How do y'all sell your tracks long distance?

  • Thread starter Thread starter Leffield
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Leffield

New member
Generally, the work I've done has been on the local scene...so when I've collaborated with an artist, we've physically gotten together to come up with the concept, then I accompanied them to the lab to lay it down, bringing my board with me. I'm wondering in what format do you fellow producers package up your completed tracks for customers who are not in your vicinity. Do you just drop the tracks to CD, and send it as is? Do you keep numerous software programs on hand and cater to their request, then hit them off with the original tracks for them to freak on their own? Also, do you lease your tracks for a period of time or do you generally sell the rights to it for a one time fee?

Good looking out--

LEF


some of my product:
http://zebox.com/leffield
 
I'll be going to music school in september - so at that time I might find and answer to this question - but in the meantime, the one thing i would be careful of in your situation is getting ripped off. Don't hand of any product before you get your $$. Let people listen to samples - stream only sounds, for example, but don't actually *give* them a copy of anything you hope to sell one day


Also, make sure that your name is prominent on the stuff you've done by your local artists, with a way to contact you. You should consider that work a major form of promotion for yourself.

Layla Nahar
 
Leffield,

Who have you worked with locally? I'm from Buffalo so I'm curious to see if we know any of the same people.

I'm no expert on the subject, but I have done a variety of long distance collabos in the past. As far as compatibility, it is, of course, ideal to have the same program the other party is working with that way you can send an entire project. In some cases that won't be possible.

In those situations it's easiest to record all your tracks from the same start point using a standard format, 24/96 WAV, and convert if needed. That way it will be easy for the other party to assemble, regardless of what program they're using. It's also a good idea to send your finished mix of the product. That way the other party has something to work from.

As far as selling tracks, they are a variety of different deals. You can do it anyway you want basically. Definitely don't sell yourself short or give away high quality full song length samples. But remeber that if people don't know you, they are not going to want to pay you very much, if anything, for your work, even if it's good. Don't walk away from someone asking for something for free if you have reason to believe it will bring a profit in the future.

Also never agree to a percentage if you don't believe the project is profitable, unless you negotiate a nice sum up front as well. Upfront cash plus a piece of the back end is the best deal for the producer, IMO.

That's my rant on the subject.

Stray
 
yep

originally posted by stray411
In those situations it's easiest to record all your tracks from the same start point using a standard format, 24/96 WAV, and convert if needed. That way it will be easy for the other party to assemble, regardless of what program they're using. It's also a good idea to send your finished mix of the product. That way the other party has something to work from
Click to expand...

yep save the song in sequence as 24/96 wav, and also in loops so that the person can have the flexibility to sequence it however he or she likes. save it track by track. and like stray said. save the whole song so the person has something to work with. also include a second disk in cd audio format so the person can listen to it, in case he or she can't convert it themselves.
 
Nuff respect for the replies. Stray, the individuals that are in my circle are Destin (producer/ sometime emcee, Rochester); Total Kaos (crew) out of Buffalo; Nucleiz out of Rochester; Nuke the Fever, Rochester; Zahaiya, Rochester; Blak Moses, Rochester; Geech Lorenz, Rochester-- not really my circle but we've done some work; Progressive Gents, Rochester..the list goes on, but those are the most pertinent in terms of collaborations. You are in Buff? We'll have to get up sometimes and put something together.

LeffieldSP@netscape.net

Again, I appreciate the feedback. I've been hibernating a little bit, and am looking to make good on all these plans I've been working out...

peace,

LEF
 
big up to the roc

my nigga kill cam stays in rochester. i don't want to say his full government name on here, but his first name is sharelle.

on selling tracks, i've known some people to lease em out. they cut the price in half and tell the buyer that they don't own full rights to it. sometimes the lease comes with restrictions like; you can use the track on only one of the following, radio, demo, performance, mix cd. of course most people don't follow that rule but, you can get the necessary paperwork to protect your work. if they blow, you will get paid, because you still own the track. cross studio, misterque, and spinster1 are more of an expert on this subject than me.
 
Re: big up to the roc

jugalo180 said:
my nigga kill cam stays in rochester. i don't want to say his full government name on here, but his first name is sharelle.

on selling tracks, i've known some people to lease em out. they cut the price in half and tell the buyer that they don't own full rights to it. sometimes the lease comes with restrictions like; you can use the track on only one of the following, radio, demo, performance, mix cd. of course most people don't follow that rule but, you can get the necessary paperwork to protect your work. if they blow, you will get paid, because you still own the track. cross studio, misterque, and spinster1 are more of an expert on this subject than me.
Click to expand...

I'll be looking those individuals up. I'm assuming the track itself, and the finalized song (with vocals etc) would require two separate copyrights. Eh...I basically need to hit the library to refresh myself on registering my work. With the lease, I was thinking more along the lines of giving a client a set period of time in which to make moves with the track, before it becomes available for another, more serious paying party. At all times I would own the rights to it. But this whole area is fuzzy for me.

LEF
 
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