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Dear Dynamic is our monthly, producer advice column where we help producers get to their next leve by offering suggestions & tips on how to navigate the industry.
February 2012
"Hey Felisha,
I’m working on combining my efforts for both artists and music license submissions to get more efficiency out of my work. What is your opinion about submitting tracks to multiple outlets? Specifically, do you think it’s acceptable to submit a particular track or beat to more than one option, such as to different labels? Or the same track or beat to multiple labels, artists, and for music licensing? How would you handle that?" --TrakBeast
"Hey TrakBeast,
It's great that you're trying to figure out how to be more efficient with your music. I think that producers should absolutely submit tracks to multiple outlets. Since you don't know which connect OR which track will get you to the next level, setting up your music to reach as many ears as possible makes sense. I would however pay attention to any stipulations when you submit for licensing opportunities. Also keep in mind that it's more likely that you'll license music before getting a placement. Therefore, ask yourself how you would handle a scenario of an artist wanting to buy a licensed track? I have at times recommended that producers separate tracks intended for licensing from tracks intended for artist placement, just so that they feel more comfortable to enter into agreements with licensed music which will surely come in all shapes and sizes. It's more about your own professional business model than anything else. What's your supply look like? How often are you creating new music? What's your artist submission process like? All these factors can be relevant in determining how to spread your music out for opportunities. Does this answer your question? If not let me know if i need to clarify anything." --FBI
"I always appreciate a FBI answer for obvious reasons. Part of my concern about submitting tracks to an artist is, how long is a reasonable amount of time to wait on a track that was presented for a placement when you have independent artists beating your door down for the same track? I want to maximize the sale of the track, and if I know the track would be a good candidate for a placement, then I prefer to have that placement because the benefits and payoff is greater. But then you run into the drag your feet and politics game with labels. No one wants to waste a track that CAN be sold, but you never know who's gonna cop the track. So I have a theory of a system.
1. Submit a track for (X) amount of days to labels for placement.
if it doesn't get placed,
2. Make that track available to independent artists.
if it doesn't get sold,
3. Make the track available for both music licensing and music leasing.
If it doesn't move there,
4. Keep it at no. 3 but use it for tutorials on producer sites, youTube,...etc.
5. If the track doesn't move by the 3rd option, it probably wasn't gonna move anyway and you can chalk that up as a loss but at least it can serve as content on the 4th option. Everyone needs content, and that way it's not a waste.
I just think you have to be GREEN EARTH about production which means, don't WASTE it. There has to be something you can use a track for but still don't get hung up on it, just go harder on newer tracks.
Should I change this order? What do you think?
AND, I have some projects (not music, but music related) in the works that I haven't shared with anyone. If I can execute them, I'd love to have your opinion on them. You have good insights. Thanks for responding". --TrakBeast
"I like your system, however for # 1 ... X amount of days may need to be months or even years b/c the turnaround time on finding out anything regarding a major artist can definitely take longer than days. If you have a direct relationship with the artist, manager, or a&r you can often get insight faster but they may not know themselves until the project is close to the end....and all this is provided you have THAT type of relationship with someone who wants to give up the info. Remember, artists work on their schedule...and on the label's schedule...not yours. Just because you submitted in January, doesn't mean anyone feels the need to let you know ANYTHING until they know its a good 80% - 100% chance that its going happen. In regards to # 2 and # 3 that sounds good and could certainly be re-ordered depending upon the opportunities at hand. I too agree with the GREEN EARTH approach. I often tell producers to think of their catalog as if it was in a store on a shelf. See what you can sell at the retail price and then later on, markdown, discount and move where you can to reduce your older inventory to make room for the new hits!" --FBI
"Thanks for that insight. It is a BIG help. I meant to say X amount of months not days, that would be insane." --TrakBeast
"No doubt! This is what we do. Feel free to keep me posted on your progress. If you have any other concerns feel free to hit us anytime!" --FBI
Do you need some advice as it relates to the grind of becoming a major producer? Are you facing any tough decisions, frustrations or challenges? If so, Ask Dynamic! Send us an email explaining the situation and we'll offer our feedback. If you'd like for your name to be changed in the response, just request anonymity! Email drummajor@dynamicproducer.com.
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