How to get my sound out?

I'm just 14 but how can i put my music out there so people could start could start noticing me

u could start local.. like start workin with sum rappers around ur way n start sellin beats..

and/or u could use the internet.. jus make sure u protect ur shit when u put it up on sites like soundclick.. (copyright and or tag it)

nice lukin out but since imma 14 year old how much should i charge 4 them to take me serious nd does myspace copyright???

Well it depends how good ur beats are.
People can download beats of myspace without ur permission, so make sure u put a lot of tags.
Get some talent points, and post ur beats, so we can give u feedback, and then u can work out pricing.

Local Radio
soundclick.com
myspace or any similar websites
craigslist
demos

ROCBATTLE.com.................IM TELLIN U.......

itunes has this paypal pay button, i dont know the code maybe cp knows it, he's good coding, myspace is cool cuz its flash intergrated, so they cant jack ur stuff, cuz it wont let them left click it, now another i'd recommend is when you make a track or even one thats allready done, make sure you talk over the track, like this is a young305 production like every 15 seconds,

if you need anymore help just hit me back and i'll give you some more tips.
peace.

The only thing I can tell you with this is that you have to play off of what you see, and take the time to learn how things work and what's expected of you coming into the game. The answer to that question is different for everyone out here on the net because the industry is different in their home town. Regardless, you have to pop in your own city first, and that takes for you to analyze the scene and how cats are getting in.

You can't try what everyone else is trying because the biggest obstacle to getting in is making enough noise in the midst of all these other cats, who may very well be talented enough theirself, but it's all just one big headache to the guy everyone wants to meet, so that's not good. One thing that always works, is copyrighting your beats and looking for cats who are doing shows and making albums, even if their not all that good, but are doing something and being seen.

After you hook up with them, see what you can work out, and if shit is really dry in your city, like it is here in Milwaukee, and cats ain't getting anywhere because they don't got the bread to pay for everything, sitting on a bunch of hot shit forever because you're not getting paid isn't benefiting you either. Right now, you're not getting any money for it, so what difference would it make. If you come across some cats who are really making a movement, lease the tracks to them for free, just so you can get your credits.

Don't focus too hard on these ""Mix Tape"" finatics running around. They're trying to do what they see -----s who are already famous doing, but that's the keyword, "FAMOUS" which is why it works out well for them. But as you move along and plug with different cats and get your shit out there, even if they turn out to be some bullshit ass -----s and jack you around on some bullshit and you wind up not dealing with them, at least you have your name in a CD insert that has a barcode on it. That's more valuable than a hot track nobody ever hears, especially when it's yours and you can still do whatever you want with it, you just let them get it that time, so it's not like you lost it.

You want to get your credits up because that's what you hand somebody when you're giving them a "demo". Due to the way the industry is now and what is possible with the technology that exist now in our own homes, having talent doesn't just cut it anymore. Back in the day they could give them a tape with a fucked up recording of them raping over a beat, what they were saying was tight as hell and the concept was good, the sound quality was just bad.

But back then you it was next to impossible for someone to have the equipment needed to properly record and mix everything to be industry standard as far as clarity and quality. So they let that slide, but technology now lets us do that in fruity loops, a lot of people don't know you can do it in there, but that's because they don't know what to do. You have to read up on shit and learn about mixing and mastering and how to go about doing it with which effects, knowing what frequency range to cut out of a sound, and how to shape how you you cut it and all that.

If you hand them a demo with something you did in fruity loops that is tight, but not of quality, them knowing what needs to be done and knowing you have everything needed to do it tells them you don't know your shit, which means you're not ready. Not only do you have that aspect to battle, but you have to set yourself up business wise and understand how everything works that way, everything is a lot more structured now in the business aspect than it was back in the day, overall, more is required of you now because of what is possible from home if you know what you're doing.

But when you give someone a CD, it has to be cuts that were on people's CD's or were performed, which is why you have the copyright and take the steps of having them sign a contract with you, even if you're leasing it for free, so that there can be a paper trail of that which can be found when they look it up. Do whatever you gotta do to get your music on as many albums as you can, even if the cats can't rap for shit, if they got money, and you see actual movements being made and they're putting bar codes on shit, infiltrate as deeply as possible. Don't over exert yourself or throw in too much, but do whatever you see possible and make sure you got something for other opportunities that may arise.

If you don't get your name around your own city, people will wonder why someone as talented as you ain't got love in your own city, it makes them wonder what type of reputation you got around town and why you have it. Everything from ending up in some type of drama, down to some bullshit that will destroy your career in the middle of all their money being invested into you will drive them away. Like I said, peep the scene, find out who's doing what and where they do it, and find a way to get in contact with them and make a proposal.

Before you do any business though, make sure you refer to yourself as a "BEAT MAKER" if you just make beats, don't say a "PRODUCER". A producer does a whoooooooooooooole lot more than make beats. They are pretty much the head boss under the executive people. Like Wal-Mart or K-Mart, you got the department managers, assistant managers, then store managers, up from there is all coorporate people.

A producer has beat makers, rappers, writers, people who think of concepts, mixing and mastering engineers, graphic designers, promoters, and whoever else they feel is a value to have in their function. So being a producer isn't just sitting around making beats all day. So even if you don't know the mixing and mastering process, calling yourself a beat maker would get you by better than calling yourself a producer displaying what you have.

they'll either take you serious and think you don't got a proper team and don't know what you're doing yourself, or will know that you're just a beat maker, but don't know enough to know that there is a difference, which also makes you look bad. The thing that makes it more fucked up, is they don't sit down and tell you that's what they're thinking. They just check you out, come to their conclusion, thank you for sharing your music with them and tell you to have a nice day, if they're polite about it.

Another thing is represent yourself, if you got guys who are trying to do their shit to get out here, let them. It's cool to be togeather as a group, but always push for yourself to go when you're the one in front of someone doing the talking. Tell your guys to do the same if they're as serious as you are about doing this shit, it's not to be selfish, but one thing people can't stand who are doing this as business and making money off of it, is a bunch of cats rushing at them, or they decide to check one of you out and you're ranting about your 50 other homeboys who rap.

That's a big no no once you get your foot in. Unless they offer for you to bring your homies, never mention more about them than you do music with them and you enjoy what yall put togeather, unless they ask more than that, don't tell more than that because they're not interested unless they ask, especially if they already know your story. You for who you are and how you represent yourself speaks for the type of company you keep around you. After they read you and see how you get down when it comes to what you do and the mindset you got behind it, they know you work with real -----s.

You also have to keep your business to yourself about what you do with them because you will have friends who get mad at you over some shit they just don't understand about hwo shit works and start hating on you and talking shit. -----s don't understand that just because you get your foot in somewhere you can't just open the door and pull everyone else on in at will. Not only is there the possibility that they may think they're garbage and are just feeling you, but they may not have the room and space for another new group, you may be with them but nothing of yours may be out for another year or so because they already have different contracts for shit ready to go, so until there's a new string of projects available to be worked out, you can't even be considered. Some of your homies ain't gonna understand shit like that and after a while you get sick of trying to explain it because if they're already hating, you talking all this hollywood sounding shit makes their stomach turn even more and creates different problems, so already know if you do get out here enough to where you got status enough for the industry to fuck with you, you will have to cut a lot of people off, and you probably already know who they are too.

But just peep the scene like I said, and infiltrate, your demo is your Resume, which should consist of "Professional" experience which is required with any job you want to get, the industry is no different. So work away, build your beat bank, learn as much as possible, and make the best of what you got to work with. You'll get there if you play it right.

^^i don't know where u get that from..

but i gotta hand u ya props fa all that shit..

LOL, what do you mean where I "get all that from?" But I got it from my own experience and the way I see things in my city, because like I said, every scene is different in every city and there are different types of opportunities as well as different ways to seize them. But all in all regardless of where you're at, infiltrating the scene is what you need to do, how it's done is the key. Reading up on shit also helps you out because that's one of the only ways you will be able to know how you have to strike these industry cats the right way.

A good book to start with is ""THE ART OF MIXING"" by David Gibson. It breaks everything down and has pictures to represent everything it's telling you to do. I learned a lot about how I am viewed by those in the industry just by the difference I heard in my tracks when I started applying the mixing strategies. I left all the instruments the same, the way the patterns were mixed stayed the same. I did nothing to it except for the frequency mixing and panning stuff out to certain formulas.

The mixed version of the song catches you and moves you more than the one that I didn't separate any frequencies on. I've gotten more attention off of simple tracks that were mixed good than I have monsters that didn't have any work done to it. So check out that book and watch what I tell you.

Quote:

Originally Posted by optiq LOL, what do you mean where I "get all that from?" But I got it from my own experience and the way I see things in my city, because like I said, every scene is different in every city and there are different types of opportunities as well as different ways to seize them. But all in all regardless of where you're at, infiltrating the scene is what you need to do, how it's done is the key. Reading up on shit also helps you out because that's one of the only ways you will be able to know how you have to strike these industry cats the right way. A good book to start with is ""THE ART OF MIXING"" by David Gibson. It breaks everything down and has pictures to represent everything it's telling you to do. I learned a lot about how I am viewed by those in the industry just by the difference I heard in my tracks when I started applying the mixing strategies. I left all the instruments the same, the way the patterns were mixed stayed the same. I did nothing to it except for the frequency mixing and panning stuff out to certain formulas. The mixed version of the song catches you and moves you more than the one that I didn't separate any frequencies on. I've gotten more attention off of simple tracks that were mixed good than I have monsters that didn't have any work done to it. So check out that book and watch what I tell you.

i was more joking than serious but damn.... i didn't think u typed all that.. lmao

oh, lol, there's a lot more where that came from, lol. I'm actually thinking about writing a few books on some shit, one of them being a step by step guide to making a beat and explaining what the different effects do and when you should use them for both creative and clarity purposes.

smart as u are ----- u need to be writin sum kinda book.. lol

i read dat whole shit nd imma try to link up wit people around my area cuz dey is tryna rap nd wen u lease a beat wat do i need to kno like stuff to have,etc