Producer advances

[primomusic]

Hi just wondering how much does a beginning producer make on each master track. Is this something like it. A buddy of mine gave this to me.

PRODUCER ADVANCES
»New Producer: $2,500-3,500 per master. ($25-35k) per album
»Midlevel: 3,500-5k/pm (35-50k) per album
»Superstar: 10-15k (100-150k) per album
*Plus 3% royalty

[Jose Mrochek]

define "new producer" ?? cause there are many many many out there that call themselves that. and not really meet what they say.

[Ol' Betsey]

Originally posted by primomusic

»New Producer: $2,500-3,500 per master. ($25-35k) per album

If your lucky.

If your VERY VERY lucky.

Oh and if your GOOD.

But mostly VERY VERY VERY lucky.

Other than that, the sky's the limit.

No formula, sorry.

Good luck and be glad if you get paid ANYTHING.

R.

[robmix]

Originally posted by primomusic
Hi just wondering how much does a beginning producer make on each master track. Is this something like it. A buddy of mine gave this to me.

PRODUCER ADVANCES
»New Producer: $2,500-3,500 per master. ($25-35k) per album
»Midlevel: 3,500-5k/pm (35-50k) per album
»Superstar: 10-15k (100-150k) per album
*Plus 3% royalty

It varies so much it's almost impossible to put into such broad categories. In the R&B/Pop world it's not uncommon to get an advance upwards of $75,000 - $150,000 per track if you're currently charting. $25,000 - $35,000 per track is not uncommon for mid-level producers. New producers are looking at $3,000 - $10,000 if they're lucky. But on the rock side where a producer is expected to deliver a whole record, not just one track, budgets are a bit more realistic. A GREAT indie budget is $10,000 - $15,000 for the whole record. It just goes up from there, $25,000 - $250,000 depending on the producer's succes and the bands budget. 3% royalty is standard but with a few records under your belt 4% is not unreasonable. Quite often I'll take more on the backend and lighten the load on the advance.

[Jose Mrochek]

how would you define a "new producer" ??? I have a hard time understanding that concept. Does it mean it's the first time producing a album ? has done stuff that is good but never got to payed ? a well known engineer that is doing the transition ? I ask this because I always had the concept that for someone to call themselves a producer, you need to have some back up productions you have done.. and sometimes it takes years of experience to reach that level, so I don't see it as being a NEW producer ?

[robmix]

Originally posted by Jose Mrochek
how would you define a "new producer" ??? I have a hard time understanding that concept. Does it mean it's the first time producing a album ? has done stuff that is good but never got to payed ? a well known engineer that is doing the transition ? I ask this because I always had the concept that for someone to call themselves a producer, you need to have some back up productions you have done.. and sometimes it takes years of experience to reach that level, so I don't see it as being a NEW producer ?

My guess, a major label's A&R guy is going to say a "new" producer is someone who's never had anything released as a producer on a major label, or maybe a big indie; i.e. you're unproven, regardless of how good your demo is.

[primomusic]

Thanks alot guys for the replys well My name is Adrian Im a Music Producer(pop, hip hop, rock) here in chicago

Well only for me, Lyrics is not one of those talents that I was able to recieve but the talent to have an ear and play a shit load of instruments was the talent I got. I cant write a song If my life depended on it but I can make that mother mainstream , and commerical with melodic hooks and harmonys that will make you go nuts. Ive been producing alot of bands here in chicago and I want to know if I have to leave this city and maybe go to new york or miami to reach my goal. Pretty much I need direction. there are a couple of people who want to manage me but im not sure if thats a good idea, maybe i could manage myself. Are there any other producers out there that might have an idea of how I can get my foot in the door.

I have a compilation cd ,its got that west side, east side hip hop flava to it. Although its not my passion to do hip hop, but its so easy for me to do, and I can use that to get me feet wet and then pursue what I really love, which is like pop ballad , rock like the production group The MATRIX. Ive studied alot of scott storch, dre, neptunes , and I know my tracks are right there. So how can i get my tracks to the right person.

Adrian

[Loud Noize Ent.]

Adrian, Unless these people who want to manage you aren't worth a damn, then I suggest you forget about them... BUT of all the producer/writers you've mentioned in your last post, each and every one of them have managers and most would be no where with 'em. Find out what these guys can do for you. If they're real, they'll get you busy and into the right doors.

You can probably reach your goal from just about anywhere but if you really want to be in the game and from my experience, LA, NY or Nashville are the top 3.

There's NO easy way of getting your foot in the door. You've got to network and do lots of it. Listen, if you're good, someone will listen.

Good Luck!

[jdsowa]

The fact is that there are tons of people who can do tracks that are good enough to get on the radio (as the standard isn't too high). If you have connections it certainly doesn't hurt to send a demo CD to them, but don't expect anything unless they're in a real position of power and you're a *close* friend.

Without question, keep working with local artists. If anything you produce generates any kind of buzz then you're going to get far better exposure from that and have more leverage later on. Plenty of people have made it from Chicago: No I.D., Kanye, Steve Albini . That's not a real excuse. Just continue to get better and beat the street.

[Jules]

New producer gets - what they can.

A credit!
A point (or 2 or 3)?
engineering money (+ extra for producing????)

What ever the client will bear...

Push hard if you dont ask - you wont get

Be prepaired to 'go on strike' (not do the project) to get what you feel is reasonable.

Try to get 'direct accounting' in your agreements - so you dont have to chase a tiny label or the band if a major pick up and starts selling your production...

[primomusic]

thanks guys , I guess the best thing to do is to keep doing it and get better and better. Hopefully I can create a big buzz.

Thanks

[wwittman]

25 thousand, is a respectable advance. really depends on the BUDGET as well, as the advance comes out of the artiste's recording fund.

You won't get a 25k advance on an EMO record that has a total budget of $15,000!
You'll need to adjust based on who the label is and what the budget allows.


But the point is that the advance is just that, an advance AGAINST your royalties. Not "plus" your royalties.
Your money should really be made on royalties, down the line.
3% of retail (if the label pays on retail) is a pretty standard starting point.
that's AFTER recording costs are recouped, but then you want to get paid on all records sold retroactively.

If you engineer as well, you may be able to negotiate a separate non-recoupable engineering fee, but expect that to be balanced against your producer advance.


ps Steve Albini is a producer? i thought he said he's not.

[doug_hti]

Originally posted by primomusic
thanks guys , I guess the best thing to do is to keep doing it and get better and better. Hopefully I can create a big buzz.

i think that is absolutely the best answer....

and be ready to walk through the doors that open

[primomusic]

Thanks guys , appreciate the help.

Any big time producers out there care to share their beginning stages of the music biz( how you got there, and what you had to do to get there.

[natpub]

Originally posted by robmix
In the R&B/Pop world it's not uncommon to get an advance upwards of $75,000 - $150,000 per track if you're currently charting

Yeah, right...not

[kudzu]

Here in the UK its all "indie" bands (even if they chart!!!!)

Standard production/engineering per 12 track album is $10K-$15K + 3% of mechanical royalties (paid from the artists cut)

Takes me about 2 months from pre production/rehs to delivering mixes

I love doing these kinda records (manage 3/4 per year)

Still need those corporate $1,000 a day gigs to survive though, a necessary evil

I'm meeting a lot of bands (new clients) doing live FOH...take as many gigs as I can

[Charlie-O]

Personally, my small (but signifigant) sucesses in hiphop production has come from drive. First starting out I would do anyything and everything. Pushing myself to do (5) tracks a day to perfect my craft. This is important becuase anybody with "fruity llops" is calling themselves a producer. So quality is realy REALY important. Providing the best possible quality sound and service wise will attract buisness to you. Its also a good idea to pick up an artist or band that you believe in an produce them. Good indie releases will atract bigger indies to you.

[primomusic]

Wow , thats sweet. Kudzu, three two four band a year at 10, 15 thousand an album. Are these like local bands signed to independent labels or are they major label groups. Charlieo that is great attitude and thats the way to do it. Pushing myself to do (5) tracks a day to perfect my craft. That is great dedication.

[pan]

Originally posted by kudzu
Here in the UK its all "indie" bands (even if they chart!!!!)

Standard production/engineering per 12 track album is $10K-$15K + 3% of mechanical royalties (paid from the artists cut)

Hi Kudzu, is this including studio fees, or just _your_ salary? If not, how much budget _is_ there for the Studio?

Regards, Niko

[slolrnr]

define "new producer" ?? cause there are many many many out there that call themselves that. and not really meet what they say.

I've always known producers of being the head honcho of the entire project. From hiring the session musicians, songwriters, engineers, finding a studio, managing studio time, managing the projects budget, to song selection and track ordering, or some other unmentioned super powers. At least that’s what I've known to believe is one.

Primomusic, if it’s an aspiring songwriter (turned producer) you wish to be. You might want to check into publishing (EMI, Universal publishing, ect..). Great management is definitely important (unless you happen to be somebody’s relative). Without them it can be pretty tuff staying creative and business savvy at the same time. The more well known your management is, the more your chances of landing a large project becomes, or the easier it is to access the "at the time" big artists. Of course the better your management the more they're asking percentage will be. Keep in mind that if your going with an unknown management, that they don't get paid until you do. If you haven't already, I would suggest maybe finding a steady lyricist as it’s sometimes easier to land a project as a duo songwriting team rather then just the music.

New songwriters sometimes don't get the benefits of credentials and have to suffer the fate of being a ghostwriter. Cough, puff, cough (kidding)

[bloodstone]

The one time my band hired someone he actually found us the studio he wanted to work in, negotiated two weeks locked out at a discount, helped us locate players, an arranger, etc. included his air fare and a per diem in a package price. He had a contract that gave him points after recoupment, but we never got around to signing it. This was in 1997. His daily fee was around $175.00.

[KevinS]

Originally posted by natpub
Yeah, right...not

From the looks of his houses and cars, I bet Rodney Jerkins pulls in that much cash.

[robmix]

Originally posted by natpub
Yeah, right...not

Babyface at his height was pulling in $125,000 per track and doing 3 - 4 a week. From what I recall Rodney peaked around $125,000 a track but is back around $75,000. Linda Perry, the Matrix are all in that range as well ($50,000 - $75,000). If you know anyone at a label these numbers are easy to find out.

[Mr. Liszt]

Originally Posted by Jules

New producer gets - what they can.

A credit!
A point (or 2 or 3)?
engineering money (+ extra for producing????)

What ever the client will bear...

Push hard if you dont ask - you wont get

Be prepaired to 'go on strike' (not do the project) to get what you feel is reasonable.

Try to get 'direct accounting' in your agreements - so you dont have to chase a tiny label or the band if a major pick up and starts selling your production...

Hey Jules mind elaborating on your term "direct accounting?"

How have you seen this done specifically?

Any anecdotes?

[The MPCist]

Originally Posted by Mr. Liszt

Hey Jules mind elaborating on your term "direct accounting?"

How have you seen this done specifically?

Any anecdotes?

Another phrase to remember: 'royalties calculated at source'. This will help you avoid getting hit double on commission deductions...

[geeek]

Originally Posted by primomusic

Hi just wondering how much does a beginning producer make on each master track. Is this something like it. A buddy of mine gave this to me.

PRODUCER ADVANCES
»New Producer: $2,500-3,500 per master. ($25-35k) per album
»Midlevel: 3,500-5k/pm (35-50k) per album
»Superstar: 10-15k (100-150k) per album
*Plus 3% royalty

Hmmmmmm.. I dunno..

I guess I'd be described as a "new producer" in that I was hired by the artist/label as producer/engineer for an album before I had any commercial track record.
I guess even with it out now, I'm still classed as a 'new producer' even though the record has had plenty of critical acclaim etc..

I certainly didn't earn that amount for the record as a fee..
Including engineering fees, it didn't even reach that.

I got 3 points tho, but 1 of them was for mixing.

I think there's been perhaps a shift in the way and amount people are paid for albums.
This particular record was on somewhat of a budget.. But I'm seeing this happen quite often on similar projects.

[domokunrox]

Its pretty clear that many of you and the perception of what the world thinks a producer is, is wrong.

[geeek]

Originally Posted by domokunrox

Its pretty clear that many of you and the perception of what the world thinks a producer is, is wrong.

I'd second that..

I commented a bit about a recent agreement I had here.. music buisness advice