I posted a beat that I’m about to record to on my Snap and this bitch replied and said “Aw shit you’re gonna remix a Pop Smoke song? Huge Pop Smoke fan can’t wait to see what you do on it!”
....the beat is completely original and I bought it. It’s not a Pop Smoke song. 😐 And can’t be that big of a fan if you think that’s one of his songs. What song???? 🤦🏻♂️
Now granted, the style of it would definitely fit in his style/category, especially the way the drums are, but it literally is a completely original beat and exists nowhere in his category. It doesn’t even have a sample lmao.
What does someone pay for a beat like that? Just curious really. Interesting how that works.
It depends. You can get em as low as $20 for an MP3 lease. But WAV is best for audio quality so I never touch MP3s other than using the demo MP3 to initially record on. Which for me means to write to but I don’t write a single word anymore and freestyle 2-4 bars at a time, so I record as I go and then go back and do a final re-recording once it’s done. But general pricing is usually as follows:
$20-$30 for an MP3 lease.
$50-$60 for a WAV lease.
$100-$150 for a WAV trackout lease. This is what I usually buy. (A trackout is where every single instrument used in the beat is sent as a separate track. So essentially the same way you would mix a band. Guitar, vocals, drums, and bass would all be on their own separate tracks. This is obviously best for mixing because each individual sound can be mixed independently. Also benefits when it comes to shit like beat drops. If you have jus the standard MP3/WAV, then you have to cut the entire beat off. But when you have a trackout, you can do dope shit and toy around and maybe drop every sound except the hi-hats, let em ride, then let the entire beat boom back in wit every sound. Or maybe there’s a part where you wanna fuck wit only the main synth. You can automate a filter on that synth alone without fucking wit the rest of the beat. And as far as mixing, let’s say that the snare alone is too high and is fucking up the clarity of the vocals. If you’re using a single MP3/WAV, the only way to correct that would be EQing the higher frequencies, but it would also fuck wit every other sound that sits in that higher frequency. When you have a trackout, you can EQ the snare alone.)
EXCLUSIVE rights where you legally own the beat and ownership is handed over to you in writing, where the producer no longer owns the beat, go upwards of $1000. And these are WAV trackouts as well, sole difference being the actual ownership. Because all the other ones are leases. The lowest I ever seen an exclusive for was $500 and I was honestly shocked. You usually see no less than $1000.
I’ve never bought exclusive rights because there’s no point until my music is making me some decent money. If I bought exclusives for all 12 tracks on my album, it would have ran me about $12,000. That’s jus money wasted that could be used on so many other aspects of music until it’s producing money. So doing WAV trackout LEASES, my album cost about $1200 in beats. On the leases, the producer makes their own terms and conditions, but for a WAV trackout lease, you’re usually allowed, give or take, 500,000 plays/streams on that beat. And obviously at that point, the stream revenue would be paying nice, and at that point I would use that money to upgrade and buy the exclusive rights, because at that point it’s a money maker and worth the investment.
I also don't understand why people are mourning his death when he raps about that kinda shit himself. I kinda like Sauce Walka but if he died tomorrow, I'd say O"well, he prolly had it coming."
I also don't understand why people are mourning his death when he raps about that kinda shit himself. I kinda like Sauce Walka but if he died tomorrow, I'd say O"well, he prolly had it coming."
Yea I said the same thing. Wasn’t a fan in the first place so it didn’t hit me, but if all your songs are about blowing mf’s heads off and you ACTUALLY about that and not capping, you’re prolly getting shot at some point lmao.
What does someone pay for a beat like that? Just curious really. Interesting how that works.
It depends. You can get em as low as $20 for an MP3 lease. But WAV is best for audio quality so I never touch MP3s other than using the demo MP3 to initially record on. Which for me means to write to but I don’t write a single word anymore and freestyle 2-4 bars at a time, so I record as I go and then go back and do a final re-recording once it’s done. But general pricing is usually as follows:
$20-$30 for an MP3 lease.
$50-$60 for a WAV lease.
$100-$150 for a WAV trackout lease. This is what I usually buy. (A trackout is where every single instrument used in the beat is sent as a separate track. So essentially the same way you would mix a band. Guitar, vocals, drums, and bass would all be on their own separate tracks. This is obviously best for mixing because each individual sound can be mixed independently. Also benefits when it comes to shit like beat drops. If you have jus the standard MP3/WAV, then you have to cut the entire beat off. But when you have a trackout, you can do dope shit and toy around and maybe drop every sound except the hi-hats, let em ride, then let the entire beat boom back in wit every sound. Or maybe there’s a part where you wanna fuck wit only the main synth. You can automate a filter on that synth alone without fucking wit the rest of the beat. And as far as mixing, let’s say that the snare alone is too high and is fucking up the clarity of the vocals. If you’re using a single MP3/WAV, the only way to correct that would be EQing the higher frequencies, but it would also fuck wit every other sound that sits in that higher frequency. When you have a trackout, you can EQ the snare alone.)
EXCLUSIVE rights where you legally own the beat and ownership is handed over to you in writing, where the producer no longer owns the beat, go upwards of $1000. And these are WAV trackouts as well, sole difference being the actual ownership. Because all the other ones are leases. The lowest I ever seen an exclusive for was $500 and I was honestly shocked. You usually see no less than $1000.
I’ve never bought exclusive rights because there’s no point until my music is making me some decent money. If I bought exclusives for all 12 tracks on my album, it would have ran me about $12,000. That’s jus money wasted that could be used on so many other aspects of music until it’s producing money. So doing WAV trackout LEASES, my album cost about $1200 in beats. On the leases, the producer makes their own terms and conditions, but for a WAV trackout lease, you’re usually allowed, give or take, 500,000 plays/streams on that beat. And obviously at that point, the stream revenue would be paying nice, and at that point I would use that money to upgrade and buy the exclusive rights, because at that point it’s a money maker and worth the investment.
Thanks for taking the time to write all that up. It’s pretty interesting.
Fuck Megan that whore can die but this shit is still unfathomable to me. Tory one of my biggest inspirations and this is prolly about to end his career if confirmed to be true smh. Incredibly careless if he did it himself. This is why you have goons around when you in a position like that to carry out shit like this. Most leave the savage shit behind. Even Chief Keef moved his ass to the hills and got the fuck away from shit like this.
It jus blows my mind, obviously we don't personally know these people, but even as an artist who is top 3 to me, knowing his entire catalog, Tory always struck me as somebody who was capping like Rick Ross when it came to any "shooter" talk in his music. Where it's only for entertainment/character's sake. Not that there's anything inherently wrong wit that. But yea he never struck me as one of the ones that's ever ACTUALLY been about the street shit, unlike a Chief Keef or a YNW Melly.
2020 literally got everything. Yellowstone is 110% blowing by December.
Really tryna talk myself out of buying the Neumann U87 mic. It's $3,600 before taxes. (Edit: $3,200. Why Guitar Center has the exact same mic for $400 more and is able to get away wit it is beyond me.) I have the money to do it immediately, but it would come out of my savings and obviously that's a decent ass chunk all at once. But Goddamn that's truly a lifetime purchase and I would never have to buy anything mic related ever again. There's essentially no higher of a ceiling than the U87. There's that one Sony mic for $10K but at some point the audio quality can only get SO good. U87 is industry standard for a reason. I jus hate the fact that my current mic is $1200 and I jus got it bout 2 years ago. Granted I could easily get $1000 for it at the least because it's in flawless condition, but still. Almost makes me wish I jus waited a lil longer and put the extra $3K together.
I love my mic, it sounds amazing. Shit it should at $1200. But I've recorded on a Neumann U87 back when I was still going to external studios and didn't have a great home set up. And I came out of the booth flabbergasted at how clean it sounded RAW. I asked the engineer "Oh shit you already EQ'd it that quick?" and he said no and that he did absolutely nothing to the vocal take yet. It's so good straight from the source that you almost don't have to mix it smh.
Comments
....the beat is completely original and I bought it. It’s not a Pop Smoke song. 😐 And can’t be that big of a fan if you think that’s one of his songs. What song???? 🤦🏻♂️
$20-$30 for an MP3 lease.
$50-$60 for a WAV lease.
$100-$150 for a WAV trackout lease. This is what I usually buy. (A trackout is where every single instrument used in the beat is sent as a separate track. So essentially the same way you would mix a band. Guitar, vocals, drums, and bass would all be on their own separate tracks. This is obviously best for mixing because each individual sound can be mixed independently. Also benefits when it comes to shit like beat drops. If you have jus the standard MP3/WAV, then you have to cut the entire beat off. But when you have a trackout, you can do dope shit and toy around and maybe drop every sound except the hi-hats, let em ride, then let the entire beat boom back in wit every sound. Or maybe there’s a part where you wanna fuck wit only the main synth. You can automate a filter on that synth alone without fucking wit the rest of the beat. And as far as mixing, let’s say that the snare alone is too high and is fucking up the clarity of the vocals. If you’re using a single MP3/WAV, the only way to correct that would be EQing the higher frequencies, but it would also fuck wit every other sound that sits in that higher frequency. When you have a trackout, you can EQ the snare alone.)
EXCLUSIVE rights where you legally own the beat and ownership is handed over to you in writing, where the producer no longer owns the beat, go upwards of $1000. And these are WAV trackouts as well, sole difference being the actual ownership. Because all the other ones are leases. The lowest I ever seen an exclusive for was $500 and I was honestly shocked. You usually see no less than $1000.
I’ve never bought exclusive rights because there’s no point until my music is making me some decent money. If I bought exclusives for all 12 tracks on my album, it would have ran me about $12,000. That’s jus money wasted that could be used on so many other aspects of music until it’s producing money. So doing WAV trackout LEASES, my album cost about $1200 in beats. On the leases, the producer makes their own terms and conditions, but for a WAV trackout lease, you’re usually allowed, give or take, 500,000 plays/streams on that beat. And obviously at that point, the stream revenue would be paying nice, and at that point I would use that money to upgrade and buy the exclusive rights, because at that point it’s a money maker and worth the investment.
It jus blows my mind, obviously we don't personally know these people, but even as an artist who is top 3 to me, knowing his entire catalog, Tory always struck me as somebody who was capping like Rick Ross when it came to any "shooter" talk in his music. Where it's only for entertainment/character's sake. Not that there's anything inherently wrong wit that. But yea he never struck me as one of the ones that's ever ACTUALLY been about the street shit, unlike a Chief Keef or a YNW Melly.
2020 literally got everything. Yellowstone is 110% blowing by December.
I love my mic, it sounds amazing. Shit it should at $1200. But I've recorded on a Neumann U87 back when I was still going to external studios and didn't have a great home set up. And I came out of the booth flabbergasted at how clean it sounded RAW. I asked the engineer "Oh shit you already EQ'd it that quick?" and he said no and that he did absolutely nothing to the vocal take yet. It's so good straight from the source that you almost don't have to mix it smh.