gettin paid...

[Umlaaat]

how much do your sell beats for?

[CNC_AudioCrack]

Online Prices:

Lease - $60.00 - $100.00

Exclusive - $400.00 - $1000.00


Offline:

Lease - $100.00 - $200.00

Exclusive $500.00 - Up

[con?one]

depends on the artist's budget. that upfron't $'s just a damn loan anyway (unless it's a remix OR some real bullshit, and you just do a straight bu-yout)

[Umlaaat]

Originally Posted by con?one

depends on the artist's budget. that upfron't $'s just a damn loan anyway (unless it's a remix OR some real bullshit, and you just do a straight bu-yout)

i'm talking about upfront/buyout... but what about backend? is it even realistic unless its a major indie/major? some kid using yr track for a mixtape is kinda out of the question, no?

[7ciel]

Originally Posted by Umlaaat

some kid using yr track for a mixtape is kinda out of the question, no?

Unless their really organized (never met those), I would count too much on the royalty check by mixtape people.

As said con?one, it really depend on the budget/weight of the artist.

But what do I know, I'm not even in the same country as yours.

[con?one]

see, the mixtape shit is funny. alot of the time, you'll do a record, for a specific project and THEN all of a sudden, the shit pops up on a mixtape. sometimes that only helps the situation, but sometimes (especially if it's way too early) the track lives in mixtape land instead... which means no points, no real pub (unless mix show djs REALLY latch on to it), etc...
if i was doing something specifically for a mixtape (not a label mixtape), i'd probably already have some sort of relationship with the artist, and would more likely do a trade off or work it out some other way

[Disco D]

minimum 10K advance exclusive of any sample clearance, 3 points with half point escalations at gold and platinum, half of the publishing with publishing of any samples coming out before split.

[filterayok]

yo D--how much were you getting before ski mask? how much for each nina sky, and how much before nina sky?

[Disco D]

nina sky was an all in deal, and i was co producing for someone else, before that i didnt even really produce urban music.

[filterayok]

co-producing meaning someone had an "in" and they needed you to do the actual production right? or did you guys actually produce it together----i know a dude down the block who actually had those girls in his basement, but the producer guys (forget the name, if you said it i'd know it) that brought em in basically said that they didn't wanna use what he did unless he signed away chunks of production to them----of course he didn't do it, but who knew those girls were gonna blow! it would've probably been worth it, for the credit/publishing alone---


so with ski mask, i'm trying to imagine what would've went down:

they probably tried to screw you with the "you should be lucky to even be on the album" shit, and the fact that the sample cost money probably didn't help you any.....but then again whoever represented you must've figured for a 50 cent cut, you should get a production advance of at least.....20G?? 30G??? but maybe less cause of the sample, depending on what those guys demanded....am i in the ballpark??

[filterayok]

I got a funny story about selling trax...

Label says they love the song, says they can pay 10 thousand for the trax, but they want another guy to (co-produce)....i think thats great and say okay, and my publisher urges me to send the files over at once. I say "shouldn't we get the money first?" publisher says no no lets secure the cut, and then we'll negotiate for a possible HIGHER advance!-----i say sounds like a plan-----send the files over, get a call from label:

"hey we recorded the track, we expect the album to sell 2-300,000 records, you could have a possible single on your hands.....so we wanna get the paper work over and send you your 5 thousand dollar production advance"

excuse me! 5Gs? you said TEN .... of course they say no no we never said that, so i go to my co-writers who basically had PROOF that they originally said 10, but as a WRITER it doesn't help you any to make sure I get my advance, in fact they'd rather NOT contest it, so they don't jeapordize the cut,,,, they BEG me to just take the 5G's, and in the end thats what I had to take------but i learned a BIG lesson---get the money BEFORE you send the trax---i was under the impression that scumy stuff only happens in the rap world, and not with major labels----how WRONG i was!!!

[TonyBelmont]

Originally Posted by filterayok

I got a funny story about selling trax...

Label says they love the song, says they can pay 10 thousand for the trax, but they want another guy to (co-produce)....i think thats great and say okay, and my publisher urges me to send the files over at once. I say "shouldn't we get the money first?" publisher says no no lets secure the cut, and then we'll negotiate for a possible HIGHER advance!-----i say sounds like a plan-----send the files over, get a call from label:

"hey we recorded the track, we expect the album to sell 2-300,000 records, you could have a possible single on your hands.....so we wanna get the paper work over and send you your 5 thousand dollar production advance"

excuse me! 5Gs? you said TEN .... of course they say no no we never said that, so i go to my co-writers who basically had PROOF that they originally said 10, but as a WRITER it doesn't help you any to make sure I get my advance, in fact they'd rather NOT contest it, so they don't jeapordize the cut,,,, they BEG me to just take the 5G's, and in the end thats what I had to take------but i learned a BIG lesson---get the money BEFORE you send the trax---i was under the impression that scumy stuff only happens in the rap world, and not with major labels----how WRONG i was!!!

You should of a least got a P.O. from the record label before sending anything but a 2 track..

[con?one]

Originally Posted by filterayok

I got a funny story about selling trax...

Label says they love the song, says they can pay 10 thousand for the trax, but they want another guy to (co-produce)....i think thats great and say okay, and my publisher urges me to send the files over at once. I say "shouldn't we get the money first?" publisher says no no lets secure the cut, and then we'll negotiate for a possible HIGHER advance!-----i say sounds like a plan-----send the files over, get a call from label:

"hey we recorded the track, we expect the album to sell 2-300,000 records, you could have a possible single on your hands.....so we wanna get the paper work over and send you your 5 thousand dollar production advance"

excuse me! 5Gs? you said TEN .... of course they say no no we never said that, so i go to my co-writers who basically had PROOF that they originally said 10, but as a WRITER it doesn't help you any to make sure I get my advance, in fact they'd rather NOT contest it, so they don't jeapordize the cut,,,, they BEG me to just take the 5G's, and in the end thats what I had to take------but i learned a BIG lesson---get the money BEFORE you send the trax---i was under the impression that scumy stuff only happens in the rap world, and not with major labels----how WRONG i was!!!

that shit happens alot with people leaking the 2track versions to mixtapes before you work your shit out... because then your stuck. the songs already out there, so if they say "i can only advance you 1/2 of what you asked for", you're stuck. you can sy no and take the beat back and shop it to someone else... but if someone already heard the other version on a mixtape, they're not gonna take it, so you're almost stuck taking the whatever deal

[Flymax]

I sold a couple beats in '04 to now out of biz Jive UK for 2000 pounds each. During negotiations they kept acting like they had a lot of other tracks in contention and kept negotiating makin it seem like they didn't care about mine when in reality they were countin' on them. It was my first sale to a major and I didn't want to mess it up so I ended up taking this lowish amount + 3 points.
All in all I'm glad I got the 6500 U.S. even tho' I may have gotten more if I had pushed.

[Disco D]

yea the guy had the in and had a guaranteed 5 tracks on their album because he got them signed, and i did the creative. We split everything 50 50 down the middle, points and pub. They didn't try to screw me on Ski Mask in terms of points but 50 gives shitty advances cuz he knows the shit recoups lin a day, literally.

Originally Posted by filterayok

co-producing meaning someone had an "in" and they needed you to do the actual production right? or did you guys actually produce it together----i know a dude down the block who actually had those girls in his basement, but the producer guys (forget the name, if you said it i'd know it) that brought em in basically said that they didn't wanna use what he did unless he signed away chunks of production to them----of course he didn't do it, but who knew those girls were gonna blow! it would've probably been worth it, for the credit/publishing alone---


so with ski mask, i'm trying to imagine what would've went down:

they probably tried to screw you with the "you should be lucky to even be on the album" shit, and the fact that the sample cost money probably didn't help you any.....but then again whoever represented you must've figured for a 50 cent cut, you should get a production advance of at least.....20G?? 30G??? but maybe less cause of the sample, depending on what those guys demanded....am i in the ballpark??

[Umlaaat]

hmm.. innarestin posts, y'all.
2 things.

1.i put this up on the basis of an individual with money, not for a label situaition (though its good to hear experiences on that). for instance, a guy pretty much going his own route, someone thats already secured tracks from a-list dudes, but tracking/mixing/etc from out of his own pocket... would you treat this the same way as you would a major far as points, advance, et al? should you see this as a 'take all the $ while you can and run' situation?

2. t/f. advances are non recoupable aganist royalties> (i heard this from a fairly est. producer).

con?one; you still in LIC?

[filterayok]

Originally Posted by Umlaaat

hmm.. innarestin posts, y'all.
2 things.

1.i put this up on the basis of an individual with money, not for a label situaition (though its good to hear experiences on that). for instance, a guy pretty much going his own route, someone thats already secured tracks from a-list dudes, but tracking/mixing/etc from out of his own pocket... would you treat this the same way as you would a major far as points, advance, et al? should you see this as a 'take all the $ while you can and run' situation?

2. t/f. advances are non recoupable aganist royalties> (i heard this from a fairly est. producer).

con?one; you still in LIC?

personally, i always say get AS MUCH AS YOU CAN UP-FRONT---there's a "production fee" that can be made non-recoupable, sometimes half recoupable----but always get the money now---- who even cares if its recoupable...i've heard guys say "i dont WANT a big advance cause i gotta pay it back." yea you gotta pay it back, but your paying it back thru sales, and after you do, your gonna make a percentage on top of that...remember MOST projects don't recoup, so get as much as you can NOW, and make sure your get what you deserve on the back end---they might shelve the record, and you just denied an advance so you can own 100% publishing on a record thats not even getting released

[7ciel]

Originally Posted by Umlaaat

2. t/f. advances are non recoupable aganist royalties> (i heard this from a fairly est. producer).

If they weren't, why would you even call thoses advances???

If it's non recoupable, it's called a producer fee, a bonus, a birthday present, but not an advance.

BUT, as said Filterayok, they're not reimbursable. Meaning if you don't recoup, you don't have to pay it back.

[Disco D]

Originally Posted by filterayok

personally, i always say get AS MUCH AS YOU CAN UP-FRONT---there's a "production fee" that can be made non-recoupable, sometimes half recoupable----but always get the money now---- who even cares if its recoupable...i've heard guys say "i dont WANT a big advance cause i gotta pay it back." yea you gotta pay it back, but your paying it back thru sales, and after you do, your gonna make a percentage on top of that...remember MOST projects don't recoup, so get as much as you can NOW, and make sure your get what you deserve on the back end---they might shelve the record, and you just denied an advance so you can own 100% publishing on a record thats not even getting released

I only agree with this statement if it's a new artist or someone without a sales record or if you think it's going to flop. Otherwise the stronger your back end is the better, trust me, with bigger records it is a back end game not front end game you just have to be patient.

[con?one]

Originally Posted by filterayok

personally, i always say get AS MUCH AS YOU CAN UP-FRONT---there's a "production fee" that can be made non-recoupable, sometimes half recoupable----but always get the money now---- who even cares if its recoupable...i've heard guys say "i dont WANT a big advance cause i gotta pay it back." yea you gotta pay it back, but your paying it back thru sales, and after you do, your gonna make a percentage on top of that...remember MOST projects don't recoup, so get as much as you can NOW, and make sure your get what you deserve on the back end---they might shelve the record, and you just denied an advance so you can own 100% publishing on a record thats not even getting released

oh, trust me, if it's some bullshit (or some random around the way drug dealer funded record), yeah, your lucky if it comes out, let alone sells enough to recoup, so get what you can get and keep it moving.

[7ciel]

I guess the whole selling beats thing is so well established in the head of some producers that they don't see the long term picture.

Best exemple is this thread. The guy asked "how much do you sell your beats for?".
Maybe the question would be "how far can I go in my contract negociation? How much point do I get? How much breaks can I avoid?".

But we're talkin about established label here.

[con?one]

Originally Posted by Umlaaat

con?one; you still in LIC?

left queensbridge a long time ago

[Justice]

Yo D,

"yea the guy had the in and had a guaranteed 5 tracks on their album because he got them signed, and i did the creative. We split everything 50 50 down the middle, points and pub. They didn't try to screw me on Ski Mask in terms of points but 50 gives shitty advances cuz he knows the shit recoups lin a day, literally."




you cool as shit man!!!! I have never met another producer who is so upfront about his success in the music industry. You are a true resource..

By the way they are feelin my tracks, they said that they burned it, copied it, and has given it to the team!

I dont know what that means but thanks in advance if anything jumps off if not imma keep grindin..

anyway how was it working with Kevin was Mrs. Spears around all the time??? LOL

Keep Bangin!!!!!!
bigjus

[Disco D]

hey, it's no problem. I just want to help people have knowledge i didn't coming up, which would have saved me a lot of headache!

[Justice]

comin up, dude your young you got so much to do.. I look forward to parting wit cha in NYC...

But really based on the video I saw of you making that beat.... you should come out to the Miltown and burn some....

LOL

Seriously

[filterayok]

Originally Posted by Disco D

I only agree with this statement if it's a new artist or someone without a sales record or if you think it's going to flop. Otherwise the stronger your back end is the better, trust me, with bigger records it is a back end game not front end game you just have to be patient.

easy to say comin from the guy with the 50 cent cut !!!

but check this out-----when i was a fledgling engineer i brought in my next door neighbor to the studio late night, after the writers had left, and we drank a six pack and wrote a song for j-lo. just as a demo, figured i'd hand in to the publishers that worked there---well long story short, publishers loved it, got it to jlo, she sang the song, and then the production company i was engineering for offered me a deal----figuring they'd be damned if they were gonna get this song on the record if they didnt have publishing----so i had a choice---tell em screw you, i want all my publishing, or take an advance, and get a deal for four years---even then my instinct said take the money NOW----sure enough at the LAST second, she cut the song from the album, and the company now had signed a 19 year old engineer to a four year production, publishing deal----it was a gamble that everyone made, and happened to work ironically in my favor, so you can see. sometimes even the biggest things go wrong, so i say go with your instinct....until the song is shrink wrapped on the shelf, you aint got a damn thing, and i've seen things go trgically wrong more then ive seen em go right----D, thats why you fascinate me so much, cause the second you put your foot into hiphop/pop, things just fell in line (i know you were grindin with the dance stuff for a while).....that nina sky thing was the greatest gift from God to ANY producer---a signed act who was accessable to the everyday producer, who happened to unexpectedly blow up----D your doing something right.....

[Umlaaat]

Originally Posted by filterayok

personally, i always say get AS MUCH AS YOU CAN UP-FRONT---there's a "production fee" that can be made non-recoupable, sometimes half recoupable----but always get the money now---- who even cares if its recoupable...i've heard guys say "i dont WANT a big advance cause i gotta pay it back." yea you gotta pay it back, but your paying it back thru sales, and after you do, your gonna make a percentage on top of that...remember MOST projects don't recoup, so get as much as you can NOW, and make sure your get what you deserve on the back end---they might shelve the record, and you just denied an advance so you can own 100% publishing on a record thats not even getting released

a production fee is something you, as the producer, gets? for what? how common is this?

[Umlaaat]

Wen receiving monies on the back end, is it something you have your lawyer drafts or (as a new producer) 'just sign on the dotted line' type deal?

Is there a 'standard' rate/percentage to this?