Sellings beats to majors (please only if you have experience)

Discussion in 'Audio Producers Discussions' started by MAD SKREWS, Dec 15, 2007.

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  1. JaMarcus Cock Sucker

    JaMarcus Cock Sucker BOSS

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    ^thank you

    i keep tellin these dudes that work-for-hire bullshit is not normal practice....work for hire ultimately means u are giving ALL of your rights away......it means the music aint yours no more and u legally released all rights to make any money off that song whenever it is licensed....and thats a stupid thing to do

    get yall business game up....and stop gettin raped.
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  2. Auditory

    Auditory New Member

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    bomb thread. Is it wise to copyright everything you do exposer? i was under the impression that i should be (and currently do) copyright everything
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  3. the exposer

    the exposer The Music Luvas

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    you can't really copyright just a beat unless thats gonna be the song.... ya dig...

    what happens when dealing with the majors is you copyright the song when you know its getting placed (cuz the title has to be the same and the song splits have to be correct, if there any discrepency no one gets paid till its rsolved.).. its a simple phone call and believe you me if tis a placement then gonna get it up and registered...

    the beat part is the main reason i dont post my beats online anymore.... Scum can still beat jack you.. BMI OR ASCAP WONT JUS REGISTER A BEAT UNLESS ITS BEING USED IN SOMETHING...

    YOU FILE THE SR FORM IF YOU LIKE THE MOMENT YOU GET THE SONG BUT YOU CAN'T REGSTER THE RECORD UNLESS ITS A PLACEMENT..

    YOU CAN STILL SEND IN A SR FORM FOR YOUR BEATS BUT IF SOMEONE DOESNT SAMPLE YOU AND RELAY AND CHANGES JUS A LIL THING YOU STILL SHIT OUT OF LUCK IF THEY PLACE THE RECORD..
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  4. JaMarcus Cock Sucker

    JaMarcus Cock Sucker BOSS

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  5. MAD SKREWS

    MAD SKREWS Dear Mr.Toilet, Im Da Shi

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    so instead of a work for hire, what should the contract read if they are just hiring you for your services non exclusively to the label for a project?

    I've seen work for hire, meaning, you aren't going to be employed by the company. The company is basically hiring you for the work you are doing for them. That is my understanding for a work for hire.. if there are other stipulations we should be aware of when signing a "work for hire" contract, let me know. I asked a lawyer about the work for hire and that was pretty much his basic explanation to me.
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  6. Auditory

    Auditory New Member

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    Say your shopping beats to some rapper. You are shopping the tracks to the artist untagged in hopes he records to it and decides to purchase it...but you are not the person in the studio recording it. Now say this artist never pays you, and a song with your exact beat is on his album. If you never copyrighted the track your shit outta luck right? And if you did have the track copyrighted you can sue. right?

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  7. Eternity

    Eternity retired legend

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    Production agreements almost always state that the producer transfers to the record label the entire copyright to the music, and then in the same contract the record label re-assings the producer the producer's publishing rights (sometimes record labels also have publishing companies or publishing agreements that they sign producers to, therefore the record label might not reassign all of the publishing rights to the producer), and specifies the royalty percentage the producer will receive from sales. The producer is ussually given a nonrecoupable advance against sales royalties as consideration for the transfer of the copyright.
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  8. MAD SKREWS

    MAD SKREWS Dear Mr.Toilet, Im Da Shi

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    ^^ that's exactly what i've seen in pretty much all of my cases..
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  9. 7thSense

    7thSense New Member

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    I've seen where major producers have sold the same beat to two different artists, that some kind of reversion clause?
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  10. Eternity

    Eternity retired legend

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    one way this could be done is by licensing the music instead of selling it. thats how I sell my non-exclusive/lease purchases online: as a license.
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  11. SamSneed

    SamSneed TrackWorks

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    i think your missing what im saying. there are two situations you can be in if you a nobody in this industry. (which is basically everybody on this board)

    1. your either selling a beat

    2. or your selling your production service (which could also include making the beat)

    from what i know, if your selling your production service, then everything exposer and sole said seems to be true.

    but if your only selling the beat then its a different ball game. I think what is causing the confusion is the whole production vs beat making thing, and there is a difference and the industry recognizes it. there are way more people in and around the industry that are making beats, then are producing tracks. Most of these people you never heard of, and probably never will. they either got production deals with known producers (ghost producers) or have loose connections to people working on projects. There situations are completely different because they are selling musical composition, not production services. And when you sell a musical composition, it is almost always soled to the producer and comes out of the production budget, meaning the money comes out of the producers pocket. And its going to be some form of a work for hire contract where your where your transferring ownership of the composition to the producer/buyer. Anything you get out of these deals is a negotiation, including publishing.

    And lets be honest, unless you know somebody that counts or have built your name up or came into the industry on the back of an artist, your gonna be selling beats and not production services in the begining. your almost always gonna have to eat shit to make progress in the music industry, especially as you start out.
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  12. the exposer

    the exposer The Music Luvas

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    I Think you fallen for this Net beatmaker vs Producer B.S. that i seen on here and elsewhere..... truth is even big producer are not there for the recording of all sessions.. Now i do understand the beatmaker vs being a producer to me its very simple.. when i lace a track i here the whole song from the 1st sound that i use i envision the singer/the rapper I hear the Hook in my head... A beatmaker to me is jus someone who puts a track together cuz he likes the sound or composition but doesnt really have any musical vision after that...


    And jus cuz you never had a placement before doesnt mean that they think of you as a beatmaker, thats ridiculous it comes down to representation and knowing the game and the situtuation... The producer that do use other up n coming producers beats is usually cuz they are choosing to sacrifice to learn from the bigger producer and to gain experiences that would not normaly have a chance to get....


    BUT THIS BEATMAKER VRS PRODUCER SHIT IS JUS ANOTHER WAY FOR PEOPLE TO EGO TRIP AND PUT DOWN THE NEXT MAN..... IF THE BEATMAKERS BEAT IS HOTTER THAN THE PRODUCER BEAT EVO THO HE GOT A VISION... THE A&R STILL GONNA GIVE CREDIT TO THE BEATMAKER AS A PRODUCER...
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  13. PLT Productions

    PLT Productions Baltics Most Wanted

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    Damn, that`s some complex shit u got there in states..

    In europe, shit`s fuckin simple..

    U register ya name in such company as BMI, u get ya fucking work registration cards(hundreds if want).. When sellin a beat u gotta make sure that the point - (Music material buyer should ASAP holla at u and put his fucking sig and fill down song info after the track is recorded) is filled in in ya contract, otherwise u can be fucked over.. anyway
    Info:
    Music genre
    Composer
    Lenght
    Title
    Artist
    Date n so fucking on..

    After shits done, u take this piece of paper n get or send it to ya fucking company..
    U get your Publ. royalties n Meh. royalties(if owned)

    Sit down at home, fuck your bitch and you get your 50%(can`t be changed in my country) Composers just can`t get less or more than 50%..

    You don`t give a flying fuck bout artist and his fucking problems with motherfucking label. Usually you get 50%, label gets 40% n artist gets 10%, if indie u get 50/50..

    I`m lil confused, how long some of you been producin n still haven`t got ya shit together.
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  14. PLT Productions

    PLT Productions Baltics Most Wanted

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    Actually, what i`ve noticed is that 99% of net producers don`t even understand shit they doin. Usually ever1 downloads contracts from the net, print down 20 fucking copies n think that shit`s all good.
    Man u gotta understand how to use a contract.
    You can basically fill in the fuck u want (for your own protection).
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  15. SamSneed

    SamSneed TrackWorks

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    "I Think you fallen for this Net beatmaker vs Producer B.S. that i seen on here and elsewhere."

    well i dont know what your talking about...i'll be the first to tell you im more of a beat maker then a producer...it has nothing to do with ego or anything like that...its just a fact of the industry...most producers in the game started out just selling their beats to other producers...selling their beats as composition under some form of work for hire...its just the way the food chain is...my point is that its important to know the difference, especially if your a nobody tryin to get into the game

    the reality is, unless you come into the game with an artist that makes it, or unless you know somebody important...your gonna get treated this way as producer. call it paying dues, or getting taken advantage of or whatever...i cant speak for you, because obviously everybody's situation is different, but your telling only half the story, and for most people its a story that happens later in game. My point is that you got to know this part of it, because if you dont, you will get taken advantage of.

    "THE A&R STILL GONNA GIVE CREDIT TO THE BEATMAKER AS A PRODUCER"

    but thats not always true...it depends on the project...hiphop is really the only genera where someone who provides the musical composition for a song is automatically called the producer...a large part of hiphop industry doesn't work like that, especially for unknown producers on larger budget projects. these people get the composition credit, or the programing credit, or the keyboard credit, but not the production credit, maybe sometimes the co-production credit. Indie projects and alot of the smaller budget products are different.
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  16. JaMarcus Cock Sucker

    JaMarcus Cock Sucker BOSS

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    u got the game fucked up

    u aint gotta do all that to get in......

    stop listenin to these RM dudes that sign work for hire contracts with producers....

    that aint the only way to get on.......thats just the path they chose.....

    if u got hot records and an outlet.....u can get in a project and get credited just like any other producer.......that foodchain shit is bullshit.......

    i can PERSONALLY tell u that.....bc 1st quarter 08, u wont see NOBODY takin credit for my placements....
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  17. Djay Cas

    Djay Cas Woodgrain Oak

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    yo if ur not reading this shit u need to be

    alot of useful information on here
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  18. JaMarcus Cock Sucker

    JaMarcus Cock Sucker BOSS

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    i got the feelin samsneed is getting his verbatim from outdated music business books from 1976 which involved signing musicians as work for hire.....

    that shit dont apply to hip hop....not unless ur actually a musician hired by the producer

    but a producer aint gonna mark u as work for hire unless u allow him to.....which would mean ur a ghost producer

    and that will only happen if u allow it to......

    but an A&R is not gonna assign your beat to another producer and pay HIM and YOU

    thats fucking stupid....his job is to maintain the budget......if he can get a track off u for 3500, thats what he's gonna do

    he aint gonna snatch a track from u.....give it to another producer, then pay that producer 15k + and then pay u 3500.....thats stupid as fuck.....LOL

    anyways i'm done with this thread....
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  19. SamSneed

    SamSneed TrackWorks

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    im not saying anything thats not true....

    its a situation that alot of that alot of unknown producers are in. U gotta know how all the parts of the industry works so you dont get taken advantage of.

    "he aint gonna snatch a track from u.....give it to another producer, then pay that producer 15k + and then pay u 3500.....thats stupid as fuck.....LOL"

    thats not what i said...what i said was it depends on the project and who you know. and generally an A&R's responsibility is not to find beats for an artist. If you personally know an A&R thats different. Like i said, that goes back to knowing somebody that counts on the project. and i curious to see how something like pmp works out when you actually place a track on a major project. I know that one of the people from DP placed a track on Snoop's cd and got the production credit, but i think that was from a relationship he developed with somebody he meet at one of conferences. and i remember somebody from here place a beat on an R,kelly CD, but didnt get production credit. I dont know his situation, but i beat you he doesnt own the rights to that beat anymore, and what ever he got from publishing or anything else was a negotiation with the producer of the track.

    "that shit dont apply to hip hop....not unless ur actually a musician hired by the producer"

    but alot of times thats exactly how the industry treats an unknown producer...i dont know why you oppose that when its absolutely true. More then anything, it seems that you have a moral opposition to it. and thats fine, do what you do. but nothing i said is false, and i think its important to know how the industry can and more times then not will come at you when your an unknown producer.

    and thats my point, alot of people dont know this because of the whole confusion about beat makers vs producers.
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  20. Hitman J

    Hitman J lets get get get it....

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    yea you talkin bout that polo and chase shit.. i think he gave that man some cheese and threw his name on that bitch lol
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