobody is going to give a Producer any Points or ownership on a Recording for doing those things. He/She will just get paid and there name on the record. You used Diddy as an example, but the only reason people like Diddy can get Points or even be called a Producer is because he owns the Record company. If he did not own the Record company a person like him wouldnt even be mentioned by todays standards. Nowadays Producers do everything, so we have to bring that to the table and seperate the jobs of the Producer of the past from the more current Producers. If we do not state the diffrence, we will never win or have a case. Peace Fam
@@THEPR3SID3NT When was the last time you saw a *Producer Agreement?* I have an 18 page one from UMG I can post a screenshot in this thread so that you can see for yourself. It's the same contract, that Timbaland, Scott Storch, Pharrell, P-Diddy, DJ Kahled, enters in each time they are hired by an Artist, even Producer's outside of Hop such as Jazz, Gospel, Country, Raegae, Classical uses this same contract. Producer's never mixed records back then, that was the Engineers job. P-Diddy is a real Record Producer. The role of a Record Producer still remains the same today as like I said the primary objective is to see the whole thing through. DJ Mustard said that he oversees the entire production as he said, if you think you a Producer that makes beats, that's not necessary the case as a Producer oversees the recording, mixing mastering. Scott Storch pretty much said the same thing in his 2015 Beat Camp video as he said he don't send beats out to people as he said he works with the Vocalist in the studio to help get the best vocal peformance just like what P-Diddy does. Yes many Producer's wear many hats than others but not all of them do as some are strictly directors esp in Rock, Country, Jazz genres. Look outside the box as there's more genre's than just Hip Hop. Most Rock Producer's are dual role Producer / Engineers like *Chris-Lord-Alge.*
@@eman0828 All of the Producer's you are speaking about have Power now. So they can get all of the rite titles, points, money etc. But in the Beginning they gave up EVERYTHING, and you can put your Top Dollar on that. So they are irrelevant to this conversation, unless you're going to speak about there humble beginnings and how they we're all Used. And in the Beginning of Recording the Producer's did Everything. But you're only focussing on the late 60s or 70s when they invented better equipment. So All companies hired Real Electrical Engineers. To build mixing boards, eqs etc. Like I said if you don't start at the (BEGINNING) you can't repair the problems, or see them. And Diddy or people that do what he does, are not Producer's. When Diddy started he was something like a Producer because he was doing the sampling. So he had the main idea for the song, but at the end of the day, just sampling doesn't make you a Producer. And I'm sure every real Producer will agree with me. So forget the contracts that are giving out nowadays, we have to be honest and give out the money and credit to the people/ person who's truly doing the work. Not to the people who have power or the people that understand a contract better that the next man. Peace Fam
@@THEPR3SID3NT What are you talking about? P-PIDDY DOES NOT MAKE BEATS! as I said hes a Record Producer. The contracts do matter esp when it comes to getting paid, who owns the Masters, RECORDING budget, RECORDING Cost etc. Here's what a label contract looks like with the engagement of a Record Producer. I have another one for myself when working with Indie Artist's that hires me to produce the Masters. s682.photobucket.com/user/anonymous777/media/Mobile%2520Uploads/20190515_142259_zpskpwaszmd.jpg.html
This dude hair different every episode lol
What is the company he mentioned at 12:50ish?
this episode was a blessing for those out of the loop! we appreciate you
Real *Record Producer's* don't get signed to Labels as they work independently with the Majors that are hired by labels as an Independent contractor via a *Producer Agreement* for the engagement of their service's to produce and deliver the Masters on behalf of the *Signed-Artists* label. It's the same contract, that *Dr. DRE, J.R Rotem, Rodney Jerkins, Pharrell Williams, Scott Storch, Timbaland* etc enters in each time they are *HIRED.* Many Record Producer's run their own Production Companies esp *Teddy Reily, Tricky Stewart* or have their Vanity Labels or Imprints as a Joint Venture with a label such as *Timothy Mosley Group.* I'm not sure what these weird Production Deals comes from because far as I know, a *Production Deal* is when a Record Producer signs an Artist to a Production Company into a demo-deal to develop the Artist and shop the Artist's demos to the labels to secure a Recording contract. This weird Production Deal must be a modified Producer Agreement specially for Beat Makers not real Record Producer's as I never heard of a real Producer like *Quincy Jones* get signed to a label. I have an 18 Page Producer Agreement with a label it discribes my role as a Record Producer to produce the Masters that embodies Artists Peformance. I'm engaged to Direct, Supervise and control the recording sessions.
loser
@@scoobydoo6836 Troll
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.