Today we’re going to talk about ways to make money as a producer, this is one of the hardest things to get together at first. Most up and coming producers have to work a day job to be able to afford rent and bills. So here’s 3 different ways to make money producing instead of bagging groceries.

If you head over to https://bitsubmit.net/ you can post your tracks and have direct access to promotion companies without all the mess of figuring out how to contact and stumbling through email contacts.﻿

Sync Licensing



If you’re wondering what this term actually means, here’s how it’s defined from CDBaby.com

Sync licensing, or “Synchronization,” refers to the use of music in films, TV shows, commercials, video games, presentations, YouTube videos, or anything else where a song is “synced” to moving images.

When a song is licensed for sync, a fee is paid to the songwriter/publisher for the usage of the underlying composition, AND to the copyright owner of the master recording for the use of the track.

If you wrote the song and haven’t sold the rights, you are the publisher. If you own the recording you are the copyright holder. In this case you would get paid both royalties – via CDBaby.com

If you stop and think about it, basically every single piece of video content needs some sort of soundtrack or music added. Sync is a very lucrative way of earning an income in music, plus it oftentimes works itself out that, you may have had a song just sitting there that could be used for something rather than collecting dust.

Two easy steps to get into music licensing are A) getting together a body of work (10 + tracks), and B) connecting with a sync licensing company.

When I went to Canadian Music Week and sat in on a sync licensing panel, the biggest take away i gained was that to make a living just on sync alone is nearly impossible. Most of the music supervisors who were on stage were basically saying that they receive so many submissions from artists/bands that the ones who get picked up are usual those who are most willing to negotiate. Music supervisors have a tough job to do, they have to balance a show or movies entire musical selection/library and that can get expensive. If you have a chance to get a song into a movie or TV show I’d suggest doing it almost regardless of the price. The “exposure” will be worth its weight in gold.

A few companies to look at are Music Bed, Marmoset Music, Pond4, and Audio Jungle.

Producing For Other Artists



Making beats and instrumental tracks for artists is still a lucrative way to make an income as a producer, even though producing has become more accessible, many artists still need someone to help with their creative vision.



Now your body of work is really important here and it’s good to have your music at a level that you’re proud to share with potential clients, it’s also helpful if you have a successful artist project under your belt, now this isn’t required but definitely helps.



The best way to get started here is to work with friends/rappers/vocalists/ basically anybody who needs production. If you’re new to this in general i highly suggest starting local as it will be the best ways to build these relationships and connections. In Person.



Another great way to monetize your skills as a producer is to offer your services to a production company. At first you may have to be the errand boy, and grab the specific natures of the engineers coffee requests (two sugars not two sweeteners). But it will be a great way to gain experience and as soon as there’s a moment to throw in an original composition of yours at least you have a great place to get critiques and maybe even a financial opportunity could arise from it.



Sample Packs



Producing drum sounds, bass shots, and chord stabs is a common day for a sample pack creator. It’s a great source of income while you’re perfecting your craft, it also will allow you to really hone in on your sound design, and knowledge of samples. This includes creating construction kits/sample loops, creating drum libraries, vocal packs, and anything else you can think of.



If you are an established artist or have a project that has generated some notoriety, you may be able to simply set up an online shop and sell directly to your customers. But if you’re newer to the scene you will want to go through a sample pack label. Splice and Beatport have a great resource for samples, and you can always look at the different companies on their sites to see where your style/talent is best suited. Most of these companies won’t care about your artistry as much, they just want to make sure your sounds/music catalogue is good, if it is they’ll hire you.



The main options here are whether you get a buyout or a royalty. Buyouts will give you a one time fee and you’ll receive it immediately. But from what I’ve seen, royalties typically will earn you almost double, even three times to that of a buyout. It really depends on the size and type of pack you’re working on, but you can expect anywhere in the range of $300-$2000 per pack, depending on the quality/size of the content. A Beatport top 10 pack will earn you anywhere from $3k-$12k if you can make it there.

If you head over to https://bitsubmit.net/ you can post your tracks and have direct access to promotion companies without all the mess of figuring out how to contact and stumbling through email contacts.﻿

Automate your entire marketing process so you can spend more time where it matters most – in the studio. No more wasting time searching the internet for promotion. No more sending hundreds of emails to promoters that rarely respond because of their flooded inbox. https://bitsubmit.net/﻿

