Music Education On YouTube | Music Business: How It Works

[Music] [Applause] what's up everyone good afternoon it is a good afternoon greetings good to see everyone tell me where you're from [Music] here we go [Music] don't forget to like it as you're watching here as you're sitting there waiting to get to start here I'm gonna tell you right up front I'm gonna run a couple specials like I do on most of my live streams so I'm looking up here I'm running the only special I've ever done on my modes of the major scale course 25% off for the next 24 hours there's a coupon code mmm two five one so go to my Rick va.com and that's my eighth video to our series along with PDFs mastering modes of the major scale also the Beato book $10 off and my mega bundle $10 off for the next 24 hours anyways a lot of new people here who's new who's a new person that that I don't know that just found out about my you find the B out a book at my website www.marykay.co.uk/awilliam [Music] triads for example that which would be a one sharp four or five or all the different all the different terminology and all the basic information that you need to know so that I don't need to go over it on here because I don't I just move on as if there's assumed knowledge with people and thousands of people have bought my book and they they know the things that I'm talking about people on here and you're very well I see that thank you for my channel thank you guys for being part of my channel here so there's a big this has been an interesting few days with with my video on um G Universal Music Group and then Adam Neely he did his video on my video because he has the same issues as I do so I think it's I think that we all all us youtubers kind of go through this but it's something that we don't necessarily talk about I have talked with with Adam about this in the past but you know I've had things blocked that I've worked a lot of time on it I actually would rather have them block it when I first upload it then when then when it's up there like this other video that had 17,000 views on it already and then they block while they first blocked in Germany and Austria and and then they eventually blocked the whole thing once they figured out what was going on with it but really what this is getting down to is the future no but it was blocked Jesse it was it was it was taken down removed as they like to say so one of the things that that you know there's there were a lot of ideas on there and there's a lot of really interesting suggestions from people on my video and on Adams video so there's no really way to appeal I mean Adam had said in his video that he's that he's appealed to them I'm gonna talk to Adam tomorrow I'm actually gonna see Adam I'm coming up I'm coming up to New York to do three seminars that I haven't announced yet I was going to wait till Monday to announce it but I just accidentally let it slip so I'm gonna do three seminars on November 7th and the third seminar is with my friend Ida Nessun who's going to be happens to be in the States and we're gonna do it together but I'm doing three different seminars I'll talk more about this on Monday but yeah so Adam said I just see somebody here said that Adam had appealed but they were rejected but I have I have some I have an idea about what to do about it and I'm gonna talk with Adam about it tomorrow so I don't want to I don't want to talk about it on here yet but part of my New York trip will be involved with that involved with trying to figure out the you know what can be done about this because it's outrageous honestly so the the idea that you cannot play music this whole Fair Use thing has no nothing to do with it I mean essentially what happened what goes on here is that they subcontract people out their companies that will go and search for content and and when they find stuff they get paid for finding things I know people that are that have companies that look for for copyright infringement on YouTube I mean I know people that used to be a and our people in the music business and then they and they did this you know as another job outside the music business because they couldn't make any money and be working for record label anymore so copyright infringement this is a lot of companies sprang up about probably five years ago or so that that yeah you can do it automatically but they still have to do the program there itself to write the programs for it and they still need people to work at the companies to go in the interface with the people at the labels to convince them to use your company so you actually do need human beings for these things because you have to you have to convince the people to hire you for it so and that actually takes personal relationships so that's one of the things that you can't you know with all the artificial intelligence and all that stuff there's still there are still human beings making decisions on what they want to spend and who are the who are the people that they want to go with in order to this so obviously they can write an algorithm that will say and I said it in my video that okay the tune was not played from the beginning it was played in the middle and only a small percentage of the tune was played and then it could cross-reference with you know what kind of channel is this this is a music education channel this is really really easy to do even though the bots did get things wrong like they miss credited olio which was a from relaxing with the Miles Davis quintet they John Coltrane was actually playing the solo I went for miles as solo into John Coltrane solo they must have an algorithm for John Coltrane sound but his his estate is very aggressive in going after YouTube people and this is this is something that has come out of the last probably I'd say 10 years or so if you think about this historically people would make money through generations of people would make money families of musicians that were no longer here that that would the rights of their music would go to their wives to their kids whoever and people would make a living of this for generations for example Marvin Gaye's family has made money off his music for years and and substantial substantial amounts of money until streaming so when they when they when the streaming came on and play companies like stop Spotify wouldn't pay anything before 1972 they paid no royalties on that okay so you started to have people that were used to having money come in for jet you know for a generation or more money coming in consistently for their relatives whoever it might be for their catalog and those things would dwindle okay I'll give you a reference point on so as a producer starting in the in the 80s probably late 70s producers started getting production points for records a typical production fee would be three points that means three percentage points out of the artists royalty for years and years the typical artists royalty of the new artists would be thirteen percent of the I'm not sure how they would calculate it but because it would never ever be accurate anyways but let's say thirty percent of gross all right I'm sorry thirteen percent of gross out of that thirteen percent they take the producer royalty from the artist so if the artist was getting 13 percent it'd be knocked down to ten percent the producer gets three points typically on a record through the 90s through the early 2000 so about 2005 or so this could mean a lot of money even to this day it can mean money mean mean good money a typical record would and I've talked about this before but a typical record that would sell a million copies would produce about 300 some odd thousand maybe up to three hundred and thirty thousand dollars per million records okay so to become a millionaire as a producer you'd have to have a record sell about three million records so whoever produced it if Rick Rubin produced the record if jay-z produced the record the first three million it would take three million to make a million dollars in producer royalties okay so until they're but they wouldn't get paid any money until all the recording costs were recouped now the recording costs usually an artist depending on how many records say it done each record would be increased by let's say $50,000 or $100,000 per record so let's say you signed your deal for $250,000 back in the 90s I mean this really was still about two thousand five but when I started producing in 95 so a record new would have a record and they would have let's say a 250,000 dollar budget for a new band so the the producer would then get paid if it was no matter how many songs they recorded you would typically record more songs that you'd need because on CDs you would have bonus tracks and things like that so a typical producer would get $3,000 per track so if it's a 10 song record they get $30,000 in recoupable money so out of that recoupable money the art the producer would get recouped from the artist from their 13 points you know producer we get their 3 points and the lame-o would just keep making money making money making money making money so hold on let me let me block this guy here so the until those initial advance and that initial advance was recouped the producer wouldn't get any money so once that 30 grand was recouped now that that producer might have $100,000 in escrow and waiting for them to went to get that money when the record recoups now the late the the band has this thing called cross-collateralization so if you were a new band and you let's say you made you you you had a $250,000 budget but your record only recouped $200,000 out of your 10 points that you had and you had a $50,000 balance that balance would be moved to your next record and your next record let's say we had a 350 thousand dollar budget and let's say that you didn't make you only made $300,000 on that and they signed you for a third record well then you have a hundred thousand dollars starting off that our unroot that are corrupt that's the cross-collateralization that we get added to your bill now the producers don't have to stand behind that when I produce a record for a major label I don't have to stand behind the band's money most bands make no money ever from a record label okay this is why this whole streaming thing this is why the the the streaming thing really killed the industry because the labels were so used to making so much money especially when they were making CDs because with the CDs you couldn't really steal them because there was no file-sharing they would pay $18 that was a typical CD price back in the in the early 90s when grunge happened all the way through the 90s until until Napster so out of that you know you'd have maybe two good songs in in the mid-90s companies in the United States that sold records blockbusters black buster virgin records things like that would have listening stations where people could actually go and listen to the record that was a that was a thing that they did so they would give the record stores burner CDs that they would take that they could actually put in two listening stations and used to have headphones that you put on listening stations you could screen you could go through the tracks and so you'd know what you were buying this but this didn't really happen till about 95 96 so and records sold ridiculous amounts up until the year 2000 2000 was the height of the music industry billion dollars I mean billions of dollars in profit in 2000 what is a label Jive that had the Backstreet Boys NSYNC in and Britney Spears I think made a billion dollars in profit one label made a billion dollars in profit in one year in 2000 that was the height of record sales and into in 2000 height of record sales forever in the music business then and then it was a decline because of Napster because people got fed up college kids didn't have the money to buy them and they got fed up and they started file-sharing and a lot of people don't remember this because now it's 1718 years ago when the file-sharing started the they tried to scare people Lars from Metallica came out a lot of artists came out at the time and and talked about they were gonna go after people they actually arrested some you know or heavily fined people that were known abusers of this people that were giving out music too I mean there were people that would have huge amounts of data that were they were passing on through peer-to-peer sites you know through Napster and through other there are other there was other things other than that stir so the labels first instinct was to okay well what are we gonna do about these mp3 things they didn't think that this was gonna be a thing I don't know how so Steve Jobs being a smart guy went in and had a meeting and he he met with all these labels and he convinced them cuz he was a charming guy and he convinced them to give him he was going to set up the store which originally was going to get set up by a friend of mine who got approached about the iPod before Apple decided to before he approached Apple I have a friend that got approached that was a CEO of a company that pitched it to his company and they decided not to go to it so there was a different company that was going to get the the iPod I'm gonna try and get him on my show that was going to get the iPod he has all the original drawings for it everything and they were gonna set up the store it wasn't going to be Apple okay so they he had this meeting and he convinced them to give him to lock in the price at 99 cents a song ten dollars for a record and give Apple 30 cents a record for hosting it and for some reason they went with this okay now this is you know if you think about it like I said in my video you're basically giving away 30% of your profit you know people complain when you have to pay PayPal 3% for PayPal it's outrageous but what industry gives away 30% of the profits okay so then in 2005 I saw it in my business I was doing major label records all the time there was a lot of bands that were under that would get signed for to record deals if you were at a bidding war back in the 90s or the 2000s you would get to guaranteed records no matter what doesn't matter what genre of music country records Rock hip hop it doesn't matter some people that had that would have hit songs back then that would get on the radio in certain markets there were certain pd's program directors that would play artists like here there was a friend of mine named Leslie Fram she's now the she works at CMT she's the head of programming at CMT and Leslie had a ran a radio station here called 99x here in Atlanta and it was the alternative station she played people before they got signed and they got signed because they got played on her station okay that literally one person could one PD in an influential station like Kay Rock in LA or here 99x there were certain stations that were bellwethers that would if they played an artist they would become huge and there would be a massive bidding war and the artists would get signed to for either a two or even three record deal and they would be negotiated and these deals would be for millions of dollars I had a bidding war band that got signed I signed one band to a production deal ever in my career I don't believe in production deals and this band happened to get in a bidding war and it was a multi-million dollar deal for them and they were amazing they did this they were called AI nine they did the closing credits song on Cameron Crowe's movie Elizabethtown and Cameron Crowe approached me before the band had even signed their deal when they had seven labels that were interested in signing them so Cameron approached me and said Rick its Cameron Crowe and I was a huge fan of his movies for those of you they know I don't know how many of you know Cameron Crowe he was he's a famous director so Cameron called me out of the blue I was sitting at the I was I was making a record in LA and I was sitting at Bob's Big Boy and I get a call on Slate Rick it's Cameron Crowe and like how many Cameron Crowe's are there he said I got this I nine live board a destroyer a live board tape this band got signed from a live battle of the bands literally a board tape they got a multi-million dollar record deal he says I want Vanilla Sky there you go that's one of his Jerry Maguire Fast Times at Ridgemont High singles which is a great great rock you know movie that Cameron did so he said I'm doing this movie Elizabethtown I want I nine to do the closing credits song and and then so the band ended up signing with RCA Records and it was a disaster from there there were an incredibly creative band they had great signs the band was only a cello acoustic guitar bass and a female singer her name is Karma's Keegan's and almost famous is another one so carmen the singer is one of the greatest singers I've ever worked as she was unbelievable she still is unbelievable so Carmen and Cameron he was totally blown away by her voice he actually sent her Carmen lived here in my house before my wife and I got married well my wife and I were dating but Carmen lived in my upstairs here with her boyfriend and and Cameron sent the records FedEx the records that he his sister gave him because almost famous is about this he sent them here for Carmen to listen to so I got these Cameron Crowe records sent to my house and Carmen would listen to them in the upstairs it was it was unbelievable so Uncle Rick it was like more like I was Carmen's dad but yeah so so Cameron had the band do the closing credits song and then once the band got signed it was a disaster Clive Davis signed them and it was the nightmare story that you can imagine every bad thing that you ever heard about the about the music business happened to this band and they they made him work with other people they wouldn't let the band play in the record they tried to break the band off they had him do these horrible co-writes with people and it was a disaster had we actually released the demos that we did that were just live acoustic the band would have been huge they'd still be together and everyone would know them I believe that Carmen would have been like Adele because this is before Adele and her voice is unbelievable so anyways that was the time that that bidding war that they had was the time was really the the last time that things like that really happened on a regular level you'd have bidding wars you know my band was a bidding war band that I was in in the late 90s we didn't get a deal like that or anything but a bidding war is essentially when you have more than one label that are that are offering you a record deal now this band I nine had six or seven offers I mean massive from Columbia Records to RCA Records to to Atlantic Records you name it Warner Brothers all of them they got flown around everywhere so this was really really an amazing thing anyways back then if you were let's say in the 90s Brendan O'Brien he was a huge producer how many of you know Brendan O'Brien the cello players the cello player for Chris Cornell was the cello player for Chris Cornell the cello player from high nine went on to be - he did - the last three years of Chris Cornell's life Brian did duo's with Chris Cornell all over the world so this kind of gives you an idea and Brian's been on my channel I did an episode with Brian on my channel so in the 90s somebody like Brendan O'Brien who's from Atlanta would he did stunt double pilots Pearl Jam all the records but their first Rage Against the Machine all the records but their first he mix Superunknown he did train you know drops a Jupiter he did the Black Crowes first two records he engineered mixed he did all he produced and engineered mixed all the Sun Temple Pilots records all their stuff phenomenal one of the greatest producers and engineers I mean just really super gifted guy Brendan sold every record he did sold multiple multiple millions I mean if you think about Pearl Jam versus probably twelve million worldwide and then he did the stunt double pilots records although they also five ten fifteen million worldwide you know so each of those millions is worth three hundred thousand dollars so you can just imagine how much money Brendan was making I mean I don't know but but multiple millions of dollars just like Rick Rubin people like that this is how much producers used to make okay when this is when people were selling these massive amounts of things of money then streaming comes along well it really virtually became impossible to become a millionaire as a producer in and I don't mean that you throw around millionaire I'm not a millionaire I don't want people think I'm rich or something I am NOT rich believe me I'm not I have a nice room here but that's it so these people were you know millionaires like Rick Rubin drove a rolls-royce around probably still does okay so I don't have millions in gear it looks like I do but I don't have millions in gear not even close not even not even a hundreth of that so anyways a record then so it's so saying that a million selling record would bring in three hundred thousand dollars to put it in perspective last year I believe there was probably about was it last year three records I want to say Drake and Taylor Swift and an Adele or something were the only three people there are only a few few maybe there was five platinum records all last year platinum million selling records that's it so out of that the what started happening is that the producers started asking for more money up front because there was no back-end money anymore so some you liked Brendan O'Brien I'm in Saint Brendan I don't know this for a fact but a producer like Brendan O'Brien starting in the mid-2000s would start asking instead of a you know he I would get $3,000 per track just so would every Joe producer out there but the big-name people would get $100,000 advance and maybe not all of it was recoupable maybe only 50 grand of it was recoupable they had so much power because they had these massively massively big bands so they started negotiating bigger upfront advances which not all of them were were recoupable so then met people that were super star writer producers Max Martin being one of them now those people would get huge amounts of money Pharrell people like that that would produce a track and write the tracks for the bands they would get $100,000 per song not per record per song and they would get three or four points so one of the things I didn't mention in the 80s it became customary because one producer manager asked for their mixing engineer to get for their mixing engineer to get one percentage point for mixing a record so that became the typical amount of money you would make on a record and people that were big mixers would make massive amounts of money because records would sell so much so somebody like Andy Wallace who was a huge mix or mixed Nirvana and never mind he mix the rage against machine first two records helmet all these big rock barriers but he worked with Sheryl Crow he did Jeff Buckley all this stuff phenomenal mixer Andy Wallace had probably 150 million records sold and his one point he didn't just get one point he got money to make the record let's say he probably started out in the early 90s making $100,000 per record and that would raise this price I mean these were massive amounts of money so you can imagine how much money it took to run the music business now all of that extra money that they made with the $18 CDs that money from the 4% of bands that would make money on a label that money would finance all the rest of the bands all the jazz groups you saw if those of you that watched my how many people watch my video about all the people that Universal Music Group all the labels they own because it's unbelievable how many people saw that there's probably 200 labels that they own Universal I mean everything for Blue Note 2 ECM records I didn't realize they own so many until I went to their that went to their website it's incredible they own the whole music business and this is a tangent but I do tangents this all started in 1996 with the Telecommunications Act of 1996 that Bill Clinton signed it now people I always say people complain about NAFTA some people do but really that created all the monopolies Milaap and Melinda all those huge conglomerates that controlled all the media okay it went from 80 some odd companies that control 90% of the media to six being Vivendi is the company that owns Universal Music Group and somebody said this on one of my streams I think maybe on Facebook that Vivendi was a is a French company that started as a sewer company which is pretty appropriate so anyways that's something that people don't even realize that that that conglomerate occasions act was what created all these huge monopolies in that these six companies control all the media I'm talking all the TV all the films everything you read print media everything except things like YouTube things like Facebook okay anyways so Vivendi owns Universal Music Group so they what they did then is they went around and bought up all these labels and they bought these labels I assume because there was no money except in the catalogue there was no money to be made these labels weren't worth anything somebody complained why are you talking about Tom Petty well I happened to love Tom Petty he's one of the greatest songwriters of all time and if it wasn't for Tom Petty none of the people that were on I mean it could be anybody but anybody that was on you know he was on Warner Brothers I believe I think Tom Petty was on Warner Brothers but you know it doesn't matter all the huge acts funded all the jazz labels like Blue Note everything that was under these things or let's say Atlantic Records if you were Led Zeppelin okay and and you were funding now Led Zeppelin didn't fund because John Coltrane wasn't alive what's but Atlantic Records would fund any of the Atlantic artists the money that they made on their records would go to fund the Jazz Department of those and they fund the classical department so these four percent of the of the successful bands or artists on any label would fund the entire community of artists so they could take it really they'd use this money to make jazz records make classical records make indie rock records with cool indie bands that never would have gotten sign okay so and somebody's right this is all so discouraging it's not discouraging at all this is none of this is discouraging this is actually encouraging because knowledge is power ultimately understanding this is extremely extremely important now there are ways to get past Universal there are people that work for Universal I know someone that used to work for Columbia Records it's the second highest person in I realize this that I know this person who I met number of times back 15 years ago I know I have a friend that's good friends with this person and this person is is one of the highest people at Universal Music Group okay so those are people that can actually make decisions on this and make things change there's also legislation that can make things change like that but there yeah okay so Salvatore said Pat Metheny records were also in Geffen okay exactly there's a great point Pat Metheny moved to Geffen Records after her first circle or so I want to say 1985 he moved to DGC I don't know if he told the Dean oh he called the Geffen then Geffen Records okay so he moved in the 80s well David Geffen then he started calling his label DGC in the early 90s and he had Gary Gersh was the head of A&R there Gary signed Nirvana he signed the Counting Crows he signed the pose easy signed Sonic Youth he signed all these massively big bands are not necessarily massive advance but Nirvana was a massively big band he rigueur signed all these people to DGC David Geffen company well that's the same label that Pat Metheny was on they were label mates you wouldn't think of it because path records would say Metheny group productions but it would say Geffen Records at the bottom it's the same was the same company though David Geffen who was a manager in the 70s who managed Joni Mitchell was joining Mitchell's roommate and who else did he manage I think he might imagine he managed the Eagles I can't even remember but David Geffen then became this mogul who eventually sold Geffen Records in the 90s for three billion dollars I mean he got out really at the right time it's it's it's unbelievable so so this OH but like my video here I see 226 thumbs up there because it helps YouTube will push my video two more people afterwards this this chat the more people like it the more it actually goes out to people people don't think about this that if you actually comment on the videos it helps the YouTube algorithm push the videos out so that other people will watch them otherwise it doesn't push my videos out and all the comments that you write in here I love but when it's done it pretty much starts over from scratch oh and I have a twenty five percent off my mastering modes in the major scale for one day only up this only time I've ever had it on sale the coupon code is mm to five one so if you go to my Ricky Otto calm it's my eight part series with PDFs about mastering modes of the major scales for film scoring people like that all that all green be out of books on sale for one day $10 off and the mega bundle I have is $10 off for today till till tomorrow at this time anyway so so Vivendi went around they bought I see how the people saying their stock is down they own all these companies the only thing that's really worth it is the catalogues of these of these labels they're you know it's not like Blue Note is out making new records they are making new records they have they have a record label but they rely on the catalog to make a living while these catalogs stop making money because of digital you know because of things like Spotify there's just no back-end money anymore in this stuff the the labels couldn't figure out anything to do and then they invested in Spotify which has now been bought by Google but a few years back three labels invested in Spotify and owned a small percentage of it so they started making money again with streaming they figured out a way the artists still never never made any money with stream you hear all these stories about people getting paid you know they had a hundred million views and they made a thousand fifteen hundred dollars from BMI or ASCAP that's true I know because like I said I've had it I've had a three you know song with 37 million in in a in a quarter and it made $325 that was it that was my that was the money that I that I made on it somebody says what are my thoughts on the career of Max Martin and how can it be so long so it's interesting max had a lot of hits in the late nineteen the late 90s with people like Britney Spears late 90s early 2000s right up to 2004 since you've been gone he did and then had a real dry spell up until around 2011 and then got back in and had a tremendous amount of other hits after that so what I think happened with him is that he started working with younger people that he would co-write with or he would do what Hans Zimmer does he would hire people writers essentially to work with them that would come up with beats come up with music beds things that he could write melodies because that's just think he's a great melody writer and he would do I mean I'm guessing this I'm he says am I sure I know that he did that he wrote with a lot of other Swedish like Shellback there you go because because a lot of his tunes are Co writes they are I mean they're co-writes with different people there was there's an article from a few years ago to three years ago about how there's about five people out there that are that write everything that's on the radio and they and they talk about each one they kind of highlighted all them so I've I have a couple of Max Martin tracks that are his word lists that he would do so he would have a less B list and C list songs that he would write he had a great ear for incredible year for melodies so he would scat you know lyrics but not real lyrics and melodies and things over these music beds that he'd produce and then when somebody he'd find an artist do a song he would write the lyrics for them you know for their you know whether it was a female artist or a male artist and he's incredibly gifted as a melody writer and a lyric writer I mean incredibly gifted for somebody to write really catchy catchy catchy lyrics melodies anyway so so this is he's one of the few people that's made tremendous amounts of money hundreds of millions of dollars from publishing there's really it's very difficult people are always asking me how do you make a living in the music business as a producer and I was signing to it to somebody yesterday actually a college student that had asked me this question and you have to be incredibly good on multiple instruments you have to be a great writer you have to know how to mix I mean if you want to really be successful in the music business nowadays and I'm not talking about jazz or anything I'm talking and pop music hip-hop anything like that you have to do things multiple multiple things well you don't necessarily have to be a mixer but you have to you have to be able to be a person that a label can just go to that has finished tracks backing tracks or music beds whatever you want to call them because they call people track guys when I was writing up in Nashville after I had my song with his band Parmalee I went up there for a few months and wrote and I was caught people called me a track guy that's what they called people like me that could actually play all the instruments on a track and bring it up there so I would go up for a songwriting session and I'd have five music beds and it would be obvious where the chorus was and I would play banjo and I play mandolin and program drums and have bass and all this stuff and they said oh and they I didn't know the people so I get set and putting these songwriting trios and be with two other writers and you go in the room and oh you're a track guy I just got known as a track guy that's so that's how I got introduced so do you have anything so I would play them I bring up my Pro Tools rig on my laptop and I play them what do you think about this they'd listen oh that's cool that's cool I've got another one what do you think about this and they'd be different tempos they'd be different vibes for tunes and they'd hit on something oh I think I have a great chorus line for that and all the then the the these guys are pro writers they be all people with with platinum records I mean with netplan or there's number-one songs multiple number-one songs so they would say I got a chorus for that I have I think I have a good hook for that and they would have just lists of lyric titles okay so and I'm not a lyricist no I'm not lyricist I'm I know as a producer bad lyrics that need to get fixed and I can help with lyrics but I'm not a lyric guy and I don't particularly believe even though I have many songs and records as a co-writer I don't believe in signing bands that can't write their own songs which is part of the reason that the music business is where it's at now it became fashionable and as a protective measure for and our guys in the early they're in the late 90s to start signing acts and then sending the producers and co writers to write all their music for them so plenty of bands I like rush lyrics whoever said lyrics don't matter I love Neil Peart lyrics lyrics matter come on I named my son but Dylan you know I'll ain't named my daughter Lennon so there you go Mel even Ellie okay I got to give it to you with that anyway so it nowadays songs are so sophisticated but yet so simple that it Rammstein love them songs are so sophisticated yet so simple you have to be able to write a hook every 7 seconds or so I mean that you have to have an intro what we what I would call a what does the term people call it a signature that's what we used to call it back when I first started writing is so you'd have to have a signature in the intro something that signal that was a hook line at the beginning of the song that would tell you that the songs coming you know people like Tom Petty would do things where he just played the chords you know if you think about it free-falling you know the a lot of them were just chord riffs you know but but if you think about songs like stairway to heaven has a an actual hook line in it or what is it Pink Floyd [Music] I mean that is a hook right there that is a great hook so that's a signature so you'd write that so nowadays it's like you gotta write a hook line you got to write a verse with a B sometimes the verses will have a B section then they'll have a pre-chorus then they have a chorus and then they have a post chorus so that became too sophisticated for young kids to shine on you crazy diamond thank you that became too sophisticated to the A&R people I think it's all BS it's totally not true the A&R people thought it was too sophisticated for kids to write so they would strictly hire producers like myself to come in write the signs with the band or for the band and then which I wouldn't do I wouldn't I would never write the lyrics if I got hired to do it and I accepted a project I would co-write with the bands and that's it they would have to write their own lyrics I would help them with their lyrics but I'm not gonna write lyrics for someone to sing it's outrageous why are they signing him if they can't write their own lyrics that's just ridiculous so it what's an hour artists and repertoire there are people that sign artists to labels and they make their records if you're on you know you know if you're on one of these Universal Music Music groups like Republic Records for example Republic Records is run by money Lippmann and Avery Lippmann two brothers they may've reused to run Universal music they are the heads of the label and they I think they're acting heads of ANR so they would be the people that would sign off typically on a particular artist on the songs that are even going to get made from the record they they'd sign off on the what people would get who would get signed and they get sign off on all the songs you get chosen for the record if you're ever you know our mad about what gets played on the radio don't blame radio stations don't blame youtube it's the record labels now you do have people that are production company people that will sign artists make their own records that happens all the time too you know it happens more and rap and hip-hop well it actually happens in everything now so these people that that are heads of a and I heard there's a guy named Pete gambar he's the head of A&R at Atlantic Records for example he was a head of A&R and the A&R guy for a band I worked with called Needtobreathe I just thought I just went to see Needtobreathe a few days there they played in Atlanta so Pete was there a in our person so when I was doing a record for them every song the band every demo the band had would have to go through him he would sign off on it the mixer he'd have to sign off on it so we actually had we had a huge mixer as one of my favorite mixers mixed the whole record he didn't like it and he had another mixer who's actually another one of my favorite mixers remix the entire record we're talking hundreds of thousands of dollars here for this and the first record got mastered even it went through and got mastered and and and mixed by what literally one of my favorite mixers and I loved that version I loved both versions of the record actually but anyway so beat was the guy that decided all these things and then he had a boss crank helman that runs Atlantic Records that's his boss and he would have to ultimately sign up but but the head of A&R would run he would be oversee all the A&R people now most and our people are gone because there's no money in it and there's usually just a head of A&R for the most part anyway so this is really a complex the music business is incredibly complex and the amount of money in it has been dwindling and dwindling and dwindling so this is one of the reasons that that they have people out there with these BOTS going and finding things like when I play 30 seconds of a Keith Jarrett tune that no one's gonna buy and Keith Jarrett should be outraged by this he really should because no one is going to know his music he doesn't realize this and people already don't know his music some believable Pat Metheny same thing they don't know these people's music young kids they don't care about them they're old they're old and they're there they don't think about their legacy they just think yeah exactly who who are these people they're dinosaurs honest I cash me outside that's the answer to everything people don't know the Beatles they don't they don't know the Beatles anymore who is ECM or am I owned by Universal Music Group they own the Beatles they own everybody and you know but these artists could do something about it the reason that that that my video got blocked in Germany and Austria first I believe is because ECM records is based out of there the label that Keith Jarrett is on and there was a jarrett track on there and the guy that runs a label Manfred Eicher who's run it since the late 60s or early 70s and Keith Jarrod's been on it Pat Metheny he signed Pat Metheny and Bret says life 1975 visionary guy signed all these huge huge artists but he's an old guy now he doesn't realize that this is killing them you have someone like me that has a big following I've got a lot of people on your bowling at 381 thumbs up here with 583 people on your what's up everybody come on give me a give me some thumbs up here anyways I'm just joking no actually I'm not joking it helps push my video out so please do it and please share my videos on reddit when you can short ones that people would like because that actually helps reddit actually drives YouTube people don't realize that but reddit is the main driver of YouTube anything that gets shared and you know we are the music makers if you think I have a good video there share it there or you know there's a jazz one or our videos or something share it there and comments on it and talk about it because it's incredibly helpful to my channel and gets the word out the same thing with Adam Neely helps him out with his videos those those are places reddit is where people go to find things on YouTube people don't realize that so and I'm giving you this is really deep background in the music business here you want to know about the muse business this is it right here this rant here if this is a rant is this really a rant this is more like the music business 101 so Pat Metheny Keith Jarrett people like that the Beatles but really let's just stick with ECM records Manfred Eicher that owns ECM records doesn't realize that those hundredths of a penny that Keith Jarrett is making off one spin on one play on the thing and there's other versions of all the things you are I think there were seven versions that didn't get taken down that are already up on YouTube everything that I get dinged for an atom get dinged for in his video when he talked about his Rockstar Rite of Spring video all these things that he got dinged for all that these songs are already up on YouTube in their entirety with other people so it's more like admit it's not a rant 101 it's more like advanced okay that's good so okay where's my where's my train of thought okay so these people are still stuck in this old model out of the old people the the PCA the ECM people are stuck in this old model they don't realize Manfred Eicher who owns ECM records has the say in it he can say listen don't let any of the copyright infringement things go I don't want you to touch any of those okay gamers do it when you look at dantdm or stampy or iballisticsquid the the huge gamers they have the gaming companies the people that do roblox and minecraft and all these things they give blanket licenses to those guys they do it because it's PewDiePie all these people they get blanket licenses to the the biggest biggest biggest people because it that's incredible incredible promotion for these games I mean massive promotion my channel is tiny compared to that you guys are helping make it bigger here this is great but it's free Oshin they why is it that the gaming community realizes it but the stupid music business doesn't realize this it's so dumb that's why the gaming industry is the biggest industry out there now these people are so much smarter it's amazing it's not like people that are it's not like the guys that run the record business or any younger then then run these gaming companies I mean it's so stupid it's so stupid and they have no vision at all so here I am out there doing a service to them by trying to sell back catalogue by telling people about these records that they should know about that are historical records okay jazz is taught told through the history of jazz recordings classical music is taught through the history of classical recordings and through the actual live music okay so anyways the music industry got it wrong all the time why is there not the thievery in the meet in the movie business because mp3s were smaller they're way easier to steal than movies so you didn't have the bandwidth to steal hold movies and them and the people in the motion picture companies said we're not going to do what they did these people are idiots these people running these record labels are complete idiots we're not gonna get caught in that and they didn't for the most part they got there you know they knew how to street if they got into Netflix they got into streaming they sold DVDs all this stuff they put extra material on it they did everything right everything they could you're still not going to keep things from getting stolen but you know they did everything that they could and they saved their industry and it's much more profitable the music business is just will never come back from what it was that doesn't that mean that you can't make a living if you're a gifted artist okay so duh I'm not sitting here telling people that you can't make a living in music because that's false it is false so somebody keeps asking me about this Hanson's record yes what wait what do I think about the sound yeah it's a good sounding record I haven't listened to in a long time though you can always make a living teaching music you can okay so that is my music business 101 rant and about kind of the the just I wanted to give you more background on what's going on behind this thing people are always asking me why am I not doing more things with film scores and I'll tell you why and I've said this because I did a thing Warner Brothers is really no better than um G ok Universal Music Group I've had things taken off by Warner I've wanted to a Danny Elfman video and talked about the Batman soundtrack the early ones right but that's Warner Brothers I'm not gonna do that I had a John Williams some of the John Williams the ones were fine when my channel was smaller I did John Williams I did a recruit I did a Superman one of the cues from the Superman movie which I had the orchestral reduction okay it was on an eight stave eight stave along with percussion and I showed how to write an orchestral sketch and the video got taken down instantly I spent a lot of time on it too spent a lot of time on it so I ended up putting it on my Vimeo channel and had a link to it but I really didn't have anywhere to put a link to it this is this is 6-8 months ago so what I did is I recreated the thing using using the the library music libraries I have I recreated I put the video out it's out now but it's with me recreating John Williams thing from scratch all the parts and it's a pain in the butt I mean it's incredibly time consuming so that's one of the reasons that I don't do it all the time it's because I don't want to work for 15 hours on a video to have it take down in two seconds so you've got at it you got what is this Georgie is that is that Jorge I can't read that you got a strike for YouTube gaming channel for playing your band's own music I got ding for by tuned Carolina that I co-wrote with Parmelee I played the demo version of the song I did that's a half step higher and they dinged me for copyright infringement on my own tune you know what are you gonna do I wrote this I did this tune with his DJ tidy his name is he's not Australian DJ did this EDM track that I I co-wrote with him and I put that at the end of my video on using compression and they dig me for that he owns that it's his company head even bother calling him about it but you know what what are you gonna do I mean I co-wrote the tune with them and I got them I got the demonetised when it's my song anyways alright you guys are great comment here might be out of book on sale $10 off for 24 hours mega bundle $10 off for 24 hours modes of the major scale I've never done a discount 25% off with a code mm two five one I'm gonna announce on Monday my seminar that's coming up in New York City on November 7th I'm doing three seminars who lives in New York City anybody here anybody here live in New York City they're gonna come to see me there let me know mmm 251 I used capital M's I don't know if it matters try capital M's New York Harry you're gonna you might try Ryan come on anyway it's just kidding you guys are great don't forget thumbs up there's only five thirty and there's 550 of you on their thumbs up leave a comment tell me what you want me to make videos on you guys are great I'll talk to you later bye

Channel: Rick Beato

Views: 103,686

Keywords: Rick Beato, Everything Music, Record Royalties, Music Production, Making a living, Music Business, Record Labels, A&R, Producer Royalties, Producer points, Steve Jobs, mp3, Napster, History of the Music business, Cross-Collateralization, music education, business, education, music industry, copyright, musician, rock, indie, alternative, music industry education, how to break into the music business, Rick Rubin, Brendan O'Brien

Id: uzm3p_By9v0

Length: 60min 45sec (3645 seconds)

Published: Sat Oct 21 2017