Friday, December 29, 2017
Thursday, December 28, 2017
Saturday, December 16, 2017
FUTURE PAYS ROCKO $8 MILLION DOLLARS TO SETTLE SEVEN FIGURE LAWSUIT
FUTURE FINALLY PAYS ROCKO $8 MILLION DOLLARS TO SETTLE SEVEN FIGURE LAWSUIT
".. see this is exactly why contracts are IMPORTANT !! Have your own so you KNOW what you are signing - SIR HEIST "
CLICK HERE TO DOWNLOAD 100 Contracts Only 5 Dollars To Protect Your Millions!
Future and Rocko finally settle their long drawn out legal battle. If you dont know, well Future was signed to Rocko’s label A1 Recordings. Rocko sued Future for roughly $10 Million dollars claiming Future breached their contract. Future signed a deal with Rocko’s A1 Recordings in 2011, and he allegedly agreed to put out six albums with the label. According to Rocko, Epic Records signed on to distribute the albums but Future allegedly cut a side deal that allowed the rapper to see multi-million dollar advances for the project. Rocko and his legal team started the lawsuit this summer. Today we finally have some closure. It is being reported that Future was ordered to pay Rocko over $8 Million dollars.
Rocko’s legal team spoke on behalf of Rocko letting us know that he is very happy with the judgement being he came out on top.
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Thursday, December 14, 2017
EMAIL ADDRESSES to Send Beats To Top Independent & Major Rap/Hip Hop Artists | Get Possible Placements!
EMAIL ADDRESSES to Send Beats To Top Independent & Major Rap/Hip Hop Artists | Get Possible Placements!
ARTIST EMAIL LIST BELOW, ALL FREE ! REMEMBER PLEASE SHARE THIS POST
“All Beat Submission Contacts Were Acquired From Official Artist Or Label Twitter or Facebook Posts”
I constantly watch Twitter and Facebook for opportunities to send beats to rappers that I think are dope or that are coming up. In doing so I have collected a large list of contacts. Here are some contacts for sending beats and I will ad more as I find them. I want you to have all of the opportunities possible in this game. Maybe they will listen maybe they won’t, but I always say you got to try. I see it as if they posted “please send beats to me here” with a email then they or an associate are most likely listening to the beats that come in. And you may be surprised how few submissions some artists get as well. Well hope this list helps you out.
Artist: Que
Label: Atlantic Records
Contact: whoisque1@gmail.com
Label: Top Dawg Entertainment
Contact: topdawgentertainment@gmail.com
Artist: Cali Swag District
Label: Sphinx Music Entertainment/ 319 Music Group
Contact: Jayare3@gmail.com
Artist: Black Cobain
Label: (Wale’s) The Board Administration
Contact: Nevermind22@gmail.com
Artist: Lil Chuckee
Label: Young Money Records
Contact: Chuckeebeats@gmail.com
Artist: Frenchie
Label: 1017 Brick squad
Contact: popoff911@gmail.com
Artist: Kirko Bangz
Label: Warner Bros.
Contact: Heat4kirko@gmail.com
Artist: Sage The Gemini
Label: Black Money Music Group
Contact: SageTheGemini@gmail
Artist: D-Pryde
Label: Mars Music Group
Contact: dprydevideoclips@gmail.com
Artist: Ben J
Label: ?
Contact: deezbeats100tho@gmail.com
Artist: Big Sean
Label: Good Music
Contact: ffoebeats313@gmail.com
Artist: Chief Keef
Label: Interscope
Contact: GloGangMone2@gmail.com
Artist: Caskey
Label: Cash Money Records
Contact: BeatsforCaskey@gmail.com
Artist: Tone Trump
Label: CTE World
Contact: letswinbeats@gmail.com
Artist: Lil Durk
Label: Def Jam
Contact: Albumready1@gmail.com
Artist: Snow Tha Product
Label: Atlantic
Contact: beats@wakeyagameup.com
Artist: Danny Brown
Label: Fool’s Gold
Contact: beats4gremlins@gmail.com
Artist: Sasha Go Hard
Label: ?
Contact: SASHAGOHARD@GMAIL.COM
Artist: Jarren Benton
Label: Funk Volume
Contact: jarrenbeats@gmail.com
Artist: Raekwon
Label: EMI
Contact: beats@ICEh30Records.com
Artist: Casey Veggies
Label: Peas N’ Carrots International/ Roc Nation
Contact: mpeas3@gmail.com
Artist: Stalley
Label: Maybach Music Group
Contact: Stalleymusic@gmail.com
Artist: A$AP Ferg
Label: ASAP Worldwide
Contact: TrillagainIsland@gmail.com
Artist: Torch
Label: Maybach Music Group
Contact: Torchbeats@gmail.com
Artist: Lil Scrappy
Label: ?
Contact: thalabrat@gmail.com
Artist: Mike Epps
Contact: StaxxAmericaMusic@gmail.com
Artist: Troy Ave
Label: ?
Contact: Beats@TroyAve.com
Artist: Saigon
Label: Amalgam Digital
Contact: beats4giddy@gmail.com
Artist: Ca$his
Label: Shady Records
Contact: cashisbeats@gmail.com
Artist: Funkmaster Flex
Contact: FunkFlexAndActionBronson@gmail.com
Artist: Kid Ink
Label: The Alumni Music Group
Contact: feedinkbeatz@gmail.com
Artist: Red Rum
Label: We The Best Music Group
Contact: kingofthejungle804@gmail.com
Artist: Yandy Smith
Contact: STORAGE@EverythingGirlsLove.com
Artist: Berner
Label: Taylor Gang
Contact: Beats4berner@gmail.com
Artist: Cory Gunz
Label: Universal Motown Records
Contact: CoryGunzMp3@gmail.com
Artist: Travis Porter
Label: Porter House Music Group/ Jive
Contact: BEATSFORTRAVY@GMAIL.COM
Artist: Cyhi The Prynce
Label: G.O.O.D Music
Contact: beats@ivystate.com
Artist: Jeremih
Label: Def Jam
Contact: beats4mih@gmail.com
Artist: Sean Kingston
Label: Beluga Heights
Contact: SKBEATSTIME@GMAIL.COM
Label: Taylor Gang
Contact: TgInititations@gmail.com
Artist: A$AP Twelvy
Label: A$AP MOB
Contact: x2127301090@gmail.com
Artist: Wale
Label: MMG
Contact: sluttyboyztape@gmail.com
Artist: Tuki Carter
Label: Taylor Gang Records
Contact: tukisart@yahoo.com
Artist: Capo
Label: Glory Boyz Entertainment
Contact: GbeCapo300@Gmail.Com
Artist: Grafh
Label: ?
Contact: GrafhBeats@gmail.com
Artist: King Los
Label: Bad Boy Records
Contact: Beats4AfterPlatinum@gmail.com
Artist: Trae Tha Truth
Label: Grand Hustle
Contact: Dougied1979@gmail.com
Artist: Oktane (Audio Push)
Label: Hits Since 87, Interscope
Contact: Thisisoktane@gmail.com
Artist: South Side
Label: 1017 Brick Squad
Contact: roleyboy808@gmail.com
Artist: Lex Luger
Label: 1017 Brick Squad
Contact: smokedoutproducts@gmail.com
Artist: Cassidy
Label: (Carmelo Anthony’s Label) Kross Over Entertainment
Contact: Bookingcassidy@gmail.com
Artist: Soulja Boy
Label: SODMG
Contact: deandreway@me.com
Artist: King Louie
Label: Epic Records
Contact: mubulougotti@gmail.com
Artist: Young Turk
Label: ?
Contact: yntothuggin@gmail.com
Artist: Ice Billion Bergice
Label: ?
Contact: Beats4berg@gmail.com
Artist: Crooked I
Label: Shady Records
Contact: cobstar.intriago@gmail
Artist: 40 Glocc
Label: G-Unit
Contact: 40gloccbeats0@gmail.com
Artist: JBar
Label: SODMG
Contact: Jbaralphabeats@gmail.com
Artist: SD
Label: Glory Boyz Entertainment
Contact: GloryLife300@gmail.com
Artist: Rocky Diamonds
Label: Zone 4
Contact: themdmaworld@gmail.com
Artist: Juicy J
Label: Taylor Gang Records
Contact: tgodtakeover@gmail.com
Artist: Trouble
Label: Duct Tape Entertainment
Contact: TROUBLEDTE6@GMAIL.COM
Artist: Brisco
Label: Poe Boy Music Group/ Cash Money
Contact: sendyourbestbeats@gmail.com
Artist: Adrien Broner
Contact: theproblem20@gmail.com
Artist: Auburn
Label: ?
Contact: Callmeauburnbeats@Gmail.com
Artist: Gucci Mane
Label: 1017 BrickSquad/ Asylum, Warner Bros.
Contact: 1017beats@gmail.com
Artist: Freekey Zekey
Label: ?
Contact: Fz730@yahoo.com
Artist: San Quinn
Label: ?
Contact: Daquinn415@gmail.com
Artist: Bizarre
Label: Koch/ Shady Aftermath
Contact: bizarresworld@gmail.com
Artist: MellowHype
Label: Odd Future Records
Contact: Hodgysfolder@gmail.com
Artist: Young Breed
Label: Maybach Music Group
Contact: D1TheMC@gmail.com
Artist: 2 Pistols
Label: Blood Money Union
Contact: beats42p@gmail.com
Artist: Lil Kim
Label: IRS Records
Contact: LilKimBeats@Gmail.com
Artist: Avery Storm
Label: ?
Contact: TracksforAvery@gmail.com
Artist: Boogz Boogetz
Label: ?
Contact: yrsbeatz@gmail.com
Artist: Ms. Dynamite
Label: Relentless Records
Contact: msdynamitebeats@gmail.com
Artist: Emilio Rojas
Label: ?
Contact: Emiliobeats@gmail.com
Artist: Andre Nickatina
Label: Filmoe Colemon Records
Contact: iKhanBeats@gmail.com
Artist: Wiz Khalifia
Label: Atlantic Records
Contact: LisaDavisMusic@gmail.com
Artist: Riff Raff
Label: SODMG
Contact: JodyHighroller@gmail.com
Artist: Slim Thug
Label: Swishahouse
Contact: outlawzmuzik@gmail.com
Artist: Rockie Fresh
Label: Maybach Music Group
Contact: kelvin.hicks007@gmail.com
Artist: Tyga
Label: Young Money
Contact: RawEatBeats@gmail.com
Artist: Trina
Label: EMI
Contact: 2thepointmusic@gmail.com
Artist: Mistah Fab
Label: ?
Contact: Icecity2@gmail
Artist: Futuristic
Label: ?
Contact: onlyfuturistic@gmail
Artist: Project Pat
Label: Hypnotize Minds
Contact: projectpatgodson@hotmail.com
Artist: Waka Flocka Flame
Label: 1017 Brick Squad Records/Warner Bros.
Contact: YungDbo@gmail.com
Artist: Honey Cocaine
Label: (Tyga’s) The Last Kings Label
Contact: honeyeatbeats@gmail.com
Artist: Redman
Label: Gilla House
Contact: beats@gillahouse4fame.com
Artist: Mod Sun
Label: ?
Contact: beats@modsunmusic.com
Label: Maybach Music Group
Contact: Dawgfoodbeats2@gmail.com
Artist: Joey Badass
Label: Pro Era
Contact: proerainfo@gmail.com
Artist: Nipsey Hussle
Label: ?
Contact: victorylapbeats@gmail.com
Artist: Twista
Label: Get Money Gang/ EMI
Contact: Darkhorsetracks@gmail.com
Artist: Khloe Thomas
Label: Executive Dream Music/Universal Records
Contact: beats4kle5@gmail.com
Artist: Dumbfoundead
Label: Knocksteady
Contact: beatsfordfd@gmail.com
Monday, December 4, 2017
OVER 70 + TIPS... I Wish I knew before I started PRODUCING.......................... @SirHeistZone4
Here’s 70 + tips
I wish I knew when I started producing:
—
1. Trust your taste. In other words, don’t second guess yourself. Who are you doing this for anyway?
2. Stop crapping on popular music for your ego. You can learn from anything. In fact, it’s wise to learn from music that millions listen to.
3. Using loops doesn’t make you a “fake” artist. It’s the end product that counts. Look at the gaming industry. Do you know how many of them use Unity? Or Unreal? What matters is the game. What matters is the music.
4. Same goes with samples.
5. Having a beverage while you produce will make the process much more fluid. Arguably it’s the caffeine. Arguably it’s having something to reach for in between empty moments.
6. Get a nice pair of headphones or monitors ASAP. Frequency response is important. Bass is important.
7. Mixing is not mysterious judo. Go ahead and mix. Make bad mixes. Eventually, you’ll make good mixes.
8. Mastering is not mysterious judo. Go ahead and master. Make bad masters. Eventually, you’ll make good masters.
9. Buy a quality sample pack as soon as possible. Here are some quality packs incuding a free one.
10. Let music you don’t like or understand warm up to you. Chances are you’ll dig it once it’s familiar.
11. Repetition is important and minimalism is key but don’t use these as an excuse to ignore that last 20% of polish. Give your tracks that spit shine sheen.
12. No one cares until they do. Work on your craft and put it out.
13. If there’s no market for your work they may never care. Do you care?
14. If you don’t enjoy listening to your music you’re doing something wrong (or working for hire).
15. Start building a reliable way to connect with people who want your music. Email list is a good idea.
16. Free shouldn’t literally mean free. Give it out for a purpose. Facebook likes? SoundCloud followers? Email subscribers?
17. Think about where people will listen to your music. What is the setting? This should inform your production.
18. Think about what people will listen to your music. Who are they? This should inform your production.
19. Don’t resist learning music theory. Music theory is a map. You can navigate without it but it’s handy to have.
20. Don’t compare yourself too much to professional artists. Especially not early on.
21. DO aim for the quality of these pro artists. But again, do not let them stunt you.
22. You’ll reach a point where your music is actually on par with professionals and you’ll only recognize it looking back.
23. It doesn’t matter what DAW you use.
24. The final production is what matters — not how it’s made.
25. I repeat. The final production is what matters — not how it’s made.
26. Don’t ever make excuses with regards to tools. You can make amazing music with 100% free software. Remember that $400 you spent on synths that Deadmau5 was known to use? You’ll use those for about two songs.
27. New tools do provide opportunities for new directions. Spice up your production once in a while by acquiring a new plugin, sample pack, or instrument.
28. You know that guitar you’ve played for half your life? Stop pretending you don’t want to use it and get an interface. I recommend this one.
29. Invest in a solid microphone to go with that interface. I recommend this one.
30. There are four tiers of audio equipment.
Cheap
Solid enough for pro use. Consumer level pricing.
“Pro” which is marginally better than number 2.
Expensive.
Tier two is good enough. Ignore the rest. When you make a living off of music you can splurge.
31. Never get angry or upset at change. People who yell about the music industry crumbling or that streaming is taking over the world are exhibiting resistance. Accept the world for what it is and look for opportunities. The obstacle is the way.
32. Deadmau5 began his production journey around age 16. He exploded 14 years later. Mostly because of market conditions. Kaskade’s “active years” according to Wikipedia begin in 1989. Aim for the slow burn not overnight success.
33. Start building up a following now. Fan by fan. Never forget the power of one more fan. One more listener. One more email subscriber.
34. You don’t need a million twitter followers to be a success. All you need is one thousand true fans. This may not literally be one thousand.
35. Treat your music promotion like a boot-strapped blog. It’s surprisingly analogous.
36. Your side project of writing and your eventual day job as a game designer will provide incredible perspective on making art. This will inform your music. Vary yourself.
37. Compression is overrated.
38. EQ is overrated.
*Clarification: Compression and EQ are nothing more than hammers in your toolbox. Learn how to wield them. Use them to get the job done.
39. In fact, most technical aspects of production are overrated. Focus on the emotion and the energy. You’ll write a book about this.
40. If you’re sitting on unreleased music for two or more years consider licensing it. Sell the beats. Do something with it. Chances are you’ll just sit on them anyway.
41. Vocals are like cheat codes for engagement and interest in your track.
42. Provide value to others. In time, they’ll provide value to you.
43. The people I’ve seen have the most success do it by physically knowing and interacting the most. Playing the game online can work but it’s harder because the barrier of entry is lower — everyone is doing it, and it’s far less personal.
44. Ignore vanity metrics like “number of tracks” or “song length.” These have no bearing on the final quality of the song.
45. As Rolf Potts says in his book “Vagabonding” about world travel, “If in doubt about what to do in a place, just start walking.” Similarly, if you get stuck with a piece just start messing around. Eventually what you’re looking for will find you.
46. Break all the rules. On purpose. Make this a dedicated effort. You’ll learn why they exist and how malleable they really are.
47. Label and name your tracks and project files. It really really really helps when revisiting things. You still won’t do this even if I tell you to.
48. Never ever export a song and call it “final.” That’s a slippery slope.
49. Use [track name]_[purpose]_[date] where purpose is something like “mix” or “mastered” or “demo” or “forJuan.”
50. You appreciate production more during periods of your life when it’s your escape. I know you want to drop everything and produce but understand it will lose some allure. Opportunity cost is a fiend.
51. Your speakers can deteriorate overtime. This will cause you to remaster an album 8 times in the future. Trust your monitors yet be diligent that their time may come.
52. The real important difference between analog and digital equipment is the ability to play and touch analog. Not quality.
53. In the absence of analog equipment, get a MIDI keyboard with knobs, wheels, and faders if possible. At least knobs.
54. Your family genuinely enjoys listening to your music. Share it with them.
55. You know your friends genuinely enjoy your music if their play count is more than two.
56. If you want to make a big diversion or edit in your track do a “Save As” and name it “[track name]_[reason for edit].” Then feel free to make changes. You can always go back to the initial file.
57. Keep volume at a decent level. No reason to blow your head off.
58. Make sure you check your mixes when the track is loud and when the track is quiet.
59. When the track is quiet you should be able to hear the most important parts of your track clearly.
60. Mixing is 90% volume and 10% remembering it’s mostly volume.
61. Mastering is 90% volume and 10% fixing your mix.
62. Back up your music. Dropbox didn’t exist when you started so grab an external hard drive. Losing your work is awful.
63. Never let dollars impede your creative progress.
64. Producing on a laptop is less enjoyable than having a bigger screen. Get the iMac instead of the Macbook. Or, buy a display for your laptop. Regardless, you’ll use a 13-inch MacBook for awhile.
65. If you’ve spent more than 5 minutes adjusting a parameter you’ve lost objectivity. Set it and come back later. Preferably another day. Or after you’ve substantially disengaged from production.
66. You’re not gonna become famous by creating some crazy new synth patch. Each piece serves the whole.
67. You can’t force your voice. You’ll stumble and mimic your way to a point where your voice begins coming through. Let it. Be vulnerable. Trust your choices. Eventually it comes out.
68. There is a difference between a track you casually throw up on SoundCloud and something you’ve officially released. Put care and value into your releases. People respond to this.
69. Find someone to do visual design for you. Album covers, web design, logos, etc. — they’re all important for creating a holistic experience and meeting audience expectations. Most people don’t do this which means you should.
70. Always pay for visual art. If the person declines compensation buy them lunch. If they won’t take lunch yell at them.
71. Whenever you struggle or doubt yourself remember why you got into this in the first place. Making music is fun. If you’re struggling you’ve forgotten the fun.
72. Sometimes the fun isn’t there. Go do something else.
—– I hope y'all learned something.
If anything, you’ve learned that there’s a vast, unknown, and exciting world of music creation ahead of you. There’s tons to learn And let me tell you, it never gets old.
In the comments below, share what you wish you knew when you started producing.
Furthermore, if this kind of material excites or interests you, SHARE IT WITH YOUR PRODUCER FRIENDS !
Thanks Sincerely
SIR HEIST
Friday, December 1, 2017
#StudioTrappin 1: HOW TO SELL YOUR BEATS: The Importance of Going to the STUDIO !!
#StudioTrappin 1: HOW TO SELL YOUR BEATS: The Importance of Going to the STUDIO !!
Sir Heist - The 1st edition to my weekly vlog #StudioTrappin where I cover the importance of going to an ACTUAL Studio as a Producer !!
#StudioTrappin - WHAT IS THE ROLE OF A RECORD PRODUCER??
MUSIC PRODUCERS....
oversee all aspects of a recording session, from planning the sessions to the finished product. As a music producer, you'll be responsible for providing instruments, scheduling studio time and handling funding, costs and negotiations. You'll also work with and coach musicians.
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