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Old 29th January 2007
  #61
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themaestro's Avatar
 

Quote:
Originally Posted by OneUp Ent View Post
Oh, and to answer your question, I did for Mya: "Fallen", "You", and "After the Rain" off her "Moodring" joint. I did "You've Changed" for Keysha Cole.
lol, i see you've definitely been blessed!
Old 29th January 2007
  #62
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mix-it-well's Avatar
 

Hi ,
I got a Question:

Right now I'm producing two Tracks for an Album wich will be released on Universal.
I could get about 2000 € or producer points...what would you take and how much Points can I get?
I'm an unknown Producer ,this would be my first comercial release.
The Beats are Samplefree...
Pls help.

EDIT: I think 2000 € for TWO Beats are funny money for a major realease.
What do you think?
Old 29th January 2007
  #63
Gear Nut
 
OneUp Ent's Avatar
 

Quote:
Originally Posted by darkchild View Post
CJ is the guy whos credited producing "Unleash The dragon"... and also these have different guys...im

10 Dance For Me (4:10)
Producer - Jay Goin
11 Off The Corner (5:39)
Producer - John Hanes



but you are credited with the tracks for Mya, and Keyshia...

you've changed is the track with the same sample from "song cry"..right? did keyshia request you use the same sample, or did you have the beat done before hand, and she just picked it from a beat CD?
Credited where? Not on the album credits and I've never heard any dispute and always get luv for the production on that track. Does he have the plaque crediting him as producer from the RIAA? Maybe your looking at some remix credits. Anyway, misinformation there, dog.

Yes the "Sounds Like a Love Song" was used by request, just put more of an R&B thing to it.
Old 29th January 2007
  #64
Gear Nut
 
OneUp Ent's Avatar
 

Quote:
Originally Posted by mix-it-well View Post
Hi ,
I got a Question:

Right now I'm producing two Tracks for an Album wich will be released on Universal.
I could get about 2000 € or producer points...what would you take and how much Points can I get?
I'm an unknown Producer ,this would be my first comercial release.
The Beats are Samplefree...
Pls help.

EDIT: I think 2000 € for TWO Beats are funny money for a major realease.
What do you think?
Labels are getting stingy nowadays especially on unknowns. Universal doesn't have the best track record for their albums actually being released. A lot of stuff gets shelved so its really a gamble. You should really be able to get both. Even on my first outside production ever I got 3 points plus 6k. Try to get both but if you can't just make sure your credit is straight as that will be most benificial if it does get released and does anything. If they are offering 2k and you need the fast cash, take it but also invoice them for studio time used to make the track and to trak it. Give them no files until your paid if you can help it. Good luck and congrats!
Old 30th January 2007
  #65
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illynoise's Avatar
 

Invoice time = the time it takes you to get to the studio, eat, pull the mix up, go to lunch, haggle with the DVD Burner/FTP...... lol
Old 30th January 2007
  #66
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HittMann's Avatar
 

Quote:
Originally Posted by illynoise View Post
Invoice time = the time it takes you to get to the studio, eat, pull the mix up, go to lunch, haggle with the DVD Burner/FTP...... lol
Sometimes when you "invoice" a lot on your first major release can put in risk the whole deal...
Old 30th January 2007
  #67
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Glamdring's Avatar
 

Can I just ask, UK producers, what are you earning?
Old 30th January 2007
  #68
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Hitz's Avatar
 

Wow....

Look at this!! The Maestro, Tony Belmont, Ken Lewis, One Up Ent doin' tracks with Mya and Keysha... Thanks for making time to stop and post the knowledge. Feel like I'm in school again.

Hope this is on topic, but I'm in the situation of producing an artist, but he nor his ficticious label has the funds for advancing me for my work. Although I personally feel that this artist can make alot of noise and benifit from my production. I want to produce him, but I also want compensation for the tracks that he chooses to use.

Here's the question.

How do I work out my 'advance'/publishing/royalty in the end? (once records are recorded, mixed, mastered). Basically ready to be pushed for distribution.... i dunno.

sry if this is confusing....feel like a noob.
Old 31st January 2007
  #69
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Ken Lewis's Avatar
Hitz,
especially if your a new cat trying to come up, its often better to make little or nothing in order to get hot product in your hands that represents you well. If your trying to convince others to hire you to produce, and you cant play them anything really finished, start to end, that makes you shine, it puts a questionmark over your abilities.

I'm not telling you to take nothing if there's something on the table, and you should definitely get your business straight up front no matter what you do, but in my opinion, a good credit, or something that represents your abilities well, is worth infinitely more than the beans you'll make up front on a low budget project. People hire me because of my credits. People keep hiring me because of my talent, but talent without credits is not worth much.
-Ken
Old 31st January 2007
  #70
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Hitz's Avatar
 

Quote:
Originally Posted by Ken Lewis View Post
Hitz,
especially if your a new cat trying to come up, its often better to make little or nothing in order to get hot product in your hands that represents you well. If your trying to convince others to hire you to produce, and you cant play them anything really finished, start to end, that makes you shine, it puts a questionmark over your abilities.

I'm not telling you to take nothing if there's something on the table, and you should definitely get your business straight up front no matter what you do, but in my opinion, a good credit, or something that represents your abilities well, is worth infinitely more than the beans you'll make up front on a low budget project. People hire me because of my credits. People keep hiring me because of my talent, but talent without credits is not worth much.
-Ken
Hey! Thats some good advice. Yeah...STILL getting my business tight, books all open on the desk man..... "talent without credits is not worth much" HEAVY statement man, but 100% true.

I'll keep all this in mind. Thanks.

-Hitz
Old 31st January 2007
  #71
Here for the gear
 

Quote:
Originally Posted by filterayok View Post
can i ask how then?
I am interested as well. How? At least, how did you do it?
Old 31st January 2007
  #72
Gear Maniac
 
kriscain's Avatar
 

i must say...
this is a great thread

im a up and coming producer just getting into the whole world of trying to land major label placements...

it's good to see some insight from people who've been there and done that already... that way i'll be less surprised in the future.

I've had few beats demo'd by like 4 major artists but i never seem to be able to land a solid placement, at least not yet...

i've only been going at this since december of last year tho... i'm still completly green.



great thread
Old 31st January 2007
  #73
Lives for gear
 

Hey One Up;

Can you go thru your writing process? I like 'Fallen' and 'You' and can hear a simiar quality btw the two.
Do you start with drums/melody/vocal riff and build? Bounce ideas from diff people?
Old 31st January 2007
  #74
Gear Nut
 
OneUp Ent's Avatar
 

Quote:
Originally Posted by Hitz View Post
Hey! Thats some good advice. Yeah...STILL getting my business tight, books all open on the desk man..... "talent without credits is not worth much" HEAVY statement man, but 100% true.

I'll keep all this in mind. Thanks.

-Hitz
On a somewhat questionalble project it would be good to get some money upfront since that will probably be all you will see. You have to weigh the situation though. Chucky Thompson once told me that on some projects you have to look at them like a flier. Getting proper credit and if it does well, let that hopfully bring you more work. Even if it does ok and industry people think it was a great record you can get hired for other projects.
Old 31st January 2007
  #75
Gear Nut
 

Quote:
Originally Posted by OneUp Ent View Post
On a somewhat questionalble project it would be good to get some money upfront since that will probably be all you will see. You have to weigh the situation though. Chucky Thompson once told me that on some projects you have to look at them like a flier. Getting proper credit and if it does well, let that hopfully bring you more work. Even if it does ok and industry people think it was a great record you can get hired for other projects.
thats some good information.. im glad i joined this forum...
real good info to make major moves in the future or real soon
Old 31st January 2007
  #76
Gear Nut
 
OneUp Ent's Avatar
 

Quote:
Originally Posted by Umlaaat View Post
Hey One Up;

Can you go thru your writing process? I like 'Fallen' and 'You' and can hear a simiar quality btw the two.
Do you start with drums/melody/vocal riff and build? Bounce ideas from diff people?
This is a bit off topic, but....

On "Fallen" the track was based on an old school HipHop joint by the Farside. My partner Rich grabbed the original sample and programed around it and I added strings and bass. We had a percussionist come it to lay real triangles, congas, jazz brush snares, rim shots, and other ambient percussion. A talented writer from D.C named Leonard Huggins wrote the Lyrics ( he also co-wrote "still" that I did on Jennifer Lopez and "Youve Changed" for Keysha). Ron Fair put some of his thing on it too so far as vocal arrangements and some addtion musical arrangements.

On "You" My partner Big Kev had some guitar chords and I jumped on the piano and we started coming up with the chord stucture from there. I then programmed the drums, layed the bass, strings, and all other music. My girl Buttah came through and wrote to the track and demoed it. Mya heard it loved it and recorded it.
Old 31st January 2007
  #77
Gear Nut
 

Quote:
Originally Posted by OneUp Ent View Post
This is a bit off topic, but....

On "Fallen" the track was based on an old school HipHop joint by the Farside. My partner Rich grabbed the original sample and programed around it and I added strings and bass. We had a percussionist come it to lay real triangles, congas, jazz brush snares, rim shots, and other ambient percussion. A talented writer from D.C named Leonard Huggins wrote the Lyrics ( he also co-wrote "still" that I did on Jennifer Lopez and "Youve Changed" for Keysha). Ron Fair put some of his thing on it too so far as vocal arrangements and some addtion musical arrangements.

On "You" My partner Big Kev had some guitar chords and I jumped on the piano and we started coming up with the chord stucture from there. I then programmed the drums, layed the bass, strings, and all other music. My girl Buttah came through and wrote to the track and demoed it. Mya heard it loved it and recorded it.
Wow..im lookin at all the Songwriter on the "Still" song and publishing companies i have to assume you didnt see much publishing from the song - 7 songwriter maybe a penny if that per CD for that song...
Old 31st January 2007
  #78
Gear Nut
 
OneUp Ent's Avatar
 

Quote:
Originally Posted by bknot1 View Post
Wow..im lookin at all the Songwriter on the "Still" song and publishing companies i have to assume you didnt see much publishing from the song - 7 songwriter maybe a penny if that per CD for that song...
As mentioned before, when you work with a big artist they are usually going to want a piece hence the J-Lo credit. The other writers besides myself and my partners and Jen, were for the sample that was used. It was chopped up to changed the chord porgression but you still gotta include the original writers of the piece. I still control a nice piece of the song though.

On another note, that placement was another example of having the right song at the right time and being in the right place. That whole thing came about from my partners and I being in NY meeting with some publishing people at Sony. After the meeting we were just hanging outside the building talking when Corey Rooney comes out. So we holla YO! and My partner is like " We got some heat you need to check out" and that we about to joint the sony fam. Told him about some joints we did on Cube and Sisqo (which he already knew once we told him who we were since most top producers do their homework on who did what joints) and he though they was hot. So he says to come to the Hit Factory and holla at him in a couple hours.

We come through and play him some tracks and he's noddin his head but you can tell he ain't heard nothing he's really feeling feeling. About 5 tracks in he hears a joint he's feeling and wants to have one of his writers write it for a new artist he got. So we move from playing tracks to the full songs we have. The 1st song he thought was cool and moved to the next. Soon as the intro came on he sat up in his seat and really started listening, when the verse dropped he stood bolt upright and had that mean look on his grill noddin his head. I was thinkin to myself "got cho ass now!". When the hook came in he was like "Wooooo, this sh_ t hot, Ima put J-Lo on this one!."

At that point I had to refrain from jumping up myself and wildin out. I just played it cool and was like "Yeah she needs a joint like this" Took her a couple months to cut the joint since she was filming a movie and couldn't record for a while. On the mix we worked with Bruce Swedien which was cool.

Anything can happen in this biz if you have good timing and great material. It's a constant grind though and not for the weak of heart/stomach.
Old 31st January 2007
  #79
Gear Nut
 

Quote:
Originally Posted by OneUp Ent View Post
As mentioned before, when you work with a big artist they are usually going to want a piece hence the J-Lo credit. The other writers besides myself and my partners and Jen, were for the sample that was used. It was chopped up to changed the chord porgression but you still gotta include the original writers of the piece. I still control a nice piece of the song though.

On another note, that placement was another example of having the right song at the right time and being in the right place. That whole thing came about from my partners and I being in NY meeting with some publishing people at Sony. After the meeting we were just hanging outside the building talking when Corey Rooney comes out. So we holla YO! and My partner is like " We got some heat you need to check out" and that we about to joint the sony fam. Told him about some joints we did on Cube and Sisqo (which he already knew once we told him who we were since most top producers do their homework on who did what joints) and he though they was hot. So he says to come to the Hit Factory and holla at him in a couple hours.

We come through and play him some tracks and he's noddin his head but you can tell he ain't heard nothing he's really feeling feeling. About 5 tracks in he hears a joint he's feeling and wants to have one of his writers write it for a new artist he got. So we move from playing tracks to the full songs we have. The 1st song he thought was cool and moved to the next. Soon as the intro came on he sat up in his seat and really started listening, when the verse dropped he stood bolt upright and had that mean look on his grill noddin his head. I was thinkin to myself "got cho ass now!". When the hook came in he was like "Wooooo, this sh_ t hot, Ima put J-Lo on this one!."

At that point I had to refrain from jumping up myself and wildin out. I just played it cool and was like "Yeah she needs a joint like this" Took her a couple months to cut the joint since she was filming a movie and couldn't record for a while. On the mix we worked with Bruce Swedien which was cool.

Anything can happen in this biz if you have good timing and great material. It's a constant grind though and not for the weak of heart/stomach.
LOL.. i almost choke on my citrus green tea when you said you had to refrain fro jumpin out of your seat..LOL...but my @$$ might have been on the floor.LOL..that cool right that..i got a 1st little placement on a indie artist release 3 tracks few hundred dollars and publishing since i know the artist befor the deal she got..so we will see how is goes..i still witng for the check to come to really believe i got a placement..LOL

but i figuered you listed the people you sampled from when i look at some of the other work that the others did..

good work.. and thanks for sharing that information with us..
Old 1st February 2007
  #80
Gear Maniac
 
Top40Music's Avatar
 

Quote:
Originally Posted by OneUp Ent View Post
As mentioned before, when you work with a big artist they are usually going to want a piece hence the J-Lo credit. The other writers besides myself and my partners and Jen, were for the sample that was used. It was chopped up to changed the chord porgression but you still gotta include the original writers of the piece. I still control a nice piece of the song though.

On another note, that placement was another example of having the right song at the right time and being in the right place. That whole thing came about from my partners and I being in NY meeting with some publishing people at Sony. After the meeting we were just hanging outside the building talking when Corey Rooney comes out. So we holla YO! and My partner is like " We got some heat you need to check out" and that we about to joint the sony fam. Told him about some joints we did on Cube and Sisqo (which he already knew once we told him who we were since most top producers do their homework on who did what joints) and he though they was hot. So he says to come to the Hit Factory and holla at him in a couple hours.

We come through and play him some tracks and he's noddin his head but you can tell he ain't heard nothing he's really feeling feeling. About 5 tracks in he hears a joint he's feeling and wants to have one of his writers write it for a new artist he got. So we move from playing tracks to the full songs we have. The 1st song he thought was cool and moved to the next. Soon as the intro came on he sat up in his seat and really started listening, when the verse dropped he stood bolt upright and had that mean look on his grill noddin his head. I was thinkin to myself "got cho ass now!". When the hook came in he was like "Wooooo, this sh_ t hot, Ima put J-Lo on this one!."

At that point I had to refrain from jumping up myself and wildin out. I just played it cool and was like "Yeah she needs a joint like this" Took her a couple months to cut the joint since she was filming a movie and couldn't record for a while. On the mix we worked with Bruce Swedien which was cool.

Anything can happen in this biz if you have good timing and great material. It's a constant grind though and not for the weak of heart/stomach.
MUCH LOVE .
Old 2nd February 2007
  #81
Gear Nut
 

Quote:
Originally Posted by OneUp Ent View Post
On "Fallen" the track was based on an old school HipHop joint by the Farside.
Damn, I knew I wasn't crazy...I thought that was the Farside! (man, they were fun)

Really nice work though takin' it to another level. Love the vocal arrangements...

and the strings are sweet!
Old 2nd January 2008
  #82
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mix-it-well's Avatar
 

I just want to give this thread a bump since I've seen a lot of similar threads appearing.
One of the greatest threads around here.
Old 2nd January 2008
  #83
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Justice's Avatar
 

thats what it is...

what about production deals?

anybody have a budget from a label to drop production (Finsihed songs) 24 7. or is that more of a publishing deal?

My team will be in NYC Jan 16th-21th with a rack of **** (finished songs, production, artist, BDS).

Should we hit up Publishing companies real hard or go at the labels? We can get in any almost door.

Or is that kinda deal a ghost?

Thanks!
Old 2nd January 2008
  #84
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mix-it-well's Avatar
 

Quote:
Originally Posted by Justice View Post
thats what it is...

what about production deals?

anybody have a budget from a label to drop production (Finsihed songs) 24 7. or is that more of a publishing deal?

My team will be in NYC Jan 16th-21th with a rack of **** (finished songs, production, artist, BDS).

Should we hit up Publishing companies real hard or go at the labels? We can get in any almost door.

Or is that kinda deal a ghost?

Thanks!
Publishing Companies only care when you're a Top 10 etablished songwriter.
Just try to get as much placements on "important" releases as you can.
Try to get to get in touch with the managers of the artists you want to work with.
Make a track together and then try to shop the track to the label the artist is signed to.
Old 2nd January 2008
  #85
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PhonoquO's Avatar
 

what can you hope to get if you not only write the beat, but the hook, melody and even ghostwrite the verses? Like a complete song. Again broken down in the 3 levels of stature. thanks, appreciate the info. Beats isn't good enough anymore, that's why i've put the time into all the other aspects of songwriting in hip/pop.
Old 3rd January 2008
  #86
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mix-it-well's Avatar
 

Quote:
Originally Posted by PhonoquO View Post
what can you hope to get if you not only write the beat, but the hook, melody and even ghostwrite the verses? Like a complete song. Again broken down in the 3 levels of stature. thanks, appreciate the info. Beats isn't good enough anymore, that's why i've put the time into all the other aspects of songwriting in hip/pop.
Publishing for the lyrics and upfront money + producer points for the beat.
Depends on the situation of course. Neve sold something like that ,so all I can give you is a educated guess.
Old 3rd January 2008
  #87
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mix-it-well's Avatar
 

Quote:
Originally Posted by 12345 View Post
I would like to know why the producers in America care so much about the advance? I mean, they are recouped by record sales anyway, or how do the major labels in the US handle that??? And a lot of major hiphop productions doesn't sound like they needed 50000$ to produce the track.

Not all of us can shop tracks to major labels all the time (me included for sure). And there isn`t anything like producer points in the indie world.
You will end up with nothing but the upfront money.

It's just safe money.
When you make your living as a producer ,and the label puts the record you produced for on the shelf; with what are you gonna pay your bills?
What happens when the label doesn't do proper marketing or the LP can't move enough units?

There are SO many bad things that can happen to a project ...as a producer ,the only thing you can do is deliver great music that fits the artist and the time ,in the best scenario.You can't control the label actions.
Old 3rd January 2008
  #88
Gear Head
 

Polow Da Don's "Fallen" Remix is killing.
Old 4th January 2008
  #89
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mix-it-well's Avatar
 

Quote:
Originally Posted by 12345 View Post
Alright, I see. I also talked to a composer who is american and he says:
When you give a composition to an artist without making a contract, the artist can claim it's his composition and you will get no publishing money from radio airplay, is that true??? In Germany there is a law that the publishing money is ONLY for the original composer (or lyrics writer, or arranger, or publisher).
I don`t know I'm from germany too .
But how do you prove that you are the original composer? Especially when the artist is signed to a major: Do you really want to sue Universal ,Warner ,Sony or EMI?

They will never ever work with you again.
Old 4th January 2008
  #90
Quote:
Originally Posted by OneUp Ent View Post
My mistake on calling mechanical the "producer royalty". I still think you are a bit optomistic on 3 points getting you 6-7cents a song per album. I've been on a good amount of projects and it never works out to that much. My previous attorney (Steve Shapiro) broke the whole thing down to me and gave me a headache a little while back so I may be a little sketchy on some details. I think the most I have seen from a 3point deal worked out to about 2-3cents per song. So that's like 1 cent per point. I'm not sure if I was subject to the 10-12 song limit points cap or not, but that is usually responcible for a reduced penny rate.

I did the title track for Sisqo's "Unleash the Dragon" album which sold close to 7mil world wide. I got 3 three points for that song and 50% pub. My payout was nowhere close to 7cents a record. I'll have to dig up a statement for the exact figure. I got a full rate on the song as well. I don't know any producers who don't see a song from start to finish. I'm involved in every aspect from composing the track producing/arranging vocals and mix sessions. How can you avoid that being a writer/producer? The only thing I don't do is write the lyrics, but will usually make changes in that area if need be. I won't nickle and dime a writer if I feed them a few words and maybe modify the melody though.
I think they mean 6-7 cents per album. You should be getting a 1/10th or 1/12th of that.
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