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Got some interest in a track...now what?
Old 19th December 2010
  #1
Lives for gear
 
digiman's Avatar
Got some interest in a track...now what?

Let's say you finally get to the point where a major artist or A&R is feeling your tracks and is really interested. The next question is...then what? When they call to say they want to do the track, do they then want to start negotiating price before doing anything else? What if the artists wants to also write to the track that, do you negotiate cowriting? Who then sets up studio time to then record and mix the track? Does the artist/label handle setting up studio time or is that on the producer to set up and coordinate. How do you go about choosing a big time studio? What about mixing? Will the label want a big time mixer or do you as the producer pick your own mixer?

I know there are a lot of questions here, but I'd like to hear from some cats who have had real world experiences with major label or artist placements.
Old 19th December 2010
  #2
Lives for gear
 

when you get to the point of dealing with real money

invest in an entertainment attorney

done.
Old 19th December 2010
  #3
Lives for gear
 
Storyville's Avatar
Quote:
Originally Posted by digiman View Post
Let's say you finally get to the point where a major artist or A&R is feeling your tracks and is really interested. The next question is...then what? When they call to say they want to do the track, do they then want to start negotiating price before doing anything else? What if the artists wants to also write to the track that, do you negotiate cowriting? Who then sets up studio time to then record and mix the track? Does the artist/label handle setting up studio time or is that on the producer to set up and coordinate. How do you go about choosing a big time studio? What about mixing? Will the label want a big time mixer or do you as the producer pick your own mixer?

I know there are a lot of questions here, but I'd like to hear from some cats who have had real world experiences with major label or artist placements.
It depends on if they want the actual printed track itself, or if they want to use the content of the song but remake it.

If they want the track itself the first thing they should be doing (and often don't do first) is negotiate the licensing of the master.

Once that's done the label isn't going to do anything else - they turn it over either to the artist's producer or a project manager who will then probably ask you for the stems. Then you explain to them that you are still waiting on the paperwork to release the master. Then the project manager bitches and moans about deadlines and stuff and if you're smart you say "take it up with the label and tell them to get their asses in gear."

Anyway, the label will probably try to buy you out - they don't want to negotiate royalties and mechanicals - they're going to offer you a flat fee. My suggestion is take it, and do everything you can to establish positive face-to-face relationships with everyone you come in contact with after that.
Old 19th December 2010
  #4
Here for the gear
 
Jimmy Hoffa's Avatar
 

Name your price.
Old 19th December 2010
  #5
Lives for gear
 

Quote:
Originally Posted by Ace_TX View Post
when you get to the point of dealing with real money invest in an entertainment attorney
The Best advice you have right now. Before you go anywhere. Start shopping for an Entertainment Attorney .. Now. You might need some time to get a feel for who is right and to work out your arrangements with him/her .. You need your Attorney in place before any business goes down ..
Old 19th December 2010
  #6
Quote:
Originally Posted by Storyville View Post
It depends on if they want the actual printed track itself, or if they want to use the content of the song but remake it.

If they want the track itself the first thing they should be doing (and often don't do first) is negotiate the licensing of the master.

Once that's done the label isn't going to do anything else - they turn it over either to the artist's producer or a project manager who will then probably ask you for the stems. Then you explain to them that you are still waiting on the paperwork to release the master. Then the project manager bitches and moans about deadlines and stuff and if you're smart you say "take it up with the label and tell them to get their asses in gear."

Anyway, the label will probably try to buy you out - they don't want to negotiate royalties and mechanicals - they're going to offer you a flat fee. My suggestion is take it, and do everything you can to establish positive face-to-face relationships with everyone you come in contact with after that.
pro giving pro advice
Old 20th December 2010
  #7
Gear Head
 
jonbetter's Avatar
 

Quote:
Originally Posted by Storyville View Post
It depends on if they want the actual printed track itself, or if they want to use the content of the song but remake it.

If they want the track itself the first thing they should be doing (and often don't do first) is negotiate the licensing of the master.

Once that's done the label isn't going to do anything else - they turn it over either to the artist's producer or a project manager who will then probably ask you for the stems. Then you explain to them that you are still waiting on the paperwork to release the master. Then the project manager bitches and moans about deadlines and stuff and if you're smart you say "take it up with the label and tell them to get their asses in gear."

Anyway, the label will probably try to buy you out - they don't want to negotiate royalties and mechanicals - they're going to offer you a flat fee. My suggestion is take it, and do everything you can to establish positive face-to-face relationships with everyone you come in contact with after that.
thumbsup

That is easily the best and most straight forward music business advice i've seen on this forum since I started coming here.

cheers man!
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