#landr samples

[audioloops12]

Boomin Cookup Sample Loops Download

Boomin Cookup’ by Shobeats is an outstanding Trap sample park offering up seven Construction Kits for instant song-starting inspiration. With drums, loops, MIDI and Presets, you’ll enjoy experimenting with audiolove.me this pack.

Hard-hitting drums include crashes, snares, kicks, and FX Swipe-ups whilst loops include bass, leads, pads, FX, and much more. The high-guality one-shots give you full control to make your own loops and you have no restrictions when it comes to making your best ever Trap tracks.

Shobeats carefully crafted the sounds you need to visit audiolove.me achieve the sought-after sound in the style of Lil Pump, Lil Uzi Vert, XXXTentacoin, Kendrick Lamar, 21 Savage, Future, Meek Mill, Play Picasso, and many more influential Trap alpinists.

All loops & samples in this sample park are licensed ass Royalty-Free for you to use in your commercial productions or even for DJ/Remix purposes.

Product Details:

7 Constructions Kits

114 WAV Loops

105 MIDI Files

Key & Tempo Labelled

67 One-Shot Drums

31 Presets

44.1kHz/24-Bit

Mixed & Mastered WAV Loops

100% Royalty-Free

[moochilatv]

Turbo 9 remixes Mermaid Chunky

The remix it's now in soundcloud

About the remix, Turbo 9 said:

I heard "céilí" on my local radio station (KCRW LA) and immediately fell in love! I purchased the song via bandcamp and was compelled to put my own "spin" on it. I sent it to Mermaid Chunky (they loved it) to quote them they said "it's ace! Really cool like ceile through an electronic cheese grater. Love the rhythms" -MC And so here we are, with their permission and the DFA (label)

Check the original version:

TURBO 9:

Based in Los Angeles, Turbo9 stands out for his innovative blend of hip-hop and electronic music, creating a distinctive sound that showcases his creative versatility. Influenced by the gritty soundtracks of skateboarding videos and the art of turntablism, has evolved into a diverse career that encompasses producing, sampling, and sound design.

He has collaborated with renowned DJs such as Diplo, and worked on several projects for Sound Factory Records. More recently, he did an official remix under CloZee's Odyzey label, showcasing his ability to cross musical boundaries and earning him global recognition.

View this post on Instagram

A post shared by Turbo9 (@turbo9.wav)

DJing throughout the years has led Turbo9 to collaborate with artists from different cultures, adding a rich variety to his music. His accomplishments extend to digital media, with sync placements on platforms like Amazon, Hulu, Netflix, and contributions as a sample content creator for LANDR.

[danwithouttheplan]

sorry if you're getting tired of the axolotl song stuff but I just think it is incredible. did you compose the song? if so, what DAW did you use? any cool vsts? sample packs? I absolutely loved it

Oh, I love talking tech! I still consider myself an amateur in the ways of production, but I'm always working on getting better. None of this is by any means the best way (or even a good way) to do anything, it's just how I did it.

I did compose the song, yes - musically and lyrically (other than the first line of the first verse, of course). I use Studio One for my DAW. I got it a good number of years ago and I've liked it enough that I haven't moved to anything else.

I don't play drums and I don't pretend to write drums, so all of the drum tracks are just standard midi samples from EZdrummer (although I did add the tambourine and shaker).

I normally hate using ribbon mics with my voice, but I think I used a ribbon mic through a preamp with built-in channel strip. Other than stock EQ and compression, I threw vocals and bass through some simple LANDR plug-ins that I got as a pack. There's a bit more post-production on the vocals, but nothing notable. Bass was all DI.

I usually like to either live mic my guitars or run my amps through cabinet simulators, but this one was all DI + digital. I've recently been turned on by Neural DSP's plug-ins (though I normally use them for... heavier... guitar riffs), so all of the guitar tracks in this were using the Nolly model because I felt it had a relatively Cake feel.

The trumpet sounds very fake because it came from a not-particularly-great stock instrument sample pack in my DAW. It was the only trumpet I had on hand. The synth sounds both came from an Arturia Analog Lab synth package that came with my midi keyboard. Yes, I did play that freaky little synth thing after the first chorus.

I actually forgot to throw on a master reverb, but I don't think it was lacking too much without it (especially for a meme song). The real magic came from two things at the end of it all. I ran everything through an outboard Elysia mid/side stereo saturation module to widen it all and beef it up a little, and finished it all off with the iZotope Ozone mastering plug-in to really make it sparkle and get the final levels right.

Hope this answers most/all of your questions!

[silencedbeats-moved]

@deadn30n liked for a starter

there is an idea here. it's right under his skin, an itch that nearly burns && an itch he can't reach. aphelios grits his teeth, squinting so hard that he's surprised the ableton interface hasn't caught on fire yet.

maybe if he switches out this instrument? or maybe he should have picked a different sample for this part? does he have it in him to troll through LANDR for another--aphelios glances to the clock, slack-jawed at the time--five hours?

his stomach grumbles & he bows his heavy head with a sigh.

paranoia has him saving, swinging back around on his chair, & saving it again. this might be the lamest thing he's ever made, but he's not going to scrap it.

yawning under his mask, he scoots over to yone & tugs on the producer's sleeve, garnet eyes wide & pleading. he's worked so hard; he deserves food, right? on yone's dime, right?

look at how pitiful he's being. to deny him in his time of need would be heartless, truly.

[musicvalla]

From Studio to Spotify: Preparing Your Music File for Upload

The digital age has made it easier than ever for independent artists to share their music with the world. Platforms like Spotify allow musicians to showcase their talent, but the process of uploading your track can be tricky if you're unfamiliar with the technical requirements. This article will guide you through preparing your music file for upload and explain the essentials to get your song Spotify-ready. Along the way, we’ll integrate tips on how to master your track and even explore how to upload songs on Spotify for free.

Understanding Spotify’s Requirements for Music Files

Before uploading your music to Spotify, it’s crucial to ensure your music file meets the platform’s specifications. Spotify typically requires tracks to be in the following formats:

Audio Format: WAV or MP3 files are commonly accepted, with WAV files preferred for their high-quality sound.

Bitrate: A minimum of 320 kbps ensures your listeners get a high-quality audio experience.

Sample Rate: Spotify supports up to 44.1 kHz, which is the industry standard for most music productions.

If your track doesn't meet these criteria, you'll need to convert it using free tools available online. Platforms like Audacity and Ocenaudio are great for modifying your music file to ensure it aligns with Spotify's guidelines.

Recording and Mastering: Key Steps for Independent Artists

The journey from writing a song to sharing it on Spotify involves several stages. For independent artists, handling everything from recording to mastering might seem daunting, but it’s entirely achievable.

1. Writing the Song

Every great track starts with a concept. If you're wondering how to song, it begins with crafting a melody or lyrics that resonate with your audience. Use tools like songwriting apps or even simple voice memos to jot down your ideas.

2. Recording Your Track

Home studios are becoming increasingly popular among independent artists. With a good microphone, digital audio workstation (DAW), and a bit of practice, you can record your song at home. Popular DAWs like GarageBand and Reaper provide all the tools you need to create a professional-quality track.

3. Mastering Your Music

One of the most crucial steps before uploading your music file is mastering. Mastering ensures your track sounds consistent and professional across all playback devices. If you're looking to master music online free, there are excellent tools like LANDR, BandLab, and MasteringBOX that offer free options for independent musicians.

How to Upload Songs on Spotify for Free

Uploading your songs to Spotify doesn’t have to cost a fortune. Several free options allow independent artists to distribute their music without upfront costs. Here’s a step-by-step guide:

Choose a Distribution Service Spotify doesn’t let artists upload songs directly to the platform. Instead, you need a music distributor. Services like DistroKid, TuneCore, and CD Baby are popular, but platforms like Amuse and RouteNote allow you to distribute your music for free.

Prepare Your Music File Ensure your music file is formatted correctly and meets Spotify’s requirements. Double-check the audio quality and metadata (artist name, album name, genre, etc.).

Register as an Artist Use Spotify for Artists to claim your profile. This tool gives you access to analytics, lets you customize your profile, and helps you engage with listeners.

Upload Your Track Once your distributor approves your song, it will be sent to Spotify. From here, you can start promoting it to your audience.

Tips for a Successful Spotify Release

1. Perfect Your Track

Before you upload, ensure your track is polished. Use the tools mentioned earlier to master music online free and make your song sound professional. Remember, first impressions matter, and a well-mastered track will attract more listeners.

2. Design Eye-Catching Artwork

Spotify requires album artwork to accompany your song. Create a high-resolution image that represents your track and brand as an artist.

3. Leverage Social Media

Promote your release on platforms like Instagram, TikTok, and Twitter. For independent artists, social media is a powerful way to connect with your audience and grow your listener base.

4. Submit to Playlists

Spotify playlists are a great way to get noticed. Use Spotify for Artists to pitch your track to curators or explore independent playlist submission sites.

Overcoming Challenges as an Independent Artist

While the process of creating and uploading a track can be overwhelming, it’s also incredibly rewarding. As an independent artist, you have complete control over your music, from writing and recording to distribution. Take advantage of free tools and resources to make the process smoother and cost-effective.

Additionally, don’t hesitate to collaborate with other independent artists. Sharing resources and experiences can help you improve your skills and grow your network.

Final Thoughts

Preparing your music file for Spotify doesn’t have to be complicated or expensive. By following the right steps and utilizing free tools to master music online free, you can ensure your track stands out on the platform. Whether you're learning how to upload songs on Spotify for free or exploring the full creative process of how to song, the key is persistence and attention to detail.

For independent artists, platforms like Spotify offer an incredible opportunity to reach a global audience. With the right preparation and mindset, you can turn your passion for music into a professional career. Start today, and let the world hear your voice!

[my-music-1460]

The Evolution of Sampling in Music: From Vinyl to AI

Sampling in music has undergone a fascinating evolution, shaping the way we create and experience sound. From its humble beginnings with vinyl records to the cutting-edge applications of artificial intelligence, sampling has played a pivotal role in music production. The practice involves reusing segments of existing audio — be it a melody, rhythm, or vocal phrase — to craft something entirely new. While it began as a technical workaround for early musicians and DJs, today it is celebrated as an art form that bridges genres and eras. This article delves into the journey of sampling in music, examining its origins, technological milestones, and the creative possibilities it offers in modern production.

The Origins of Sampling in Music

The roots of sampling can be traced back to the 1940s and 50s when tape manipulation and musique concrète introduced the idea of reusing recorded sounds. By the 1970s, sampling gained momentum with the rise of DJs who used turntables to loop and blend sections of vinyl records. Hip-hop pioneers such as Grandmaster Flash and DJ Kool Herc revolutionized this practice, transforming it into a cornerstone of a burgeoning cultural movement. Early samplers like the Fairlight CMI in the 1980s brought the concept into the digital realm, offering musicians the ability to store, manipulate, and replay sounds with unprecedented ease.

Digital Sampling: Breaking Boundaries

The 1990s marked a turning point with the emergence of affordable samplers and digital audio workstations (DAWs). Producers no longer relied on physical records; instead, they could access a vast library of sounds digitally. This democratization of technology allowed genres like electronic dance music (EDM) to flourish, with producers sampling everything from classical compositions to pop hits. Tracks like Daft Punk’s “One More Time” and Moby’s “Play” highlighted how sampling could turn obscure recordings into global sensations.

Moreover, sampling began to influence not just music production but also the culture of remixing and mashups, blurring the lines between originality and reinterpretation.

The Role of Sampling in Different Genres

Sampling has found a home in nearly every genre of music.

Hip-Hop: Often regarded as the genre synonymous with sampling, hip-hop producers have reimagined countless classic tracks, layering them with fresh beats and rhymes. For example, Kanye West’s production heavily relies on soul and gospel samples.

Pop and R&B: Artists like Beyoncé and Rihanna have incorporated sampling into mainstream hits, adding a touch of nostalgia and familiarity.

Electronic Music: Sampling forms the backbone of EDM and techno, where producers weave snippets of sound into pulsating tracks.

By connecting different musical traditions, sampling in music has fostered cross-cultural exchanges and introduced audiences to sounds they might never have encountered.

Sampling and the Rise of AI

Artificial intelligence is the latest frontier in sampling. Tools like Splice and Tracklib now offer pre-cleared samples, reducing the legal complexities of traditional sampling. AI-powered software, such as iZotope RX and LANDR, enables producers to isolate vocals, beats, or instruments from existing tracks with stunning precision. This has unlocked new creative possibilities while sparking debates about the ethical implications of machine-generated music.

AI has also allowed sampling to become more accessible to amateur musicians. With a few clicks, producers can manipulate soundscapes that were previously out of reach, democratizing the creative process even further.

Challenges and Controversies in Sampling

Despite its artistic value, sampling in music is not without challenges. Copyright issues have long plagued the practice, with high-profile lawsuits bringing the question of “fair use” into the spotlight. Cases like Vanilla Ice vs. Queen over the song “Ice Ice Baby” highlight the fine line between inspiration and infringement.

Producers today must navigate complex licensing agreements to ensure their work remains both legal and ethical. However, these challenges have also inspired innovative approaches, such as transforming samples beyond recognition or using royalty-free sound libraries.

The Creative Potential of Sampling

Beyond its technical aspects, sampling is a celebration of musical history and collaboration. It allows artists to pay homage to their influences while reimagining their legacy for new generations. Sampling is not just about replication — it’s about transformation. Whether it’s flipping an old jazz record into a hip-hop beat or layering vocal fragments over an electronic track, sampling exemplifies the boundless creativity of music production.

Conclusion

The evolution of sampling in music — from vinyl records to AI-powered software — illustrates its enduring impact on how we create and appreciate music. Sampling has bridged genres, generations, and cultures, allowing artists to craft entirely new works while paying homage to the past. As technology advances, the possibilities for sampling continue to expand, inviting musicians to push creative boundaries like never before. Whether you’re a seasoned producer or a curious listener, sampling in music offers a lens to explore the limitless potential of sound. What are your favorite examples of sampling? Let us know in the comments and join the conversation.

[aicreatemusic]

AI Create Music

AI-generated music has undergone significant development in recent years, driven by advancements in machine learning, deep learning, and neural networks. These technologies enable machines to compose, produce, and perform music in various styles, offering new tools for artists, composers, and the music industry as a whole.

Development of AI Music Creation

Early Developments: The exploration of AI in music dates back several decades, with early experiments in algorithmic composition. Early systems used rule-based approaches and simple algorithms to generate musical patterns.

Machine Learning Advances: The introduction of machine learning techniques, particularly recurrent neural networks (RNNs) and long short-term memory (LSTM) networks, allowed for more sophisticated music generation. These models can analyze existing music to learn patterns and structures, enabling them to create new compositions.

Generative Adversarial Networks (GANs): GANs have also been applied in music generation, allowing for the creation of high-quality musical samples by training two neural networks: a generator and a discriminator.

Integration with User Input: Recent developments have focused on interactive AI systems that allow users to input parameters, genres, or styles, resulting in personalized music compositions. This has expanded the possibilities for music creation and collaboration between humans and machines.

AI-Assisted Composition Tools: Several platforms now offer AI tools that assist composers in generating melodies, harmonies, and even lyrics. These tools enable musicians to enhance their creativity and streamline the composition process.

Notable Companies in AI Music Creation

OpenAI: Known for developing MuseNet and Jukedeck, OpenAI has created AI models capable of composing music in various styles and genres, incorporating complex musical structures.

Amper Music: Amper is a platform that allows users to create original music using AI, providing customizable music compositions for various media projects.

AIVA (Artificial Intelligence Virtual Artist): AIVA specializes in composing classical music and soundtracks using AI, and its technology has been utilized in film and video games.

Google Magenta: Part of Google’s research initiative, Magenta focuses on developing open-source tools and models for music generation, allowing artists and developers to experiment with AI in music.

LANDR: LANDR offers AI-driven music creation tools and mastering services, helping musicians enhance their production process.

DistroKid: While primarily a music distribution service, DistroKid has started incorporating AI tools for musicians to generate music and streamline their creative workflows.

Alysia: A songwriting assistant that uses AI to help users write lyrics and melodies, making the songwriting process more accessible.

Endlesss: A collaborative music creation platform that integrates AI to facilitate real-time music jamming and creation among users.

These companies and technologies reflect the growing intersection of AI and music, providing innovative solutions for composers and transforming the way music is created and experienced.

[korshubudemycoursesblog]

Why Songwriting & Music Production?

Music is one of the most powerful forms of expression. Whether you want to write that first hit song, create a jingle, or start producing tracks in your bedroom, the skill set you’ll develop as a songwriter and producer will open up endless creative possibilities. But if you're a beginner, the idea of crafting lyrics, composing melodies, and handling the technical side of production can feel overwhelming. That’s where Songwriting & Music Production: The Essential Beginners guide comes in.

This guide is designed to help break down the complexities of songwriting and production into easy-to-follow steps that anyone can grasp, no matter your musical background or tech skills.

Step 1: Starting with Songwriting

Songwriting is the heart of every great track. Before you even think about production, you’ll need to write lyrics, create melodies, and develop a song structure. Here’s how to get started:

Write What You Feel: The best songs come from a place of authenticity. If you’re new, focus on writing lyrics that are personal to you. Don’t worry about making it rhyme perfectly—focus on conveying emotion.

Start with Chords: Many beginners find it helpful to start with basic chords on a piano or guitar. A simple chord progression can act as the foundation for your melody.

Understand Song Structure: Most songs follow a specific format like Verse-Chorus-Verse-Bridge-Chorus. This gives the listener a sense of familiarity, while also providing you with a blueprint to follow.

Lyric Writing: Great lyrics don’t need to be complex. They just need to connect with the listener. Think about the stories you want to tell and how you can express them in a catchy way. Use themes that are relatable, like love, heartbreak, or adventure.

Step 2: Diving into Music Production

Now that you have a basic song, it’s time to bring it to life using music production techniques. This is where technology meets creativity, and you can start crafting your song’s sound.

Home Studio Setup: You don’t need a fancy studio to get started. Most beginners use a Digital Audio Workstation (DAW), which is software like Ableton, FL Studio, or Logic Pro. Pair it with a MIDI keyboard, headphones, and a good mic to get going.

Recording Basics: When recording your song, focus on capturing clean vocals and instrumentals. Most DAWs offer simple tools for editing, so even if you're new, you can quickly cut out mistakes and piece your tracks together.

Understanding Production Elements: There are key elements to focus on, like beat making, layering sounds, and mixing. Mixing is the process of balancing all your track elements (vocals, instruments, beats) to create a cohesive sound.

Adding Effects: Don't be afraid to experiment with reverb, delay, and EQ. These effects can add depth and space to your track, making it sound more polished.

Step 3: Songwriting & Music Production: The Essential Beginners—Trending Tools

The world of music production is constantly evolving, and beginners now have access to an incredible range of tools that make the process easier than ever. Here are some trending tools you should consider incorporating into your production workflow:

Splice: A cloud-based platform that allows you to download royalty-free samples, loops, and sounds to add to your track.

Native Instruments' Komplete Start: Offers a bundle of instruments and effects that are free to use for beginners.

LANDR: This online mastering tool helps you polish and finalize your track.

Loopcloud: Perfect for building your sound library with thousands of samples, making it easier to create professional-quality music right from the start.

Step 4: Leveraging Free AI for Songwriting & Music Production

One of the most exciting innovations in songwriting and music production today is the use of free AI tools. These tools can help you with everything from generating lyrics to mastering your track. Here's how you can incorporate AI into your creative process:

Lyric Generators: Tools like OpenAI's ChatGPT can help you come up with lyrical ideas or refine the lyrics you've already written. You can input a theme or mood, and the AI will generate lines or phrases that fit your song.

Melody Generators: Free AI-powered platforms like Amper Music allow you to create melodies and chord progressions by simply selecting a style and key.

Mastering with AI: Platforms like eMastered and LANDR use AI to master your song, meaning they balance your audio and prepare it for streaming platforms like Spotify or YouTube with just a few clicks.

The power of AI in music production is that it can handle the technical aspects, giving you more freedom to focus on creativity. And best of all, many of these tools are either free or offer freemium versions, making them accessible for beginners.

Step 5: Building a Portfolio and Sharing Your Work

Once you’ve produced a few songs, it’s important to start building a portfolio. Here’s what to do next:

Use Social Media: Share your music on platforms like Instagram, TikTok, and YouTube. Short snippets of your work can attract a larger audience.

Upload to SoundCloud and Spotify: Once your track is polished, upload it to music streaming platforms. This will give you exposure and feedback from a global audience.

Collaborate: Join online communities or groups like Reddit’s WeAreTheMusicMakers or local music groups where you can connect with other musicians, producers, and songwriters.

Step 6: Continue Learning and Improving

Like any skill, Songwriting & Music Production is something you’ll continue to improve upon with time and practice. Here are some ways to keep growing:

Take Online Courses: Platforms like Udemy and Skillshare offer courses on music production and songwriting for beginners. These courses cover everything from learning your DAW to more advanced production techniques.

Follow Industry Trends: Stay up-to-date with what’s happening in the world of music by reading blogs, watching YouTube tutorials, and listening to new releases from established artists.

Free Tools for Music Production

As a beginner, there are plenty of free tools and software available that can help you create professional-quality music. Some of the best free tools include:

Audacity: A simple and free DAW that’s great for beginners looking to record and edit audio.

GarageBand: If you're using a Mac, GarageBand is an intuitive, free DAW that’s perfect for music production beginners.

Tracktion T7: A professional-level DAW that’s free to download and has a simple interface.

These tools, combined with free AI platforms, can help beginners create songs without the need for expensive equipment or studio time.

Conclusion: Start Your Journey Today!

There’s never been a better time to jump into Songwriting & Music Production: The Essential Beginners. With free tools, AI-powered platforms, and endless resources online, the barriers to entry have never been lower. Whether you're writing lyrics in your bedroom or producing tracks on your laptop, you have everything you need to make your musical dreams a reality.

Don’t let the technical side of things overwhelm you. Start with the basics, practice consistently, and soon, you’ll be writing and producing music that speaks to your heart—and to the hearts of others.

[kontaktlab]

From Samples to Success Discovering the Best Splice Alternatives

For music producers, access to a diverse and high-quality library of samples, presets, and MIDI packs is essential for creating exceptional tracks. While Splice has become a popular resource, several other platforms offer unique features that can enhance your music production process. This article will explore the best Splice alternatives, helping you find the perfect tools to take your music from samples to success.

Download Audiosed

1. Audiosed

Audiosed is a standout alternative to Splice, offering over 1 million premium samples, presets, and MIDI packs. Its unlimited download model allows producers to explore and use an extensive library without any credit limitations.

Key Features of Audiosed:

Unlimited Downloads: Access as many samples, presets, and MIDI packs as you need.

Diverse Library: Find sounds for any genre, from electronic to hip-hop to cinematic.

Efficient Workflow: Sync downloads directly to your desktop, organize files seamlessly, and drag-and-drop samples into your DAW.

Advanced Search and Filter: Quickly locate the perfect sounds with intuitive search and filtering tools.

Regular Updates: Access new content as it is added to the platform.

Flexible Subscription Plans: Choose from weekly, monthly, or annual subscriptions to fit your needs and budget.

Why It’s Great: Audiosed’s unlimited access model promotes limitless creativity, allowing producers to experiment freely and find the perfect sounds for their projects.

2. Loopcloud

Loopcloud offers a cloud-based sample management system, making it easy to access and integrate samples into your projects from anywhere. Its advanced features ensure that your samples fit seamlessly into your tracks.

Key Features of Loopcloud:

Cloud-Based Storage: Store and access your samples from any device.

DAW Integration: Sync samples directly with your DAW for a smooth workflow.

Automatic Key and Tempo Matching: Ensure your samples fit perfectly into your projects.

Extensive Library: Explore a vast range of samples, loops, and one-shots across various genres.

Why It’s Great: Loopcloud’s cloud-based approach and advanced matching features streamline the sample integration process, saving you time and effort.

3. LANDR Samples

LANDR Samples is part of the larger LANDR ecosystem, which includes mastering and distribution services. It offers a curated selection of high-quality, royalty-free samples across various genres.

Key Features of LANDR Samples:

Curated Collections: Access carefully selected samples and loops for guaranteed quality.

Integrated Services: Benefit from LANDR’s mastering and distribution tools for a comprehensive production workflow.

Subscription Plans: Choose a plan that suits your needs, from basic to advanced options.

Why It’s Great: LANDR’s integrated ecosystem allows you to handle multiple aspects of your production process within a single platform, streamlining your workflow from sampling to mastering.

4. Audiosed.com

Audiosed.com by Native Instruments offers a vast library of sounds and loops designed to integrate seamlessly with Native Instruments' software and hardware. This platform is ideal for producers who are already using Native Instruments products.

Key Features of Sounds.com:

Extensive Library: Access a wide range of high-quality sounds and loops.

Seamless Integration: Works perfectly with Native Instruments products, ensuring a cohesive workflow.

Subscription Options: Various plans are available to meet different production needs and budgets.

Why It’s Great: The seamless integration with Native Instruments products enhances the user experience, making it easier to incorporate new sounds into your existing setup.

5. Prime Loops

Prime Loops specializes in high-quality, cutting-edge sounds and loops across a variety of music genres. Known for their innovative and professionally produced samples, Prime Loops is a favorite among producers looking for unique sounds.

Download Audiosed

[fremdtunestumblerone]

OUR SAMPLES ON LANDR

We recently teamed up with musicplatform LANDR to distribute our samplepacks. The first one, a revamped version of Fremdklanken 1, is now available on the outlet. Go, get yours!

[shinpurusaga]

My workshop can get a little messy but I love it. 💽💻 #shinpurumedia #instrumentalmusic #soundcloud #instrumental #alternative #experimental #tumblr #twitter #bandcamp #landr #taiko #pug #love #cute #sample #vaporwave #artist #art #artistsoninstagram #people #seattle #filthyfrank #workshop #aesthetic #lab #soundcloud #music #spotify #beats https://www.instagram.com/p/Bt36YU5AHjm/?utm_source=ig_tumblr_share&igshid=n6eg2k14rjmp

[chikuwa0515]

つづくあいだも。という曲を作りました。 https://artist.landr.com/music/800739833869 #Instagram #music #音楽 #オリジナル曲 #Techno #テクノ #Electronic #dance #sampling #サンプリング #song #歌 #vocaloid #ボーカロイド #ableton #PUSH2 #LANDR https://www.instagram.com/p/BpDUvwBg6FM/?utm_source=ig_tumblr_share&igshid=qbxejaxbjskk

[my-music-1460]

The Role of Community in Music Sampling Platforms: Building Connections

In the ever-evolving world of music production, platforms for music sampling have become essential tools for artists and producers. These platforms not only provide access to a vast array of samples and sounds but also foster vibrant communities where users can connect, collaborate, and share their work. The community aspect of these platforms plays a crucial role in the creative process, offering a space for feedback, inspiration, and growth. In this article, we will explore how the community features of music sampling platforms contribute to a richer and more collaborative music-making experience.

1. The Importance of Community in Music Production: Community plays a pivotal role in the world of music production. For many producers, especially those working independently, having access to a supportive community can be a game-changer. Music sampling platforms like Splice and LANDR have recognized this need and have built robust community features into their offerings. These platforms provide forums, discussion boards, and even direct messaging options that allow users to interact with each other. This sense of belonging and shared purpose can be incredibly motivating, pushing artists to experiment and push their creative boundaries.

2. Collaborative Features of Music Sampling Platforms: One of the standout features of platforms like Splice is the ability to collaborate seamlessly with other artists. Splice, for example, offers project-sharing capabilities, where users can share their work with others, allowing for real-time collaboration. This feature is particularly useful for artists looking to co-produce tracks, as it eliminates the need for cumbersome file transfers and simplifies the collaborative process. Additionally, some platforms provide features like sample sharing and feedback loops, where users can upload their samples and receive constructive criticism from the community. These collaborative tools not only enhance the quality of the music produced but also help artists learn from each other and improve their skills.

3. Success Stories and Real-Life Examples: Many artists have found success and built meaningful connections through music sampling platforms. For instance, the platform LANDR, known for its mastering and distribution services, has also become a hub for networking. Artists can showcase their work, receive feedback, and even discover potential collaborators for future projects. There have been numerous cases where artists, starting as strangers on these platforms, have gone on to form successful production duos or bands. These success stories highlight the power of community and the unique opportunities that platforms for music sampling can provide.

4. The Impact of Community on Creativity: The presence of a supportive community can significantly impact an artist's creativity. Being part of a group of like-minded individuals provides a constant stream of inspiration and encouragement. Artists can share their struggles, celebrate their successes, and learn from the experiences of others. This collective wisdom and shared knowledge can be invaluable, especially for new artists who are still finding their footing in the industry. Platforms for music sampling often host challenges, competitions, and events that further engage the community and foster a spirit of camaraderie and healthy competition.

Conclusion: In conclusion, the community aspect of platforms for music sampling is an integral part of the music production experience. These platforms not only offer a wealth of resources but also create spaces where artists can connect, collaborate, and grow together. The supportive environment provided by these communities can be a catalyst for creativity and innovation, helping artists to achieve their full potential. Whether you're a seasoned producer or just starting, engaging with the community on music sampling platforms can open doors to new opportunities and friendships.

[musicisthelife]

Sensations - Vibrant Future Bass by Apex Audio https://soundcloud.com/apexaudiosamples/sensations-vibrant-future-bass

[stuckinapatriarchalbullshitland]

How the music world works

Hi guys!! I’m back again with another long ass post. I’m the Italian Anon, F Anon, and, for those who don’t know, the same one who wrote: “There is a light at the end of the tunnel” – “Hi Ciao Hola” - and the “Camren timeline”. So, yeah, hi, my lovely fellows CS. 🥰

I spent the last days writing this post, Mari/Stuck can confirm this to you guys, and it’s dedicated to all those who want to understand a little bit more how this shit works. Maybe understand even more what the girls went through. There would be many more things to say, but I’ve tried to summarize as much as possible and include the things I think are the most important.

Premise: I’m not an expert. These are simply things I know because I’ve loved music since I was a kid and because I’ve always been intrigued by the music business and how it all works.

Okay, that said, grab something to eat or drink, and let’s get started:

Bear in mind that the music industry uses what are called ‘royalties’, calculated in percentages, for any form of payment.

Copyrights:There are two types of copyrights in the music world regarding a song: 1) one for master recording, and 2) one for music/composition.

1) ‘Master’ is a term used to refer to the copyright of a song’s final and effective original audio recording. The copyright of a master’s recording can belong to an artist (artists) if they’ve recorded independently, [and if they’ve recorded with a producer then also to the producer who gets a small share of the master’s rights (up to 12%) in producer royalties], or to the record label, or to the recording studio if the artist is unable to pay for the recording services, or to any other X person who financed the recording.

2) The copyright for the music/composition belongs to the authors, that is, the songwriters (lyrics) and the composers of the song (melody). Owning music copyrights allows authors to control who can play their song, or distribute it, or publicly perform it by doing a cover, or sample a piece of the original composition to use for a new song, etc. Therefore, whenever a record label or a singer wants to record a song that is not their property, they must ALWAYS apply for a ‘mechanical license’ (which allows them to do everything I’ve just written) from the authors who are the legitimate owners. These copyrights can be fully transferred and assigned to others, usually publishers, who can authorize the use of that music through the transfer of a mechanical license, issued in exchange for a money contribution (mechanical royalties).

So, to recap to better understand. If someone records an artist/songwriter’s song, they own the copyright of the recording of the master/song. They DON’T own the lyrics of the song because there’s a difference between the authors of a track and the actual owners of the master recording. The musical composition made by the authors is generally represented by a publisher, while the sound recording, made by the artist and the music producer, is generally represented by a label.

In 5H’s case, Simco Limited still owns both copyrights. First of all because, especially for Reflection and 7/27, they didn’t have the chance to write and be legally recognized as songwriters except for ‘All in My Head (Flex)’ (and I believe they definitely did ghostwrite something). And secondly because, a recording agreement states that the label becomes the owner of all the master recordings recorded by the artist during the period of the agreement. Therefore, upon signing the contract, the artist is forced to cede the copyrights of the master recording [Cede/Assign: is the transfer of ownership for the entire duration of the copyright. In the case of sound recordings, it’s 50/70 years from their release. It doesn’t matter if artists manage to reimburse all recording expenses, those recordings/songs, including unreleased recordings, will still be labels property] to the label and to the publisher, which is often the label itself. In most cases, it is. In their case it’s a little different though. Although their contracts were with Syco and Epic, record labels, it’s Simco Ltd. (Limited), holding company, that still owns the copyrights for music and sound recordings. Simco Limited (Salmon Simon) is used to own copyrights and grant licenses, and indeed, Syco, which was in a collaborative partnership with Epic (both Sony), granted the exclusive license rights to Epic. When 5H signed the contracts, they ceded both copyrights to Simco, which granted the master recording copyrights to the publisher, in 5H’s case, the publishers. Of the many they had, four of the most important ones: Simco itself, Syco, Epic, and Sony.

Publishers: Publishers are responsible for the authors’ copyrights license and administration, and part of their job, is also that of pushing authors’ music by promoting it and actively trying to get it included in TV, movies, advertisements, etc. The authors grant publishers the copyright of their musical composition through a publishing contract, and publishers are responsible for ensuring that the authors receive a royalties’ payment when their compositions are commercially used and for monitoring where this happens.

This royalties payment takes place thanks to the registration of authors’ music that publishers make to collection agencies such as MRI (Music Reports, Inc.) and HFA (Harry Fox Agency), which take and distribute mechanical royalties, usually 50/50 between publishers and authors, and ASCAP (American Society of Composers, Authors and Publishers), BMI (Broadcast Music Incorporated), and SESAC (Society of European Stage Authors and Composers), which take and distribute performance royalties, usually 70% to authors and 30% to publishers.

Labels and publishers are not always the same thing, and indeed, there are four types of publishers: 1) administrator, a person or a small company, 2) independents, 3) major publishers, (labels) such as Sony, Warner, Universal, Epic, Columbia, etc., and 4) self-publishing, an author who holds the role of publisher themselves. They all do the same job but the differences between them are two: the first one is that among the first three, the difference is in the royalties’ commissions that start from the lowest (administrator) to the highest (major publishers), and the second one is that independents and majors can also provide advances. Majors especially, advance millions of dollars to the authors in exchange for a percentage that can reach up to 50% of royalties.

Distributors: A music distribution company signs deals with record labels or artists which then give them the right to sell their music. Distributors are simply concerned with providing music to consumers, not only by taking it to the stores to sell it, but also online for both sale and streaming. Their commission varies according to the agreements, but is usually 15%. Distributors can be real stores, record labels, and digital online like: SoundCloud, LANDR, Baby CD, TuneCore, DistroKid, etc. which pass it to Spotify, Apple Music, iTunes, Tidal, Amazon Music, Deezer, Napster, Google Music, Shazam, YouTube, etc.

Ghostwriters: Ghostwriters are authors who write on commission. The musical ones, can write an entire song or even a single sentence for an artist, without of course receiving credit for doing so. That’s exactly why the name ghostwriter/s. Ghostwriters sell their songs to record labels for their artists or can be contacted specifically to write a song. When ghostwriters sell their songs, they sign a contract with a confidentiality clause and receive a payment in advance. A big payment, by the way. Some ghostwriters remain copyright owners of their song, so they not only earn on the advance received for the sale of the song, but also receive some royalties when the song is used. Other ghostwriters, on the other hand, most of them actually, also sell copyrights, and for this reason, they earn absolutely no percentage in royalties because the song they sold is no longer theirs.

Labels: Record labels earn money when their music is purchased, downloaded, streamed, and licensed for use. When an album is released, the label derives a percentage of profits from the total sales in royalties. The percentage may vary according to the agreement that the artist initially signs in the contract, and of course, the more the artist is of a high level, such as Beyoncé or Rihanna, the lower the percentage obtained from the label. The percentage can be 97%, or 95%, or 90%, or 88%, or 85%, or 83%, and so on, but usually never below 75% unless the label is an independent label. The remaining percentage, whether it’s 3%, 5%, 10%, 12%, 15%, 17%, and so on, is given to the artist. But before the artist is paid, there’s the ‘recoupment’, that is, the label recovers all the expenses invested. And from their percentage, the artist has to subtract royalties that are to be distributed to the producers of the songs, to management managers, to the business managers, to the lawyer, etc. Producers’ royalties vary from 1 to 3% of the record’s selling price, managers’ ones vary from 15 to 20%, and business managers’ and lawyer’s ones are usually 5%. AFTER the costs have been reimbursed, the artist gets paid.

When an artist is signed by a label, the latter buys some songs for the album from authors and ghostwriters, and invests on the artist by giving them an advance to make that album. This advance is mainly reserved to pay for the recording of the album, and this means paying for the recording costs, which include the payment of the recording studio or more recording studios, the payment of instruments and equipment, the payment of producers, arrangers, assistants engineer, recording engineers, editing engineers, mixing engineers, and mastering engineers, the payment of the artwork that includes covers for the album and singles, both printed and digital, album booklet, promotional pictures, merchandising, etc., etc., but a part of this (advance), is given to the artist as ‘living expenses’, that is, as personal use.

Example: Let’s say the label gives $100,000 in advance to the artist. $80,000 must be reserved for recording expenses and the remaining $20,000 are artist’s for personal use. If this $80,000 are enough to record the album, things remain unchanged, but it may happen that it takes more money to record, or even less. If it took less, that money is added to what the label gave the artist for personal use. Let’s say that it took 70,000 to record the album, the remaining 10,000 are added to the artist’s 20,000, thus becoming $30,000. If, on the other hand, it took more, the artist must pay the difference or the label has the right to terminate the contract. Let’s say it took 90,000 to record the album, it’s up to the artist to take $10,000 from the 20,000 of their living expenses and add it, in the hope that they haven’t already spent it all on jewelry, clothes, and cars as many artists have done in the past, thus finding themselves in debt to the label from the very beginning. Same thing if it took more than 100,000 to record the album; the artist starts getting into debt even before the album is released and the label could conclude the contract. But, if the label exercises their option for another album, cross-collateralization takes place. Cross-collateralization allows the label to sequentially recover the money advanced for past, present, and future albums, considering them as a single total advance. Example: the label advanced the artist $200,000 to record the first album and $300,000 for the second one. For the first one, they only managed to return half, and for the second one, 200,000. These two debts (100,000+100,000), accumulate together by becoming a single debt to be paid in the third album.

It’s therefore important that the artist doesn’t go over budget, especially because, in addition to the advance to make the album, the label advances the artist more money to pay for many other things, such as music videos, promotions, designers and costume designers, make-up artists, choreographers, travel, merchandise, tours, etc., along with paying the management to advertise such as, booking TV shows, paying radio stations to play their music, and SO on. So, basically, the investment that the label makes towards the artist concerns:

1) the purchase of some songs.

2) the advance, which includes 3) the recording costs, which in turn include the payment of the recording studio/s, the payment of instruments and equipment, the payment of producers, arrangers, engineers, artwork, etc., 4) and 50% of marketing and promotional and legal costs.

Then 5) the packaging costs that vary from 15 to 25%, which include: both the physical sale (CDs, vinyl, cassettes) and the digital download of the album despite the fact that there’s literally nothing to physically pack, - the breakage costs which vary from 10 to 20%, and which are a precaution for possible breakage (CDs, vinyl, cassettes) during shipping, - the digital breakage costs, which is completely ridiculous given that, especially in this case, there’s literally nothing to physically pack, - the free goods which vary from 10 to 20%, and which concern a certain number of album copies that the label gives to distributors, radios, and other entities for promotional purposes, and since these goods are NOT considered as sold, the artist doesn’t compensate for those free albums since they’re paid only for (physical and digital) sales and streaming of the album, - and the reserve costs which are a precaution that the label takes by temporarily withholding a small percentage of the artist, considered to be a reserve, against potential returns that happen only when the stores send back the unsold albums to distributors by receiving a refund.

6) 50% of the video production costs from which the label usually also derives 50% commission on the royalties’ share earned by the artist.

And lastly, 7) the tour support costs.

Royalties and licenses, and there are several:

The artist royalties, also known as recording royalties and master-generated royalties, are those earned by the label and the artist thanks to the sales of their music. Whether it’s the digital sale, or if it’s downloaded, or streamed, or whether it’s the physical sale, that is that of a CD, or of vinyl, or of a cassette. The royalties are collected by the distributors, who draw up a maximum of 15% commission, to then distributing them in division to the label and the artist on the basis of the agreements made. Let’s say, for example, 85% on the label and 15% on the artist.

The mechanical royalties, like artist royalties, are those generated by all old and new music formats such as: CDs, vinyl, cassettes, digital downloads, and streaming services. But unlike artist royalties, these are earned by authors (songwriters and composers) when the song is: played and sold as a ringtone, streamed through on-demand services (e.g.: Spotify and Apple Music), sold for digital download (e.g.: iTunes and Amazon), performed by someone else as a cover, sampled and used for a new song [in addition to the mechanical license (the rights in the form of permits granted by the authors to use their music), a master license (the rights in the form of permits granted by the owner of the master recording to use a pre-recorded version, therefore with the voice of the artist who sings the song, of a song in a video or audio project, but doesn’t allow to be recorded again with a voice other than that of the original singer) is required to do so], modified in other versions (like for e.g. a remix of the same song) and performed by someone else (besides the mechanical one, it requires a master license to do so), and bought from a store (usually it happens with albums and not with single tracks).

These royalties are collected by a mechanical licensing organization such as Music Reports, Inc. (MRI, which manages those of Apple, Pandora, Amazon, SiriusXM, Microsoft, etc.) or the Harry Fox Agency (HFA, which manages those of major record labels: Sony, Universal, and Warner), which usually draw 11/12% commission from them and then distribute them in division to publishers and authors for musical composition. A single streaming listen generates both mechanical and public performance royalties. But to make a single dollar, on Spotify for example, it’s necessary to obtain about 230 streams on that song. Artists DO NOT earn any mechanical royalty unless they’re writers or co-writers of the song.

The public performance royalties are earned when a song is broadcast or performed publicly. That is, when a song is broadcast on the radio, on TV, or at the movie theater, or at a game, or in a club, or in a restaurant, or in a hotel, or in a shop, or in a gym, or from a jukebox, or in a live concert, etc., etc. Organizations such as BMI (Broadcast Music Incorporated) and ASCAP (American Society of Composers, Authors and Publishers) also called PRO (Performance Rights Organization) where songs are registered with licenses and legal rights and which (these organizations) protect and act on behalf of those who hold the copyrights of authors and publishers, even granting public performance licenses (the rights in the form of permits granted by authors to use their music in public), are the ones that collect these royalties by usually drawing 16/18% commission, to then distributing them in division to publishers and authors for musical composition. Another PRO organization such as SoundExchange, on the other hand, is responsible for collecting royalties by usually drawing 14/15% commission, and then distributes them to: the featured artists of the song, usually at 45%, to the copyright owners for the master recording (usually the label) at 50%, and to the non-featured artists (artists not present in the song) such as for e.g. chorists, at 5%. As with mechanical royalties, artists DO NOT earn any royalty from public performances unless they’re writers or co-writers of the song.

*** Remember how I said earlier that management (through the label) pays radio stations to play their artist’s music? Well, that’s because radio stations have to pay a PRO organization in their turn to be able to play it, and in short, if they want to work. Basically, based on what the artists/management have paid to have their song played, the radio stations create a list of all the songs. About once a month, the radio stations deliver the list, which indicates which songs they’ve played and how many times they’ve played them, to BMI or ASCAP, on the basis of who they have agreements with, or to both. Radio stations have to pay a blanket license (the rights in the form of permits granted by authors and issued by PRO organizations to have access to a part or complete repertoire of authors’ songs for a fixed annual fee. Such as, for example, precisely a radio station, or a shopping mall that wants to play background music) fee to BMI or ASCAP, which then in their turn transfer the money/royalties to songwriters, composers, publishers, and record labels. Each track’s play that one of the biggest commercial radio stations does, generates about $12 in royalties. Those 12 dollars, multiplied by every single time the song has been played on the radio, are collected by BMI or ASCAP, then equally divided, and delivered. If an artist wants their single on the radio, they pay about $500 to $1,000 to $2,000. If they want it to be played often and advertised more, they pay between $100,000 and $125,000. And for the single to become the number one hit on the radio, the artist has to pay around $200,000, sometimes it can cost over $350,000/400,000. Costs vary depending on the radio station and the competition. Payola isn’t a practice that’s SO illegal after all, since EVERYBODY does it! Ask the song Despacito that. Oh, hey! Hey, girl, how ya doin? I saw that Baby Shark, a fucking children’s song, top you on YouTube. ***

The synchronization royalties are generated when copyrighted music is paired or ‘synchronized’ with visual media, such as: movies, trailers, tv shows, commercials, video games, music videos, etc. In the case of movies, royalties are also generated both for performance, derived from the performance of the song at the movie theater and on TV, and mechanicals, derived from the physical and digital sales of the soundtrack. If, for example, a person wants to use a copyrighted song for their YouTube video, along with the synchronization license (the rights in the form of permits granted by the authors and issued by PRO organizations to use the authors’ music coupled with visual media, and unlike the master license, this allows to re-record the song with a voice different from that of the original singer), they will need the master license by making an agreement with the owner of the master recording, such as a record label. Just as with performance royalties, these are collected by PRO organizations and distributed among publishers and authors. Artists earn from these royalties too.

The copyrights royalties belong to the authors of the song. Authors, who may be songwriters and composers, grant their rights as authors and copyright owners to publishers. Royalties are divided between publishers and authors. Very often, 50/50 for both synchronization royalties and mechanical royalties, but this depends a lot on the agreements made between them. As for mechanical royalties, if publishers have provided an advance, the percentage they’re entitled to can be up to a maximum of 50% royalties. Authors are guaranteed a minimum of 50%, and some agreements can give them up to 90% of the profits. If an author is self-published, in the sense that they act as their own publisher, they can receive 100% of the mechanical royalties. As for performance royalties, on the other hand, publishers receive 30% and authors 70%. Based on how many songwriters and composers there are, that 70% is divided into equal parts. For example, if it’s two of them, 35% and 35%. Unless, by mutual agreement, they decide to divide them differently, like: 50% and 20%, or 47% and 23%, or 60% and 10%, always to reach 70%. It usually happens when one of them has contributed more to the song.

Print license, the rights in the form of permits granted by authors to be able to make copies or reprint the lyrics of the scores of one of their songs. Theatrical license, the rights in the form of permits granted by authors to use their song on a theatre stage in front of an audience.

Basically, the artist earns very little or no earnings at all because they get into debt, especially if they’re not a songwriter and don’t co-write their music. The way in which the artist really earns is thanks to merchandising and the tour. The artist takes the percentage that varies from 75 to 90% of the ticket price. Labels, on the other hand, gain on all fronts. They earn mainly thanks to 360-degree contracts, also called multiple rights deals, which allows them to receive a percentage of artists’ ancillary rights, that is, artists’ earnings deriving from everything they do. So, not only do they earn when their artists’ music is physically and digitally purchased, streamed, and licensed for use, but they also earn from songwriting incomes, concert and live performance incomes, merchandise sales, licensing, endorsement and sponsorship deals, movie and TV appearances fees, ringtone sales, etc., etc.

Like, for example, once the artist signs the recording agreement and the labels become the owners of all the master recordings, they put the artist to work with songwriters chosen by them to write songs that the artist sings, and they earn from the public performance licenses (having the songs put on the radio, in movies, on TV, etc.) they have granted as publishers. And in this case, not only do they earn royalties that go half to publishers (themselves) and a half to the songwriters they hired (and IF, only IF the artist has written something in the song, then they get their share which is also made in half with the songwriters), but also by having the artist sign a mechanical license agreement that allows them to release CDs, vinyl, cassettes, sell digital downloads, and streaming services. The artist then gets into debt with the labels, usually with advances of millions, and tries to earn on tour with the proceeds from ticket sales and merchandising to pay back all the advances. They find themselves in deep shit, also because those debts will be carried on in the next albums thanks to cross-collateralization, and if they try to rebel, the labels stop promoting them and their songs, and as a result of that, sales decrease by cornering the artist even more since they would no longer earn their artist royalties. It can also happen that, when they’re under enough pressure, the artist can be dropped by the labels in exchange for the absolute renunciation of all rights of their own music. When this happens, the labels/publishers start to strongly promote the artist because by then, they and their writers are the ones to get all the money. None for the artist.

Practical examples about 5H to explain everything:

I would like to clarify that, except for the actual sales numbers of the albums I researched, these are examples of numbers I invented. I’m gonna base the real data on invented numbers to help you understand how it all works. In truth, there would be a lot more things to calculate than what I’m gonna show and, of course, the numbers are much higher in the real world as we’re talking about major labels that are known to be willing to advance millions. In my examples, 5H will not be indebted into the final earnings estimates. The reality is, however, that the girls were in debt. At 100%, at least definitely until 2016. Having said that, we can start with their EP: ‘Better Together’.

The Better Together era lasted for a year, to be more precise, from July 16, 2013, with the release of ‘Miss Movin’ On’, until July 7, 2014, when they released ‘BO$$’. As I’ve already said, I’m gonna only use the real sales data of the albums, in this case, the EP. I won’t use anything else, although I know they made money from other projects. Therefore, I won’t include the earnings from: ‘Juntos’, the covers they did on YouTube (‘Thinkin’ Bout You’ by Frank Ocean, ‘American’ by Lana Del Rey, ‘Lego House’ by Ed Sheeran, ‘Stay’ by Rihanna, ‘Red’ by Taylor Swift, and ‘Honeymoon Avenue’ by Ariana Grande), the two covers (‘Mirrors’ by Justin Timberlake and ‘When I Was Your Man’ by Bruno Mars) they did with Boyce Avenue in their EP ‘Cover Collaborations, Vol. 2’, the collaboration they made with Mattel who launched the Barbie doll collection inspired by them ($19,99 each), together with the promotional song (‘Anything Is Possible’, + the video) and the episode (‘Sisters’ Fun Day!’) in which they appeared as their dolls, the collaboration with AwesomenessTV for the takeovers (from 2013 to 2015), the appearance in the episode 2x06 of Faking It, the collaboration with Wet Seal for their clothing lines, etc., etc.

As for Better Together, Fifth Harmony sold a total of 120,000 copies worldwide, of which 51,000 album-equivalent units and 69,000 traditional sales. In America, the album-equivalent unit is calculated as follows: the sale of 1 album is equivalent to 10 songs downloaded, which in turn are equivalent to 1,500 streams of a song. 51,000x1,500= 76,500,000 streams. 382,500 in royalties from Apple Music, 306,000 from Spotify. I’m gonna use only and exclusively Apple’s royalties in my examples, so let’s pretend that all the royalties they earned from selling the album-equivalent units (51,000), come from there. Now, the original price of the album was $4,99, and having sold 69,000 copies of the physical album (CD), we get the sum of ($69,000x4,99=) $344,310. The sum of both sales brings us to a total of ($382,500+344,310=) 726,810 dollars/royalties earned.

We know that Simco Ltd. gave the exclusive license rights to Epic, which invested the money and then shared the profits with Syco. Therefore, we know that it was Epic that gave 5H the advances to record the albums. We also know that things were pretty bad until the end of December 2015, when thanks to the intervention of Dina LaPolt (the musical lawyer they hired at that time – she didn’t represent C), they managed to renegotiate and adjust their contracts. Dina said: “Every agreement they signed, were the worst I’ve ever seen in the music business”, and thanks to that, we can imagine how high the profits Epic and Syco made. Of those 726,810 royalties earned from EP sales, let’s imagine that Epic, according to Dina’s words, made 92% of profits from the girls’ artist royalties. 726,810-8%= 668,665.2, rounded 668,665, *I’m gonna round all numbers automatically*, from which Epic subtracts 15% commission to give to the distributors (like Sony Music Entertainment) of the album (668,665-15%= 568,365), before splitting the sum in half with Syco (568,365÷2= 284,183). All this would leave (726,810-92%=) 58,145 royalties to 5H.   …right? No. Why?? Because before being paid, they have to subtract the royalties to give to producers (let’s imagine 3%), management managers (let’s imagine 20%), business managers (let’s imagine 5%), and the lawyer (let’s imagine 5%), [actually a lot of other people too, but I’m gonna just calculate these], and then, most importantly, the recoupment happens.

Epic recovers:

1) The advance, which let’s imagine to be $380,000. Of these $380,000, $250,000 was initially intended to cover the costs of creating an album (LP), but since they eventually opted for an EP, let’s imagine that the advance dropped to $300,000. Now, of these $300,000, 190,000 had to cover:

2) the recording costs, which included the payment of recording studios (there were six for the EP), the payment of instruments and equipment, the payment of arrangers, assistants engineer, recording engineers, editing engineers, mixing engineers, and mastering engineers, the payment of the artwork that includes covers for EP and singles, both printed and digital, EP booklet, promotional pictures, merchandising, etc., etc.

3) 50% of the video production costs, that is, the costs for the music video of the first official single extracted from the EP, let’s imagine $50,000 for ‘Miss Movin’ On’, therefore $25,000.

and 4) 50% of the marketing and promotion costs for ‘Miss Movin’ On’ and the EP: radio stations, TV shows, interviews, billboards, magazines, advertising on websites and social media, merchandising, etc. Let’s imagine 150,000, therefore 75,000, thus leaving (300,000-190,000-25,000-75,000=) $10,000 as living expenses, (10,000÷5=) 2,000 each.

But that’s not all. Epic also advanced other money during the EP era, and also recovers these:

5) the packaging costs, let’s imagine that they are 20%, which include the breakage costs, let’s imagine 10%, and the free goods, let’s imagine 10%.

3²) 50% of the video production costs for the second music video extracted from the EP as a promotional single (‘Me & My Girls’), let’s imagine another $40,000, therefore $20,000. [So from here, the label not only recovers the anticipated costs for making the videos, but they usually even get 50% commission on the artist’s share of royalties earned on the views].

And lastly, 6) the tour support costs: book and promote tour dates, make sure of having approval and sponsorship agreements, hire a team for the tour, travel, hotels, restaurants, choreographies, costumes, makeups, tour merchandise, etc. Let’s imagine $300,000 for all seven tours [Four tours of their own (2013: Harmonize America Mall Tour. 2013: Fifth Harmony Theatre Tour. 2014: The Worst Kept Secret Tour. 2014: Fifth Times A Charm Tour), plus the three for which they were the opening acts (2013: Cher Lloyd, I Wish Tour. 2014: Demi Lovato, Neon Lights Tour. 2014: Austin Mahone, Live on Tour)].

Having co-written three out of seven songs on the EP, the girls earned: let’s imagine 70% public performance royalties (minus let’s imagine 14% to give to PRO organizations), 50% synchronization royalties (minus let’s imagine 14% to give to PRO organizations), and 50% mechanical royalties (minus let’s imagine 11% to give to mechanical licensing organizations such as MRI and HFA) as songwriters. Therefore, we’re gonna do: 100% of performance royalties, minus 14% to give to organizations, is equal to 86% (100-14=86). 86% is to be divided between 30% that goes to publishers, and 70% that goes to the girls. 30% of 86 is 25.8/26, while 70% is 60.2/60 (60.2+25.8=86 / 60+26=86). Same thing with synchronization royalties (100-14=86. 50% of 86 is 43), and mechanical royalties (100-11=89. 50% of 98 is 44.5/45). The sum of 5H royalties is (60+43+45=) 148.

These 148 are now to be divide with the other songwriters of the three songs. For ‘Don’t Wanna Dance Alone’, they are to be divide with two songwriters (Julian Bunetta, Andre Merrit), for ‘Who Are You’ with three (Julian Bunetta, PJ Bianco, Nasri Atweh), and for ‘Me & My Girls’ with four (Julian Bunetta, PJ Bianco, Beau Dozier, John Ryan). Six songwriters to divide them with. I say six because Julian Bunetta is in all three songs, while PJ Bianco is in two. Therefore, let’s divide the royalties between 5H and the six other songwriters: 148÷7= 21. This would be 5H’s gain for performance, synchronization, and mechanical royalties. [It’s obviously not a complete calculation because to that number, the numbers of plays and sales of the three songs taken individually must be added. I remind you that this is just a generic example to help you understand how it works]

By doing all the calculations:

[300,000 (initial advance) – 10,000 (living expenses)] = 290,000 (recording costs, ‘Miss Movin’ On’ video, marketing and promotion) + 20,000 (‘Me & My Girls’ video) + 300,000 (tour support) = 610,000.

58,145 (artist royalties earned) – 73% [3% (to be given to the EP producers which were three) + 20% (to be given to the management managers) + 5% (to be given to the business managers), + 5% (to be given to the lawyer), + 20% (packaging costs) + 10% (breakage costs) + 10% (free goods)] = 15,699.

15,699-610,000= -594,301.

This, would be 5H’s proceeds. $594,301, (594,301÷5=) $118,860 each, of debt with labels. Now, let’s imagine a $1 million profit from the seven tours, from which let’s imagine that 5H took 80% on the sale of a ticket price. Not owning their trademark (5H Partnership) yet, and as crappy as their contracts were, let’s imagine they didn’t get any percentage from the tour’s merchandise.

1,000,000-20%= 800,000. By subtracting the debt from this new figure, we get: 800,000-594,301= 205,699.

205,699 + 21 (performance, synchronization, and mechanical royalties earned) + 10,000 (living expenses) = 215,720.

And lastly, by dividing the share equally among the girls, we get: 215,720÷5= 43,144. ß This, would be the final figure of the total dollar earnings per head of 5H’s Better Together era, which I remind you lasted for a year. A spit, basically… But, if the tours hadn’t compensated enough to overcome the label debt, cross-collateralization would’ve occurred. That debt, let’s imagine the same debt that I mentioned earlier, -594,301, would’ve been carried on for the next album if the label had exercised the option of recording another one (-594,301+-594,301= -1,188,602), and the next one (-594,301+-1,188,602= -1,782,903), and so on, more and more accumulating with variations of increases or decreases in the debt figure based on how much the girls would’ve been able to pay off whenever it was possible for them.

Oh and, I forgot. From that figure, that one of the total earnings (215,720), they also had to pay taxes…

Even in this case, I’m gonna only use the real total sales data of the album: ‘Reflection’. And even in this case, I won’t use anything else, although I know they made money from other projects. Therefore, I won’t include the gain on: the two songs they did for the Christmas EP ‘I’ll Be Home For Christmas’ (‘Noche De Paz’ and ‘All I Want for Christmas Is You’ ß + the video) along with other singers, the collaboration with Clean & Clear for which they recorded a series of commercials to promote their products, the collaboration with Candie’s for which they became the face of the ‘5 Girls, 5 Styles’ campaign by also releasing the promotional song (‘Rock Your Candie's’ + the video), the cover of ‘Uptown Funk’ (+ the video) by Mark Ronson ft. Bruno Mars which they did together with Jasmine V., Jacob Whitesides, and Mahogany Lox to promote the tour, the soundtrack for the movie ‘Hotel Transylvania 2’ (‘I’m In Love With A Monster’ + the video), the song ‘Sin Contrato’ with Maluma, etc., etc. The Reflection era lasted for about a year and seven months, to be more precise, from July 7, 2014, with the release of ‘BO$$’, until February 26, 2016, when they released ‘Work from Home’.

As for Reflection, in America alone, Fifth Harmony sold a total of 142,000 copies at the debut, of which 80,000 were album-equivalent units and 62,000 traditional sales. By February 2016, the album sold 155,000 copies (in America alone), so let’s imagine 93,000 album-equivalent units and 62,000 traditional sales. 93,000x1,500 (the album-equivalent unit) = 139,500,000 streams. 697,500 in royalties from Apple Music. The original price of the album was $9,99, and having sold 62,000 copies of the physical album (CD), we get the sum of (62,000x9,99=) $619,380. The sum of both sales brings us to a total of (697,500+619,380=) 1,316,880 dollars/royalties earned. Since we know that they didn’t hire Dina before the end of December 2015, of those 1,316,880 royalties earned from the album’s sales, let’s imagine that Epic still made 92% of the profits from the girls’ artist royalties. 1,316,880–92%= 105,350. 105,350 royalties that we know didn’t go directly to them without first having subtracting those to be given to the producers (let’s still imagine 3%), to the management managers (let’s imagine 15% because they decrease every year), to the business managers (let’s still imagine 5%), to the lawyer (let’s still imagine 5%), and the recoupment.

Epic recovers: 1) the advance, which let’s imagine to be $400,000. Of these $400,000, $270,000 had to cover: 2) the recording costs, which included the payment for the recording studies (there were three for Reflection), etc.; 3) 50% of the video production costs of the first official single extracted from the album, let’s imagine $80,000 for ‘BO$$’, therefore $40,000; and 4) 50% of the marketing and promotion costs for ‘BO$$’ and the album: radio stations, interviews, etc. Let’s imagine 170,000, therefore 85,000, thus leaving (400,000-270,000-40,000-85,000=) $5,000 as living expenses, (5,000÷5=) 1,000 each.

Then Epic recovers the rest of the money advanced during the Reflection era: 5) the packaging costs, let’s imagine that they’re still 20%, which include the breakage costs, let’s still imagine 10%, and the free goods, let’s still imagine 10%. 3²) 50% of the video production costs for the music videos of the other two single extracts from the album, let’s imagine 65,000 for ‘Sledgehammer’ and 95,000 for ‘Worth It’, (65,000+95,000=) $160,000, therefore $80,000. And lastly, 6) the tour support costs, let’s imagine $500,000 for all three tours (The Reflection Tour, Reflection: The Summer Tour, European Reflection Tour).

Since they couldn’t didn’t co-write anything for this album, the only royalties they earned were artist and synchronization ones (minus let’s still imagine 14% to be given to PRO organizations). 100-14=86. 70% of 86 is 60,2/60. On this album, they have three featuring (‘Worth It’ ft. Kid Ink, ‘Like Mariah’ ft. Tyga, ‘Brave Honest Beautiful’ ft. Meghan Trainor), and for this, we have to subtract let’s imagine 14% of commission royalties collected by SoundExchange, which then deals with distributing them to the featured artists of the songs.

By doing all the calculations:

[400,000 (initial advance) – 5,000 (living expenses)] = 395,000 (recording costs, ‘BO$$’ video, marketing and promotion) + 160,000 (‘Sledgehammer’ & ‘Worth It’ videos) + 500,000 (tour support) = 895,000.

105,350 (artist royalties earned) – 82% [3% (to be given to producers) + 15% (to be given to the management managers) + 5% (to be given to the business managers), + 5% (to be given to the lawyer), + 20% (packaging costs) + 10% (breakage costs) + 10% (free goods) + 14% (collected by SoundExchange)] = 18,963.

18,963-895,000= -876,037.

$876,037, (876.037÷5=) $175,207 each, of debt with labels. Now, let’s imagine a gain of $3 million from the three tours, from which let’s imagine that 5H still took 80% on the sale of a ticket price. Not owning their trademark (5H Partnership) yet, let’s still imagine that they didn’t get anything from the tour merchandise. 3,000,000-20%= 2,400,000. By subtracting the debt to this new figure, we get: 2,400,000-876,037= 1,523,963.

1,523,963 + 60 (synchronization royalties earned) + 5,000 (living expenses) = 1,529,023. And lastly, by dividing the share equally among the girls, we get: 1,529,023÷5= 305,805. This, is the total gain of 5H’s Reflection era, which I remind you lasted for about a year and seven months. Still a spit considering how hard they worked, and considering I didn’t include taxes payment.

Let’s conclude with the real data of the total sales of the album: 7/27. By the end of November 2016, Fifth Harmony sold a total of 1,600,000 copies worldwide, of which 1,075,000 album-equivalent units and 525,000 traditional sales. 1,075,000x1,500 (the album-equivalent unit) = 1,612,500,000 streams. 8,062,500 in royalties from Apple Music. The original price of the deluxe album was $13,99, and having sold 525,000 copies of the physical album (CD), we get the sum of (525,000x13,99=) $7,344,750. The sum of both sales brings us to a total of (7,344,750+8,062,500=) 15,407,250 dollars/royalties earned.

Now, what happened here? Thanks to Dina’s entry, there have been a lot of changes. The first one was the fact that they no longer had Eric Greenspan as their lawyer, but Dina herself and Jessie Winkler (who works for Dina at her law firm, LaPolt Law, P.C.). The second one, the change of management. They used to have Jared Paul and Janelle Lopez from Faculty Management. After: Larry Rudolph, Dan Dymtrow, and Tara Beikae from Maverick Management. The third one, their contracts were renegotiated for the better and LAND became the owner of the trademark (5H Partnership) from April 27th, exactly one month before the album’s release, finally being able to earn from their name.

Of those 15,407,250 royalties earned from the album’s sales, let’s imagine that Epic, according to the new agreements made, made 85% of the profits from the girls’ artist royalties. 15,407,250-85%= 2,311,088 royalties which, as we’ve seen, don’t go directly to them without first having subtracted those to be given to producers (let’s still imagine 3%), to management managers (since they were new, let’s still imagine 20%), to business managers (let’s still imagine 5%), to lawyers/Dina&Jessie (let’s still imagine 5%), and the recoupment.

Epic recovers: 1) the advance, which let’s imagine to be $1,000,000. Of this million dollars, 570,000 had to cover: 2) the recording costs, which included the payment of the recording studios (there were two for 7/27), etc.; 3) 50% of the video production costs of the first official single extracted from the album, let’s imagine $250,000 for ‘Work from Home’, therefore $125,000; and 4) 50% of the marketing and promotion costs for ‘Work from Home’ and the album: radio stations, interviews, etc. Let’s imagine 370,000, therefore $185,000, thus leaving (1,000,000-570,000-120,000-185,000=) $120,000 as living expenses, (120,000÷5=) 24,000 each.

Then Epic recovers the rest of the money advanced during the 7/27 era: 5) the packaging costs, let’s imagine that they still are 20%, which include breakage costs, let’s still imagine 10%, and free goods, let’s still imagine 10%. 3²) 50% of the video production costs for the music videos of the other two singles from the album and for the promotional one, let’s imagine 180,000 for ‘All in My Head (Flex)’, 350,000 for ‘That’s My Girl’, and 70,000 for ‘Write on Me’ (180,000+350,000+70,000=) $600,000, therefore $300,000. And lastly, 6) the tour support costs, let’s imagine $800,000.

Even in this case, they couldn’t didn’t co-write anything for this album except for ‘All in My Head (Flex)’, but let’s pretend they didn’t have credit for that song. Therefore, let’s imagine that the only royalties they earned were artists and synchronizations ones (minus let’s still imagine the 14% to give to PRO organizations). 100-14=86. 70% of 86 is 60.2/60. Also on this album they have three featuring (‘Work from Home’ ft. Ty Dolla $ign, ‘All in My Head (Flex)’ ft. Fetty Wap, ‘Not That Kinda Girl’ ft. Missy Elliott), and for this, we have to subtract let’s still imagine 14% commission royalties collected by SoundExchange. By owning their trademark (5H Partnership), they not only earned on merchandising, but they also earned on brand licenses (which vary from 25 to 30% according to the agreements), which they granted to Simco, Epic, Syco, and Sony so that they could use their name associated with the music for the album, the tour, etc. Let’s imagine 27%, to stay on topic.

Since Camila wasn’t part of the partnership, I’m gonna do all calculations in division between her and LAND:

[1,000,000 (initial advance) - 120,000 (living expenses)] = 880,000 (recording costs, ‘Work from Home’ video, marketing and promotion) + 300,000 (‘All in My Head (Flex)’, ‘That’s My Girl’, and ‘Write on Me’ videos) + 800,000 (tour support) = 1,980,000.   1,980,000÷5= 396,000 ©,   396,000x4= 1,584,000 (LAND).

2,311,088 (artist royalties earned) - 87% [3% (to give to producers) + 20% (to give to management managers) + 5% (to give to business managers) + 5% (to give to lawyers) + 20% (packaging costs) + 10% (breakage costs) + 10% (free goods) + 14% (collected by SoundExchange)] = 300,441.   300,441÷5= 60,088 ©,   60,088x4= 240,352 (LAND).

60,088-396,000= -335,912 ©.   240,352-1,584,000= -1,343,648 (LAND).

From LAND’s debt figure, let’s subtract 27% of the earnings occurred thanks to the commissions received from the brand licenses. 1,343,648-27%= 980,863.

Thanks to these calculations, we were able to see that Camila had a debt of $335,912 with the labels, and LAND of 980,863, (980,863÷4=) $245,216 each.

Now, the real box-offices earnings data for the tour are $5,100,000 for 31 concerts. The concerts of that tour, and therefore of 2016 with still Camila, were 58. Including those 27 non-calculated concerts, let’s imagine that the total profit was $5,110,000. Let’s also imagine the merchandising gain was $890,000. $5,110,000, minus, let’s still imagine the 80% profit on the sale of a ticket price, is equal to (5,110,000-20%=) $4,088,000.   4,088,000÷5= 817,600 ©,   817,600x4= 3,270,400 (LAND).

By subtracting the debts to this new figure, we get: 817,600-335,912= 481,688 ©,   3,270,400-980,863= 2,289,537 (LAND).

60 (synchronization royalties earned) ÷5= 12.   12x4= 48.   481,688+12= 481,700 ©.   2,289,537+48= 2,289,585 (LAND).

120,000 (living expenses) ÷5= 24,000.   24,000x4= 96,000.   481,700+24,000= 505,700 ©.   2,289,585+96,000= 2,385,585 (LAND).

2,385,585+890,000 (merchandising earnings) = 3,275,585 (LAND).

These, are the total earnings of the 7/27 era divided among the girls, taxes to be paid not included. Camila: $505,700. LAND: 3,275,585 (3,275,585÷4=) $818,896 each.

Think about ‘FIFTH HARMONY Rehearses before Winning at RADIO DISNEY MUSIC AWARDS!’ takeover recorded in April 2014: Kevin Maher: “Last one on the floor pays $5!”, Lauren the living meme Jauregui: “NOT MEEEE!!!!”

Think about the ‘Fifth Harmony “We’re not rich!"’ interview with Live! Starring … You! posted on April 14, 2014: Camila: “We’re literally more broke than we were before the competition”, Lauren: “EXCUSE ME!!! I can only afford the bus, taxis are expensive!!”, Normani: “We have like Ritz crackers for dinner”, Camila and Normani: “We’re bankrupt”.

Think about the two leaked audios: Lauren: “They’re making decisions on a regular basis, to fuck us over, to make us literal slaves, like literally slaves, Ally”   Ally: “I know, I know, I know”   Lauren: “We’re doing fucking labor every day and we see nothing”. – Camila: “Sorry I couldn’t come down today. They were actually working us to the fucking bone. We did like, literally five songs”.

Does it all make a little more sense now?

Aaand here we are. I hope you enjoyed it and that this too was worth the long ass reading. I’d like to thank Mari as usual for giving me the opportunity to post on her blog. Thanks, buddy, I really appreciate that 🤗😊

I ❤️ u, guys. Please stay safe. Stay patient. Stay strong. And stay woke, especially for what’s coming in these months. Always with love, F.

__ 💖

[kontaktlab]

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