How To Get Your FIRST Placement (With NO FOLLOWERS)

00:37:15
https://www.youtube.com/watch?v=mZkrKNgwHbw

Résumé

TLDRIn this video, the speaker outlines a step-by-step guide for music producers to secure their first major placement without any prior connections or followers. The video covers various strategies, including direct approaches like sending beats to artists and indirect methods such as networking with songwriters and utilizing social media. The importance of creating value, maintaining a professional online presence, and developing unique skills is emphasized. The speaker also discusses the significance of consistency in outreach efforts and provides insights into leveraging platforms like Discord for networking. Finally, the video promotes the Sonics Academy, a mentorship program for aspiring producers.

A retenir

  • 🎵 Directly send beats to artists and their teams.
  • 🤝 Collaborate with songwriters for better access to major artists.
  • 📱 Maintain a professional Instagram profile to attract industry connections.
  • 💡 Create value by offering unique skills or services.
  • 🌍 Network in person by attending events in major music cities.
  • 🔄 Use Discord for collaboration and networking with other producers.
  • 📈 Consistency is key in following up with industry contacts.
  • 🎨 Showcase your work through engaging content on social media.
  • 💰 Consider paid collaborations to incentivize producers.
  • 📊 Keep a spreadsheet of your connections and their needs.

Chronologie

  • 00:00:00 - 00:05:00

    The video introduces strategies for music producers to secure their first major placement without any prior connections or followers. The speaker promises to share effective methods and a step-by-step game plan based on their experiences over the past two years.

  • 00:05:00 - 00:10:00

    The first strategy discussed is direct approaches, such as sending beats directly to artists, managers, and songwriters. The speaker emphasizes the importance of building relationships and offering a percentage split to incentivize collaboration, which can lead to quicker responses and more opportunities.

  • 00:10:00 - 00:15:00

    Another effective method is sending beats or loops to songwriters, who often have connections with major artists. The speaker highlights the accessibility of songwriters compared to artists and suggests networking with them to increase chances of placements.

  • 00:15:00 - 00:20:00

    The speaker also recommends sending loops to industry producers and collaborating with loop makers. By connecting with loop makers, producers can gain access to opportunities without needing direct contact with the main artist's producer.

  • 00:20:00 - 00:25:00

    The importance of sending project files (FLPs) to industry producers is discussed, as it allows them to quickly create beats for specific artists. The speaker shares their success with this strategy, leading to unreleased records.

  • 00:25:00 - 00:30:00

    Networking in major cities and attending events is suggested as a way to deepen connections. The speaker emphasizes the value of face-to-face interactions and mentions their own events to facilitate networking among producers and artists.

  • 00:30:00 - 00:37:15

    The video concludes with a focus on creating value in networking, whether through free services, unique skills, or paid collaborations. The speaker shares examples of how providing value can lead to meaningful connections and opportunities in the music industry.

Afficher plus

Carte mentale

Vidéo Q&R

  • What are some direct approaches to getting placements?

    Direct approaches include sending beats to artists, managers, engineers, and A&Rs, and offering to split credits and profits.

  • How can I network with songwriters?

    Research and connect with songwriters who work with artists you admire, as they often have more access to major artists.

  • What is the importance of social media in getting placements?

    Social media helps in building a professional image, showcasing your work, and connecting with industry professionals.

  • How can I create value when reaching out to producers?

    Offer unique skills, collaborate on projects, or provide free services like graphic design or video editing.

  • What should my Instagram profile look like?

    Your Instagram should look professional, showcasing your work, achievements, and a clear bio to attract potential collaborators.

  • How can I find producers to work with?

    Use platforms like Genius to find producers associated with your favorite artists and follow them on social media.

  • What is the role of Discord in networking?

    Discord can be a great platform for connecting with other producers, sharing work, and collaborating.

  • How important is consistency in networking?

    Consistency is crucial; follow up with contacts regularly and maintain relationships to increase your chances of getting placements.

  • What is the Sonics Academy?

    The Sonics Academy is a mentorship program offering resources, masterclasses, and networking opportunities for aspiring producers.

  • What is the best way to follow up with industry contacts?

    Stay active on their social media, engage with their content, and reach out periodically to maintain the relationship.

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Défilement automatique:
  • 00:00:00
    Today, I'm going to teach you how to get
  • 00:00:01
    your first major placement as a producer
  • 00:00:03
    with no followers. First, I'm going to
  • 00:00:05
    go over every single effective way that
  • 00:00:07
    I know of to get placements. And if you
  • 00:00:09
    stick around in the end, I'm going to
  • 00:00:10
    bring all those strategies together and
  • 00:00:12
    give you the step-by-step game plan that
  • 00:00:14
    I would use to get my first major
  • 00:00:16
    placement if I was just starting out
  • 00:00:17
    with zero connections, no big following,
  • 00:00:19
    and nothing that would make it easier on
  • 00:00:21
    me to build my network. I did a video
  • 00:00:23
    similar to this in the past, and you
  • 00:00:24
    guys really liked it. So, I figured I
  • 00:00:26
    would update it with all the new stuff
  • 00:00:27
    that I've learned over the past 2 years.
  • 00:00:29
    But enough yapping. Let's dive right in.
  • 00:00:30
    First, let's go over all the ways that I
  • 00:00:32
    know of to get placements. The first few
  • 00:00:34
    strategies I'm going to talk about are
  • 00:00:35
    direct approaches. So, this is like you
  • 00:00:37
    send something to someone big in your
  • 00:00:39
    network who places it with a big artist,
  • 00:00:41
    that kind of thing. And later, I'll talk
  • 00:00:43
    about some indirect ways that you can
  • 00:00:44
    get placements, which is actually how I
  • 00:00:46
    get most of my placements. First one is
  • 00:00:48
    very obvious, but send directly to the
  • 00:00:50
    artist. Now, obviously this is the most
  • 00:00:52
    obvious thing. You just send or work
  • 00:00:54
    directly with the artist, but it's a lot
  • 00:00:55
    easier said than done. actually getting
  • 00:00:57
    a direct relationship with one of these
  • 00:00:59
    big artists that you would consider a
  • 00:01:00
    placement is not something that's super
  • 00:01:02
    easy to do. So, while this is definitely
  • 00:01:04
    one of the stronger ways that you can
  • 00:01:05
    get placements, it's probably not going
  • 00:01:07
    to happen, at least at first. So, what
  • 00:01:09
    you could do instead is send beats to
  • 00:01:11
    artists, managers, engineers, and ANRs,
  • 00:01:13
    or even just their homies. And the best
  • 00:01:15
    way that I think that you can use this
  • 00:01:17
    strategy is to offer to give them a
  • 00:01:19
    percentage. I'm going to go over how to
  • 00:01:21
    message people and all that later on in
  • 00:01:22
    the game plan part of the video, but
  • 00:01:24
    I've seen firsthand that whenever I have
  • 00:01:26
    connections with people like the
  • 00:01:28
    engineers, the ANRs, managers, or
  • 00:01:30
    whatever it is, if I have that
  • 00:01:32
    conversation with them where I'm like,
  • 00:01:33
    "Yo, anything you place with, let's say,
  • 00:01:35
    Lil Baby, me and you can split it equal
  • 00:01:37
    just like you co-produce the track. You
  • 00:01:39
    can get credit, equal splits with
  • 00:01:40
    everyone." As soon as I have that kind
  • 00:01:42
    of conversation with them, just like
  • 00:01:43
    that, they start responding to beats
  • 00:01:45
    quicker. They start giving me more
  • 00:01:46
    information like, "Yo, we need this kind
  • 00:01:48
    of thing, this kind of thing, blah blah
  • 00:01:49
    blah." because now I'm not just asking
  • 00:01:51
    them for a handout. Now we're a team
  • 00:01:53
    working together. They have stake in the
  • 00:01:54
    game, so they're motivated to go out
  • 00:01:56
    there and actually play something for me
  • 00:01:58
    cuz they're getting something out of it
  • 00:01:59
    if something happens. Another thing you
  • 00:02:01
    can do is send beats or even just loops
  • 00:02:03
    out to songwriters in the industry. I
  • 00:02:05
    didn't know this for a while when I
  • 00:02:06
    first got into the placement side of
  • 00:02:08
    things, but songwriters are actually
  • 00:02:09
    making a lot of the moves in the
  • 00:02:11
    industry. If you're locked in with the
  • 00:02:13
    right songwriter who knows a bunch of
  • 00:02:15
    these major artists, and you feed him
  • 00:02:16
    beats, he's going to write to all those
  • 00:02:18
    beats. pitch those songs to major
  • 00:02:20
    artists. And these songwriters are a lot
  • 00:02:22
    easier to get in touch with than the
  • 00:02:23
    actual main artist that you're trying to
  • 00:02:25
    get your work to. So do some research
  • 00:02:26
    and find out who's writing the records
  • 00:02:28
    for the artists that you like and try to
  • 00:02:30
    network with them so you can send loops
  • 00:02:31
    or beats. A lot of songwriters really
  • 00:02:33
    like just cutting to loops cuz then it
  • 00:02:35
    gives the artist and their team more
  • 00:02:36
    room to produce around it and make the
  • 00:02:38
    record feel like that artist record, not
  • 00:02:40
    a pre-made record. Another very obvious
  • 00:02:42
    one that everyone is doing right now is
  • 00:02:44
    sending out loops to big industry
  • 00:02:46
    producers. I feel like I don't really
  • 00:02:47
    need to explain this one that much. You
  • 00:02:48
    just send your melody loops out to big
  • 00:02:51
    producers who are working with big
  • 00:02:52
    artists. I've gotten a ton of placements
  • 00:02:54
    doing this and I feel like this is like
  • 00:02:56
    the standard way for a newer producer to
  • 00:02:58
    kind of get their foot in the door
  • 00:02:59
    getting records. Everyone talks about
  • 00:03:01
    how it's played out and all that, but I
  • 00:03:03
    feel like it's still worth doing. And
  • 00:03:04
    kind of piggybacking off of that,
  • 00:03:05
    another thing you can do is sending
  • 00:03:07
    starters out to people who are loop
  • 00:03:09
    makers inside the industry. So, not to
  • 00:03:11
    put anyone above someone else, but
  • 00:03:13
    generally how it goes in my experience
  • 00:03:15
    is typically the guy who's connected
  • 00:03:17
    directly to the artist uses loops and
  • 00:03:19
    does the drums and makes the finished
  • 00:03:21
    beat that he plays for the artist. That
  • 00:03:22
    guy is normally harder to get in contact
  • 00:03:24
    with. The loop guy who's his go-to loop
  • 00:03:27
    maker is not under him in some weird
  • 00:03:29
    way, but he's a little bit more
  • 00:03:30
    accessible. So, if you connect with the
  • 00:03:32
    loop maker who's sending to the artist's
  • 00:03:34
    producer and you guys collab on loops,
  • 00:03:35
    you can gain access to that connection
  • 00:03:37
    without having that direct connection to
  • 00:03:39
    that big producer yourself. I myself
  • 00:03:41
    have gotten a lot of records working
  • 00:03:43
    like this with people using my starters,
  • 00:03:45
    making new loops with them, and sending
  • 00:03:46
    them out to their opportunities. The
  • 00:03:48
    next thing you can do is send FLPS to
  • 00:03:50
    industry producers. So, if you're not on
  • 00:03:52
    FL like me, you're going to kind of miss
  • 00:03:53
    out on this a little bit, but you might
  • 00:03:55
    be able to work it with stems as well.
  • 00:03:57
    But essentially, one of the big big
  • 00:03:59
    things in the industry right now, at
  • 00:04:00
    least that I'm seeing with my
  • 00:04:02
    connections, is that people want project
  • 00:04:03
    files to work on. So, I want you to
  • 00:04:05
    picture that you are one of these big
  • 00:04:06
    industry producers, right? You're in the
  • 00:04:08
    room, you have a session in 2 hours with
  • 00:04:11
    Drake. All you make is trap beats and
  • 00:04:13
    all of a sudden you get a text, yo,
  • 00:04:14
    Drake wants to make a regatone record
  • 00:04:16
    tonight. What the [ __ ] are you going to
  • 00:04:17
    do? You could anr some of your homies
  • 00:04:19
    beats, but maybe you want to actually,
  • 00:04:20
    you know, have done something on the
  • 00:04:22
    beat. So what these people do is they're
  • 00:04:23
    going to text everyone in their phone
  • 00:04:24
    and be like, "Yo, I need regatone fops
  • 00:04:26
    right now." Blah blah blah. They get a
  • 00:04:28
    bunch of pretty much finished beats that
  • 00:04:30
    they can just go in, change a few
  • 00:04:31
    sounds, arrange it differently, pitch
  • 00:04:33
    the loop, make it their own a little
  • 00:04:35
    bit, and they have a full beat done in
  • 00:04:36
    maybe 5 10 minutes instead of having to
  • 00:04:38
    sit down for a whole hour and make
  • 00:04:39
    something from scratch. I don't have any
  • 00:04:41
    records released just yet using this
  • 00:04:43
    strategy, but I've actually been sending
  • 00:04:45
    out FLPS that my boys did drums on, my
  • 00:04:47
    loops, and I have a ton of unreleased
  • 00:04:49
    records in my phone right now from using
  • 00:04:51
    this strategy. Now, I kind of mentioned
  • 00:04:52
    this before, but another thing that has
  • 00:04:54
    been working especially well for me
  • 00:04:56
    recently is finding producers who are
  • 00:04:57
    willing to anr your beats in exchange
  • 00:05:00
    for equal splits. So, I know this is
  • 00:05:01
    kind of a debatable topic. If someone
  • 00:05:03
    makes that connection and makes a big
  • 00:05:05
    record happen, I feel like they're
  • 00:05:07
    entitled to getting some credit and
  • 00:05:08
    compensation for that. How much is all
  • 00:05:10
    up to negotiation, but I have been
  • 00:05:12
    getting records left and right by
  • 00:05:13
    sending to people who have bigger
  • 00:05:15
    connections with me, letting them slap
  • 00:05:16
    their name on my beat, and then
  • 00:05:18
    splitting it like they're just another
  • 00:05:19
    co-producer on the track. and I found
  • 00:05:21
    out that there's a lot more people than
  • 00:05:22
    you think who are willing to do stuff
  • 00:05:23
    like this. Next thing you could do is
  • 00:05:25
    travel to big cities like LA, Atlanta,
  • 00:05:27
    New York, etc. Now, I'll get into this a
  • 00:05:29
    little bit later in the game plan part
  • 00:05:30
    of the video, but you don't want to
  • 00:05:32
    start traveling when you have zero
  • 00:05:33
    connections. But once you've got a few
  • 00:05:35
    things going with different people in
  • 00:05:36
    different cities, going out there and
  • 00:05:38
    traveling can be a gamecher because when
  • 00:05:40
    you meet these people face to face, the
  • 00:05:41
    connection just becomes so much deeper.
  • 00:05:43
    Pause. Even if you're just meeting
  • 00:05:45
    people that you're already working with,
  • 00:05:46
    you're going to have a stronger
  • 00:05:47
    connection with them. And when you're
  • 00:05:49
    there, it's likely that they're also
  • 00:05:50
    going to have their connections there
  • 00:05:52
    and you're going to gain access to their
  • 00:05:53
    network. And speaking from experience,
  • 00:05:55
    when you're in person, you want to make
  • 00:05:56
    sure you talk to everyone. My mindset
  • 00:05:58
    personally is I go out there for a few
  • 00:06:00
    days at a time. I go and meet as many
  • 00:06:02
    people as I can and getting phone
  • 00:06:04
    numbers that I can use and get records
  • 00:06:06
    with for the next 10 years. So, I like
  • 00:06:07
    to go out there, shake hands, do all
  • 00:06:09
    that stuff, and then get back and start
  • 00:06:10
    sending to the people that I met during
  • 00:06:12
    that weekend or whatever it was. And if
  • 00:06:14
    you don't have a bunch of connections in
  • 00:06:15
    these cities already, but you want to
  • 00:06:17
    start traveling, one of the best things
  • 00:06:18
    that you can do is go to networking
  • 00:06:20
    events. Now, little shameless plug, I'm
  • 00:06:22
    running my own events. I'm actually
  • 00:06:23
    running one in Miami in June where I'm
  • 00:06:25
    having all the big producers I know out
  • 00:06:27
    in Miami. Come through to the house,
  • 00:06:28
    work with up andcoming producers and all
  • 00:06:30
    that kind of stuff. And I've seen
  • 00:06:31
    firsthand that these events are really,
  • 00:06:33
    really good. If you keep an eye out on
  • 00:06:35
    social media, you'll see that there's
  • 00:06:36
    actually a lot of people that are
  • 00:06:37
    running these little producer events or
  • 00:06:39
    songwriter camps or whatever it is. And
  • 00:06:41
    if you can get out to one of those,
  • 00:06:42
    you're going to get a ton of connections
  • 00:06:44
    in person, which is way better than just
  • 00:06:45
    a DM. But anyways, if you can't travel,
  • 00:06:47
    one of the things that you could do to
  • 00:06:49
    stand out when you're networking with
  • 00:06:50
    these big people online is create value.
  • 00:06:52
    And I know everyone always talks about
  • 00:06:54
    create value. But I'm going to give you
  • 00:06:55
    two examples today, and they're both
  • 00:06:57
    stuff I've talked about before. My boy
  • 00:06:58
    Nick Dean wanted to work with Boy Wanda.
  • 00:07:00
    And obviously Boy is a huge producer
  • 00:07:03
    that is very out of reach. So what he
  • 00:07:05
    did is he knew that Boy Wanda was into
  • 00:07:07
    fashion and he hit him up and got a
  • 00:07:09
    custom Louis Vuitton jacket made for him
  • 00:07:11
    and shipped it to him completely for
  • 00:07:13
    free. And now they have a working
  • 00:07:14
    relationship and that may lead to some
  • 00:07:16
    crazy placements in the future. Another
  • 00:07:18
    thing that's a little bit less crazy is
  • 00:07:20
    my boy Zippy Tano who actually got his
  • 00:07:22
    multi-platinum hit Rags to Riches by Rod
  • 00:07:24
    Wave and Lil Baby by making cover arts.
  • 00:07:26
    I remember back in the day he was
  • 00:07:28
    hustling that he was hitting up everyone
  • 00:07:30
    that I knew who was dropping their own
  • 00:07:31
    loop kits, every big producer and being
  • 00:07:33
    like, "Yo, I'll do your artwork for
  • 00:07:35
    free." And in exchange, he ended up
  • 00:07:37
    getting a bunch of connections cuz he's
  • 00:07:38
    working with these people, not on music,
  • 00:07:40
    but he's giving something completely
  • 00:07:42
    free to them. And in return, they kind
  • 00:07:43
    of felt a little bit indebted to him. So
  • 00:07:45
    then they start working on music and now
  • 00:07:47
    he's got his foot in the door in the
  • 00:07:48
    industry from making kit cover arts for
  • 00:07:50
    free. And another thing you can do to
  • 00:07:52
    create value, which is very
  • 00:07:53
    controversial, is pay for collabs. Cold
  • 00:07:55
    hard cash is always motivating for
  • 00:07:57
    people. And me personally, I would never
  • 00:07:58
    sell collabs. It doesn't really sit
  • 00:08:00
    right with me. However, I don't think
  • 00:08:02
    there's necessarily something wrong with
  • 00:08:04
    it if people are telling the truth that
  • 00:08:06
    they're actually going to, you know,
  • 00:08:07
    send these beats out and work with you
  • 00:08:09
    and all that kind of stuff. I will say
  • 00:08:11
    it's risky cuz you don't know these
  • 00:08:13
    people, but I actually know of someone
  • 00:08:15
    who's gotten a little baby placement
  • 00:08:16
    because they paid a bigger producer and
  • 00:08:18
    then they ended up just working non-stop
  • 00:08:20
    and then he ended up getting his first
  • 00:08:21
    placement with Lil Baby. So, this stuff
  • 00:08:23
    can work. Now, the next one that I want
  • 00:08:25
    to talk about is something that I really
  • 00:08:26
    don't see people taking advantage of.
  • 00:08:28
    Getting loops or starters from loop
  • 00:08:29
    makers and sending them back collabs.
  • 00:08:31
    And over the past few years, a lot of
  • 00:08:33
    the loop makers that I know who are
  • 00:08:35
    normally super reliant on some big
  • 00:08:37
    producer using their loop to get a
  • 00:08:38
    placement are starting to get
  • 00:08:40
    opportunities themselves and starting to
  • 00:08:41
    become that guy who can actually connect
  • 00:08:43
    dots regardless if there's a bigger
  • 00:08:44
    producer involved or not. So, if you hit
  • 00:08:46
    up some of these loot makers that you
  • 00:08:47
    see having motion and getting placements
  • 00:08:49
    and you ask them for a dropbox of all
  • 00:08:51
    their stuff so that you can send them
  • 00:08:52
    back collabs, you're going to be
  • 00:08:53
    providing them value because they're
  • 00:08:54
    getting more stuff to send out without
  • 00:08:56
    having to lift a finger other than
  • 00:08:57
    sending a link once to you. And speaking
  • 00:08:59
    of sending back collabs to me
  • 00:09:00
    personally, one of the best ways to get
  • 00:09:03
    placements right now is inside the
  • 00:09:04
    Sonic's Discord, which is 100% free.
  • 00:09:07
    We've gotten records with 21 Savage,
  • 00:09:08
    Chris Brown, over four records with
  • 00:09:10
    Suicide Boys, and countless unreleased
  • 00:09:12
    that I can't speak on, all from my free
  • 00:09:14
    Discord server. So essentially the way
  • 00:09:16
    it works, I send my loops out in the
  • 00:09:17
    Discord server and all the producers in
  • 00:09:19
    there flip them into different ideas,
  • 00:09:21
    different loops, flip them into full
  • 00:09:23
    beats and I send the best ones out to
  • 00:09:25
    all the opportunities that I have for
  • 00:09:27
    sending out beats or loops and we've
  • 00:09:28
    ended up getting a lot of records this
  • 00:09:30
    way. So definitely check that out. But
  • 00:09:31
    aside from my Discord, Discord is
  • 00:09:33
    actually a very very slept on platform
  • 00:09:35
    for getting placements. It's easier to
  • 00:09:37
    get access to these big people who have
  • 00:09:39
    their Discord servers in Discord
  • 00:09:40
    compared to a DM. But I'll get more into
  • 00:09:42
    the Discord [ __ ] later. For now, I want
  • 00:09:44
    to get into the indirect ways that you
  • 00:09:46
    can get placements. And most of these
  • 00:09:47
    are amazing because you can build your
  • 00:09:49
    own brand and maybe even make some money
  • 00:09:51
    outside of the placements that you're
  • 00:09:53
    going to get. So, this right here is
  • 00:09:54
    kind of my bread and butter. The first
  • 00:09:56
    thing being posting kits. So, personally
  • 00:09:58
    for me, one of my main focuses are my
  • 00:10:00
    sample packs that I sell because it's
  • 00:10:01
    one of the biggest income sources that I
  • 00:10:03
    have. But what I didn't realize when I
  • 00:10:05
    started selling sample packs is that I
  • 00:10:07
    would end up getting a ton of placements
  • 00:10:09
    from my sample packs. So, my sample
  • 00:10:10
    packs are not 100% royalty-free like
  • 00:10:13
    some other sample websites. So, if
  • 00:10:14
    someone buys my sample pack and gets a
  • 00:10:16
    placement with Drake, I'm also getting a
  • 00:10:18
    placement with Drake. And the best part
  • 00:10:20
    about it is I'm also getting paid the
  • 00:10:22
    upfront revenue for someone buying my
  • 00:10:24
    product. But if you don't care about the
  • 00:10:25
    online money at all, and this may
  • 00:10:27
    surprise some people, I would say right
  • 00:10:28
    now about 60 70% of my records come from
  • 00:10:31
    people using my kits. So, one other note
  • 00:10:33
    is if you don't care about the online
  • 00:10:35
    money at all, you're not trying to build
  • 00:10:36
    an online business, you really only care
  • 00:10:37
    about getting records, I would recommend
  • 00:10:39
    putting out your kits for free to really
  • 00:10:41
    just exponentially get more people to
  • 00:10:43
    use them. So, you're not going to get
  • 00:10:44
    that money upfront, but you're going to
  • 00:10:45
    get more people to download your stuff.
  • 00:10:47
    Your stuff will be in more hard drives,
  • 00:10:49
    in more laptops, and by extension
  • 00:10:51
    reaching more people's networks, which
  • 00:10:52
    will just increase the chances that you
  • 00:10:54
    can get a placement. I haven't tried
  • 00:10:55
    this myself, but maybe even posting your
  • 00:10:57
    kits on Reddit could be a good move if
  • 00:10:59
    you don't have a huge platform yourself.
  • 00:11:01
    Little side note, I've actually gotten
  • 00:11:02
    placements from people pirating my kits
  • 00:11:04
    off of Reddit. So, this stuff can work.
  • 00:11:06
    And in the process of building my sample
  • 00:11:08
    pack business, running ads to kind of,
  • 00:11:10
    you know, drive sales and all that
  • 00:11:12
    stuff. I actually caught the attention
  • 00:11:13
    of TM88. Found me from an Instagram ad
  • 00:11:15
    from one of my sample packs and DM' me
  • 00:11:17
    saying my loops are fire. He wanted to
  • 00:11:19
    work, whatever it was. I sent him loops
  • 00:11:21
    for like a year or so with no response.
  • 00:11:22
    Then I ended up getting a future and
  • 00:11:24
    scissor record. So, while you could
  • 00:11:26
    argue it was more of like a direct
  • 00:11:27
    approach I sent to TM88, you could also
  • 00:11:30
    think of it as kind of a result of that
  • 00:11:32
    indirect building my brand, pushing my
  • 00:11:34
    stuff out there as much as I could
  • 00:11:36
    because he wouldn't have found me in the
  • 00:11:37
    first place if I wasn't posting my kits
  • 00:11:39
    or if I wasn't putting money behind ads
  • 00:11:41
    to push them in front of new people's
  • 00:11:42
    eyes. And kind of going off of getting
  • 00:11:44
    new people's eyes on stuff, another
  • 00:11:46
    great way to get placements is with
  • 00:11:47
    content. And I actually have a few
  • 00:11:49
    examples of this working. So, the first
  • 00:11:50
    one is my boy Baragani who really popped
  • 00:11:53
    off on Instagram making these like NBA
  • 00:11:55
    Young Boy type beat reels where he was
  • 00:11:57
    just playing some crazy NBA Young Boy
  • 00:11:59
    type beat. Said that this beat will put
  • 00:12:00
    NBA Young Boy back in jail or something
  • 00:12:02
    like that. And he started getting
  • 00:12:04
    millions of views on this. And because
  • 00:12:05
    of that, he ended up getting in contact
  • 00:12:07
    with people who work with NBA Young Boy
  • 00:12:08
    and actually getting a NBA Young Boy
  • 00:12:10
    placement after making reels of his
  • 00:12:12
    beats that he wanted to get to NBA Young
  • 00:12:14
    Boy, which is just kind of crazy. Even
  • 00:12:15
    for myself without getting millions of
  • 00:12:17
    views, every time I post some kind of
  • 00:12:19
    content or some kind of reel, I normally
  • 00:12:21
    get hit up by either a big producer, an
  • 00:12:23
    artist, a manager, whatever it is, who
  • 00:12:25
    follows me, who sees that reel and is
  • 00:12:26
    like, "Damn, that's crazy. Send that."
  • 00:12:28
    So, making content, not even for the
  • 00:12:30
    purpose of just blowing up and becoming
  • 00:12:32
    some huge influencer, but just to remind
  • 00:12:33
    the people who already know who you are,
  • 00:12:35
    who already follow you, that you exist
  • 00:12:37
    and that you're working can go a long
  • 00:12:38
    way to just get people to hit you up
  • 00:12:40
    directly to send stuff for their
  • 00:12:42
    opportunities. And one more example with
  • 00:12:43
    content that I think is crazy is I
  • 00:12:46
    posted a tutorial on how to make Drake
  • 00:12:48
    R&B loops on my channel. And in that
  • 00:12:50
    video, I put a link in the description
  • 00:12:51
    to download the loop that I made for
  • 00:12:53
    free. And I ended up getting a placement
  • 00:12:55
    on that loop with Lil TJ, which is
  • 00:12:57
    actually unreleased right now. But by
  • 00:12:58
    putting my stuff out there, someone
  • 00:13:00
    grabbed that loop and ended up placing
  • 00:13:01
    it with a huge artist, which is just
  • 00:13:03
    crazy to me. Now, this next one you
  • 00:13:05
    could argue is content as well, but it's
  • 00:13:06
    posting to your story. I've actually
  • 00:13:08
    heard a lot of stories of people who
  • 00:13:09
    have seen success from just mentioning
  • 00:13:11
    people in their stories. For example, my
  • 00:13:13
    boy AO Sim used to post on his story is
  • 00:13:15
    like future ATL Jacob type melodies or
  • 00:13:18
    beats and tag ATL Jacob and Future in
  • 00:13:20
    his stories. And after doing it for a
  • 00:13:22
    while, he actually caught the attention
  • 00:13:23
    of ATL Jacob. ATL Jacob hit him up and
  • 00:13:25
    then they ended up locking in doing
  • 00:13:27
    songs with Lil Baby together, Future, G
  • 00:13:29
    Herbo essentially off of a story post.
  • 00:13:31
    And my other boy, Figures Made It,
  • 00:13:33
    actually ended up working with Money Man
  • 00:13:34
    this same way by posting stuff on his
  • 00:13:36
    story and tagging Money Man. Money Man
  • 00:13:38
    eventually saw it, hit him up, and now
  • 00:13:39
    they worked super super closely and
  • 00:13:41
    direct. So, if you're going to post your
  • 00:13:43
    beats on your stories anyways, you might
  • 00:13:44
    as well tag someone. Just shoot your
  • 00:13:46
    shots cuz you never know. All right,
  • 00:13:47
    this next thing is super indirect, but
  • 00:13:49
    kind of going off of that content and
  • 00:13:51
    social media stuff. Just being active on
  • 00:13:53
    Instagram with the people that you want
  • 00:13:54
    to work with could be a gamecher to
  • 00:13:56
    networking with them in the future. If
  • 00:13:58
    I'm posting all the time and every
  • 00:14:00
    single time I post, I see a comment from
  • 00:14:02
    Billy Bob, let's call him, every single
  • 00:14:04
    time, I'm going to start to recognize
  • 00:14:06
    that guy's name. If he's always replying
  • 00:14:08
    to my stories, if I post some funny
  • 00:14:09
    [ __ ] he says some funny [ __ ] back.
  • 00:14:11
    Whenever they go live on Instagram, join
  • 00:14:13
    their live, start talking to them on
  • 00:14:14
    their live, acting just like a normal
  • 00:14:15
    human, like a sociable person. All that
  • 00:14:18
    kind of stuff can add up. So far in this
  • 00:14:19
    video, I've talked a lot about
  • 00:14:20
    networking with people who are like way
  • 00:14:22
    above your level to try to get
  • 00:14:24
    placements. But I think one of the most
  • 00:14:25
    important things that you can do long
  • 00:14:27
    term, and this is why I put it in
  • 00:14:28
    indirect, is to network with people who
  • 00:14:30
    are on your level, just a little bit
  • 00:14:32
    above where you're at. I know I was
  • 00:14:34
    talking about my Discord server earlier,
  • 00:14:35
    but I'm seeing a bunch of those people
  • 00:14:37
    in my Sonic's Discord server who started
  • 00:14:39
    with virtually no connections, no
  • 00:14:41
    placements or anything like that, who
  • 00:14:43
    are now working very very closely with
  • 00:14:45
    each other. And now every once in a
  • 00:14:46
    while, one of them starts getting
  • 00:14:48
    placement, starts getting a bunch of big
  • 00:14:49
    connections. And now that group of
  • 00:14:51
    friends who are all working very very
  • 00:14:53
    closely together are getting access to
  • 00:14:54
    all of each other's opportunities.
  • 00:14:56
    They're growing together. And although
  • 00:14:58
    it's a little bit of a different
  • 00:14:59
    context, if I think about myself, I had
  • 00:15:01
    a little Discord group that I worked
  • 00:15:03
    with. Everyone who didn't quit ended up
  • 00:15:05
    blowing up in some way or another.
  • 00:15:06
    Placements, online game, content,
  • 00:15:08
    whatever it is, everyone who kept
  • 00:15:10
    working ended up doing something.
  • 00:15:11
    Another indirect thing that you can do
  • 00:15:12
    to get placements is to develop some
  • 00:15:14
    kind of special sound, skill, or talent
  • 00:15:17
    that sets you apart. One example is my
  • 00:15:19
    boy Elliot who came to my Atlanta
  • 00:15:21
    producer camp. Elliot is crazy on the
  • 00:15:23
    guitar. He essentially lives with that
  • 00:15:25
    thing. He walks around with his guitar
  • 00:15:26
    everywhere he goes. And whenever he was
  • 00:15:28
    at the producer camp, he was able to
  • 00:15:30
    lock in with pretty much every big guy
  • 00:15:32
    that came through and create a really
  • 00:15:34
    good connection with them because he had
  • 00:15:35
    a unique talent compared to everyone
  • 00:15:37
    else. And that's not to shame everyone
  • 00:15:39
    else, right? But he had something that
  • 00:15:40
    just made him stick out. He's the guitar
  • 00:15:42
    guy. And another example is my boy Gabe
  • 00:15:44
    Lucas who does crazy vocals and he
  • 00:15:46
    started getting so many placements off
  • 00:15:48
    of people using his vocal samples from
  • 00:15:50
    being on websites like waves.com.
  • 00:15:52
    Probably a lot of people just sending
  • 00:15:54
    his vocals out to their homeboys and
  • 00:15:56
    stuff like that. He had something unique
  • 00:15:58
    that made him stand out compared to
  • 00:15:59
    every other loop maker. And if you go
  • 00:16:01
    and listen to all of them, they all have
  • 00:16:03
    that specific sound of his vocals in
  • 00:16:05
    them. Overall, a lot of his indirect
  • 00:16:07
    advice is just the more laptops your
  • 00:16:09
    stuff is in, the better. And a little
  • 00:16:10
    side note, I've actually gotten
  • 00:16:12
    placements from other sample pack
  • 00:16:14
    companies illegally selling my samples
  • 00:16:16
    as their own. People buying it from
  • 00:16:17
    those bigger sample pack companies and
  • 00:16:19
    then they end up getting it placed.
  • 00:16:20
    Moral of the story, if your [ __ ] is
  • 00:16:22
    amazing and it's everywhere, it's pretty
  • 00:16:24
    much inevitable that you're going to get
  • 00:16:25
    some placements sooner or later. And I
  • 00:16:27
    found that the best way to do that, the
  • 00:16:28
    best way to get in as many laptops as
  • 00:16:30
    possible, the best way to maximize your
  • 00:16:32
    chances is to leverage every single idea
  • 00:16:34
    you make. Let me give you a quick
  • 00:16:36
    rundown. If I sit down and I make a beat
  • 00:16:37
    completely from scratch that has a
  • 00:16:39
    melody I made, drums and all that, most
  • 00:16:41
    producers would probably just export
  • 00:16:42
    that beat and then try to work their
  • 00:16:44
    move with that beat type beats, whatever
  • 00:16:46
    it is. But you could do so much more.
  • 00:16:47
    The first and easiest thing you could do
  • 00:16:48
    is just mute all the drums and export
  • 00:16:51
    the melody alone as a loop. And now you
  • 00:16:52
    can send that out to people who make
  • 00:16:54
    drums. And you could also export that
  • 00:16:55
    FLP and send it out to people like I was
  • 00:16:58
    talking about earlier. Then you can
  • 00:16:59
    export the cool stems of that melody as
  • 00:17:02
    starters or phrases that you can send to
  • 00:17:04
    loop makers for them to make new loops
  • 00:17:06
    out of. Then you could export the MIDI,
  • 00:17:07
    the core progression, all this stuff.
  • 00:17:09
    Send those out to people, put those in
  • 00:17:10
    sample packs, post those sample packs
  • 00:17:12
    for free or sell them, whatever it is,
  • 00:17:14
    put them on Reddit, just get as many
  • 00:17:16
    eyeballs on as many different things as
  • 00:17:18
    you can. And I actually did a full
  • 00:17:20
    1-hour master class where I just talked
  • 00:17:22
    about how I export every single little
  • 00:17:24
    thing out of my beats to get the most
  • 00:17:26
    value for the amount of time that I put
  • 00:17:28
    in work actually making music. And that
  • 00:17:30
    master class is inside my Sonics Academy
  • 00:17:32
    mentorship program. So, real quick
  • 00:17:33
    before I give you guys the game plan of
  • 00:17:35
    how I would start with zero followers to
  • 00:17:37
    get my first major placement. Let me
  • 00:17:38
    talk to you about the Sonics Academy.
  • 00:17:40
    The Sonics Academy is essentially a
  • 00:17:41
    group mentorship program that I've been
  • 00:17:43
    running for about a year now. And inside
  • 00:17:44
    of here, I do two weekly group calls
  • 00:17:46
    where I give master classes on super
  • 00:17:48
    specific stuff that I don't really go
  • 00:17:50
    over on YouTube just because I don't
  • 00:17:52
    have the time. So, in there, I've done
  • 00:17:53
    multiple in-depth networking master
  • 00:17:55
    classes. There's a whole course on how
  • 00:17:57
    to get your first major placement. If
  • 00:17:58
    you use the code placement at checkout,
  • 00:18:00
    you can get 40% off your first month.
  • 00:18:02
    I'll have that be the first link in the
  • 00:18:04
    description down below. So, if you want
  • 00:18:05
    some help from me on how to get your
  • 00:18:06
    first major placement, how to make money
  • 00:18:08
    while you're waiting for that placement
  • 00:18:09
    to come in, make sure to check out the
  • 00:18:10
    Sonics Academy. Again, it'll be that
  • 00:18:12
    first link in the description. Anyways,
  • 00:18:13
    let's get into the four-step game plan
  • 00:18:14
    on how to get your first placement, even
  • 00:18:16
    if you have zero followers to start. All
  • 00:18:17
    right, step one of the game plan is to
  • 00:18:19
    make your Instagram look good. I'm going
  • 00:18:21
    to just keep it a buck. You're not going
  • 00:18:22
    to get [ __ ] done networking if your
  • 00:18:24
    Instagram page looks like a [ __ ] bot.
  • 00:18:26
    First off, I want to show you some bad
  • 00:18:27
    examples of Instagram profiles for
  • 00:18:29
    producers. So, I just looked up Type
  • 00:18:31
    Beats right here on the explore page,
  • 00:18:32
    and you could see there are so many just
  • 00:18:34
    black screen recordings. I mean, that's
  • 00:18:36
    like the stereotypical bad thing to
  • 00:18:38
    post. Maybe even beat visualizers with
  • 00:18:40
    the artist, stuff like that. at beats
  • 00:18:42
    for sale, blah blah blah, all this
  • 00:18:43
    stuff. You do not want to have these
  • 00:18:45
    kind of posts on your page. If your goal
  • 00:18:47
    is to network with people, you need to
  • 00:18:49
    think of your Instagram profile as your
  • 00:18:50
    resume. If you submitted a job resume
  • 00:18:52
    that looked absolutely terrible, like
  • 00:18:54
    you had drawn it with crayons or
  • 00:18:56
    something like that, people aren't going
  • 00:18:57
    to take you seriously. But if you look
  • 00:18:58
    at my boy Fly Dutch guy, who's actually
  • 00:19:00
    came to a few of my camps, his profile
  • 00:19:02
    is a great example of what I would say a
  • 00:19:04
    good profile. Right off the bat, I see a
  • 00:19:06
    picture of him, so I know what he looks
  • 00:19:08
    like. Then I can see that he's got a
  • 00:19:09
    cover art of something that he's worked
  • 00:19:11
    on. So even if this is not the biggest
  • 00:19:13
    artist in the world, like a Drake or
  • 00:19:15
    someone like that. You can see that he
  • 00:19:17
    has some songs out. There's a cover art.
  • 00:19:18
    So his stuff is good enough for artists
  • 00:19:20
    to use it. He's got nice pictures on his
  • 00:19:22
    Instagram. You could tell that he looks
  • 00:19:24
    like a cool, chill guy that like very
  • 00:19:26
    clearly makes music. You can see since
  • 00:19:28
    in a bunch of his posts, plaques, and if
  • 00:19:30
    I click on this, I can listen and hear
  • 00:19:32
    what his beats sound like. So, if I see
  • 00:19:34
    a guy like this DM me and he also has a
  • 00:19:36
    bunch of mutual followers, which is
  • 00:19:37
    something very important, right? A bunch
  • 00:19:39
    of people that I follow follow him as
  • 00:19:40
    well, I am way more inclined to work
  • 00:19:42
    with this guy. So, right now, I want you
  • 00:19:44
    to go through and delete any bad posts
  • 00:19:46
    that you have on your Instagram. Delete
  • 00:19:47
    any pictures of rappers, Pinterest
  • 00:19:50
    photos, tight beat visualizers, straight
  • 00:19:52
    black screen recordings, anything like
  • 00:19:54
    that, you want to get rid of them. For
  • 00:19:55
    your bio, you want to have a minimal
  • 00:19:56
    bio, but if you do have any
  • 00:19:58
    achievements, I would list those out.
  • 00:19:59
    But if you don't have any real
  • 00:20:01
    achievements that are notable, I would
  • 00:20:03
    just put something like music producer
  • 00:20:04
    sample maker if you have some stupid
  • 00:20:06
    catchphrase or like thing with your
  • 00:20:07
    brand. But if you do have something
  • 00:20:09
    actually notable that would make someone
  • 00:20:11
    want to work with you, I would
  • 00:20:12
    definitely put that there cuz it could
  • 00:20:13
    definitely increase your chances
  • 00:20:14
    whenever you're networking with people.
  • 00:20:15
    Now, let's assume you've got a nice
  • 00:20:17
    minimal bio. You've deleted all the butt
  • 00:20:19
    ugly unprofessional posts on your page.
  • 00:20:21
    One thing you want to do is get a
  • 00:20:22
    profile picture of yourself or at least
  • 00:20:24
    like you in a studio or something. And
  • 00:20:26
    then you also want to get at least one
  • 00:20:28
    but probably more good pictures of
  • 00:20:29
    yourself. Whether that's you working in
  • 00:20:31
    your home studio doing something cool or
  • 00:20:33
    just like someone snap a nice picture of
  • 00:20:34
    you in a cool fit, whatever it is, it's
  • 00:20:36
    definitely good if you could see some
  • 00:20:38
    pictures of you like in a studio so that
  • 00:20:40
    your page looks like you're a music
  • 00:20:42
    producer. So once you have some pictures
  • 00:20:43
    of yourself, one thing that you could do
  • 00:20:44
    if you want to post like some slideshows
  • 00:20:47
    of your beats that you've been working
  • 00:20:48
    on, just don't have the first thing be
  • 00:20:50
    one of those black screen recordings.
  • 00:20:51
    have that as like the second post and
  • 00:20:53
    the first post be a picture of you. So
  • 00:20:55
    you can still show off your work, but
  • 00:20:56
    you don't look like such a bot whenever
  • 00:20:58
    someone clicks on your page. The next
  • 00:20:59
    thing that I would post if you can is
  • 00:21:01
    cover arts of songs that you've worked
  • 00:21:02
    on. Just so people see that you are
  • 00:21:04
    working, there are songs out on your
  • 00:21:06
    stuff. Even if it's not huge artists
  • 00:21:07
    that they know of, it'll look better
  • 00:21:09
    than nothing. The next thing you want to
  • 00:21:10
    do is make sure that you show your work
  • 00:21:11
    in your feed. You want to kind of post
  • 00:21:13
    stuff like these reels right here. For
  • 00:21:14
    example, my boy Kyrie right here, right?
  • 00:21:16
    If you go to his reels, he's just got
  • 00:21:18
    these very simple reels where you can
  • 00:21:20
    see without a shadow of a doubt he makes
  • 00:21:22
    music. I click on this, I might listen
  • 00:21:24
    to this and be like, "Damn, what the
  • 00:21:25
    [ __ ] This is crazy." And then I might
  • 00:21:27
    go back to his DM and be like, "Yeah,
  • 00:21:28
    you know what? Your stuff's hard. Let's
  • 00:21:30
    work." Whereas, if it was just a bunch
  • 00:21:31
    of black screen recordings, like 50
  • 00:21:33
    black screen recordings, I might just be
  • 00:21:35
    like, "Yeah, I'm not trying to listen to
  • 00:21:36
    this." You know what I mean? So having
  • 00:21:38
    something like this, not for the purpose
  • 00:21:39
    of blowing up and getting millions of
  • 00:21:41
    views, but just to have it in your main
  • 00:21:43
    feed so people can tell that you make
  • 00:21:45
    music. So, if he had a picture of
  • 00:21:46
    himself here and then maybe another one
  • 00:21:48
    of these pinned or something, I feel
  • 00:21:49
    like his profile would look super good
  • 00:21:51
    for networking. And showing off your
  • 00:21:52
    work could be reals or it could even
  • 00:21:54
    just be sample packs. Like, let's say
  • 00:21:55
    you have no like literally no
  • 00:21:57
    placements, no songs released. You could
  • 00:21:58
    make a dope cover art yourself of a
  • 00:22:00
    sample pack and post that as your work
  • 00:22:02
    and that could show that you're doing
  • 00:22:04
    some cool stuff. And little side note,
  • 00:22:05
    my goal for 2024 was to get 52
  • 00:22:07
    placements. So, essentially a placement
  • 00:22:09
    every week. And I actually went way over
  • 00:22:11
    that goal. And the only strategy I had
  • 00:22:13
    in mind for that was to put more sample
  • 00:22:15
    packs out. Just to kind of give you guys
  • 00:22:16
    a testament to putting out sample packs
  • 00:22:18
    does work to get placements if your
  • 00:22:19
    stuff is very very good and a lot of
  • 00:22:21
    people are using it. But I would say if
  • 00:22:23
    you're grinding content, posting a bunch
  • 00:22:25
    of reels, showing your work, I would
  • 00:22:26
    definitely move any of those like
  • 00:22:28
    content grind reels to your reels tab
  • 00:22:31
    and don't have it in your main feed.
  • 00:22:32
    They just don't look professional on
  • 00:22:33
    like the main feed, right? So I think a
  • 00:22:35
    great example of this is my boy Cloud
  • 00:22:38
    where if you look at his main feed,
  • 00:22:40
    right? You see what he looks like. You
  • 00:22:41
    see that he's working on songs. He's got
  • 00:22:43
    a nice little vibe and like look to how
  • 00:22:45
    his page is. But if you click right
  • 00:22:47
    here, you can see all of his reels,
  • 00:22:49
    right? Where he's like showing off beats
  • 00:22:51
    that he's doing or like doing some
  • 00:22:52
    stupid dance while he's listening to a
  • 00:22:54
    beat or whatever it is. So once you have
  • 00:22:55
    your profile looking good, I would work
  • 00:22:57
    on getting some followers, even
  • 00:22:58
    something like 100 followers, whether
  • 00:23:00
    that's following a bunch of producers to
  • 00:23:01
    get people to follow you back, joining
  • 00:23:03
    Discords, and just talking with people,
  • 00:23:05
    making friends with people in there and
  • 00:23:06
    asking them to follow you on Instagram
  • 00:23:07
    or like, "Oh, yo, what's your
  • 00:23:08
    Instagram?" And then another thing,
  • 00:23:10
    maybe even more important than the
  • 00:23:11
    number of followers is the mutual
  • 00:23:12
    followers. If I click on someone's
  • 00:23:14
    profile and I see followed by Drake,
  • 00:23:16
    Travis Scott, if that person DMs me, you
  • 00:23:18
    bet your ass I'm going to respond to
  • 00:23:20
    them. And I actually have an example of
  • 00:23:21
    this. My boy Veil doesn't have a huge
  • 00:23:23
    following on Instagram. And recently,
  • 00:23:24
    he's been networking and working with a
  • 00:23:26
    ton of huge producers, people who have
  • 00:23:28
    worked with Drake, Jack Harlo, Travis
  • 00:23:30
    Scott, Don Toiver, etc., etc. And now
  • 00:23:32
    he's got opportunities with these
  • 00:23:33
    people. And he's told me himself that a
  • 00:23:35
    lot of that success with reaching out to
  • 00:23:37
    those people he thinks is due to his
  • 00:23:38
    mutual followers. Because when people
  • 00:23:40
    click on his page, they see that people
  • 00:23:42
    like me, Max Shooter, and a bunch of
  • 00:23:44
    other big industry people follow him.
  • 00:23:45
    Even if he doesn't have a huge following
  • 00:23:47
    or placements to his name himself, the
  • 00:23:49
    people who are following him kind of
  • 00:23:51
    speak volumes. So, if you take care of
  • 00:23:52
    all that stuff, your Instagram is going
  • 00:23:54
    to be looking a lot better, and you're
  • 00:23:55
    going to have a lot easier time
  • 00:23:57
    networking and DMing these people. Which
  • 00:23:59
    brings me to step two of getting your
  • 00:24:01
    first major placement. develop your
  • 00:24:02
    skill and work with people at your own
  • 00:24:04
    level. None of this stuff matters if
  • 00:24:05
    your music is ass. So, if your music is
  • 00:24:08
    mid, I would not move forward to trying
  • 00:24:10
    to network with huge guys, but I would
  • 00:24:11
    move forward to network with people who
  • 00:24:13
    are at the same or similar level to you.
  • 00:24:15
    Having a group of people who can give
  • 00:24:17
    feedback to each other and be super
  • 00:24:19
    helpful to get you improving with your
  • 00:24:20
    music faster. And like I mentioned
  • 00:24:22
    earlier, I think Discord is a great
  • 00:24:24
    place to go if you want to start
  • 00:24:25
    building relationships with people who
  • 00:24:26
    are on your level. And five good
  • 00:24:28
    Discords that I think you guys should
  • 00:24:29
    look into joining are the Sonic's
  • 00:24:31
    Discord, which is my Discord, which is
  • 00:24:32
    linked in the description. Cody's
  • 00:24:34
    Discord, Kenny Beats has a Discord, and
  • 00:24:36
    my boy Segue also has a Discord that
  • 00:24:38
    I've heard is good. You're going to be
  • 00:24:39
    learning how to provide value to people,
  • 00:24:41
    how to engage with people, how to talk
  • 00:24:42
    to people and network with people within
  • 00:24:44
    the industry. You're going to learn a
  • 00:24:45
    lot what kind of stuff people like from
  • 00:24:47
    you, what kind of stuff people don't
  • 00:24:48
    really use from you when you're trying
  • 00:24:49
    to collab with them. And as you guys
  • 00:24:51
    make more music together, you guys are
  • 00:24:52
    going to improve. One of your friends is
  • 00:24:53
    going to get an opportunity, another
  • 00:24:55
    one's going to get an opportunity. Maybe
  • 00:24:56
    you get opportunities and start giving
  • 00:24:58
    it to your friends and you guys are just
  • 00:24:59
    going to grow together, which I think is
  • 00:25:01
    a very, very important thing that a lot
  • 00:25:02
    of you guys should be doing. So once
  • 00:25:04
    you've in theory became amazing at
  • 00:25:05
    making music, you know what kind of
  • 00:25:07
    stuff people like working with you for
  • 00:25:09
    your Instagram looks good, then you can
  • 00:25:10
    start to network with bigger producers
  • 00:25:12
    and artists connect. So the first thing
  • 00:25:14
    that you need to know is how to actually
  • 00:25:15
    find them. One of the best places that
  • 00:25:17
    you can find people is on Genius. So
  • 00:25:19
    let's say you wanted to work with NBA
  • 00:25:21
    Young Boy. I would go to NBA Young Boy
  • 00:25:22
    right here and I would go to his most
  • 00:25:24
    recent albums to see who's working with
  • 00:25:26
    him currently. I would go right here and
  • 00:25:28
    then I would just look every single
  • 00:25:29
    producer. I would open this in a new
  • 00:25:31
    tab. Open this in a new tab and look
  • 00:25:33
    into them and be like, "Oh yeah, this
  • 00:25:35
    dude is working with NBA Young Boy a
  • 00:25:36
    lot. Go down here, find his Instagram.
  • 00:25:38
    Look at that. I'm already following
  • 00:25:39
    him." So whenever I see a new person,
  • 00:25:40
    I'm going to follow this guy. Maybe not
  • 00:25:42
    even if I'm trying to work with him
  • 00:25:44
    immediately, but I just want to know
  • 00:25:46
    everything that's going on in the
  • 00:25:47
    industry. I want to see the patterns.
  • 00:25:48
    This guy is always on this album. He's
  • 00:25:50
    probably very very close with that camp
  • 00:25:52
    and all that kind of stuff. So, I would
  • 00:25:54
    go through the whole album and find all
  • 00:25:56
    of these people. That's how you can find
  • 00:25:58
    a ton of new producers to work with.
  • 00:26:00
    Just for as an example, my boy B Noise
  • 00:26:02
    is actually in my Discord server. So, if
  • 00:26:04
    you were in my Discord server just
  • 00:26:06
    shooting the [ __ ] you could make that
  • 00:26:07
    connect with someone who's working with
  • 00:26:09
    NBA Young Boy. You can also go right
  • 00:26:10
    here on the credits. If you go way down,
  • 00:26:12
    you can't see right here, but they also
  • 00:26:14
    often have like the engineer, maybe like
  • 00:26:16
    a keyboardist who worked on it. They
  • 00:26:18
    have like all of the credits right here.
  • 00:26:20
    So, you could start seeing who's
  • 00:26:21
    engineering your favorite artist, the
  • 00:26:22
    label they're signed to, maybe try to
  • 00:26:24
    find the ANR who works for that label
  • 00:26:26
    and stuff like that. But another great
  • 00:26:27
    way, and something that I use more
  • 00:26:29
    personally, especially once you're not
  • 00:26:30
    starting completely from scratch, not
  • 00:26:32
    knowing any of these big industry
  • 00:26:33
    producers, is just like if we go back to
  • 00:26:36
    my profile, let's say, right? Every
  • 00:26:37
    single time someone who's getting a
  • 00:26:39
    bunch of placements posts a new
  • 00:26:40
    placement, I would go follow every
  • 00:26:42
    single person that I mention in my
  • 00:26:44
    placement post. Follow all these people.
  • 00:26:45
    Then, boom, let's go to Kid Hazel's
  • 00:26:47
    page. Now, I'm going to click on this.
  • 00:26:48
    I'm going to see Jonas Lee again. I'm
  • 00:26:50
    going to go to his page. I'm going to
  • 00:26:51
    look at all of his placements. Be like,
  • 00:26:52
    who's tagged right here. Boom. So, I'm
  • 00:26:54
    going to go click on Nuki. I follow
  • 00:26:55
    Nuki. I'm going to go on his posts. Oh,
  • 00:26:58
    look. There's more people that were on
  • 00:26:59
    that record. I would just go through the
  • 00:27:00
    Instagrams of people like this and
  • 00:27:02
    follow every single person cuz you're
  • 00:27:04
    going to start to follow essentially the
  • 00:27:06
    whole industry that's producing every
  • 00:27:07
    big song that's released. And I would
  • 00:27:09
    definitely recommend to not aim for the
  • 00:27:11
    biggest fish possible right away and to
  • 00:27:13
    aim for the guys the smaller guys on the
  • 00:27:15
    record who are working with that big guy
  • 00:27:17
    who works directly with the artist cuz
  • 00:27:19
    they're going to be a lot easier to get
  • 00:27:20
    in contact with. But before you go off
  • 00:27:22
    and just shoot a bunch of yo let's work
  • 00:27:23
    DMs. I would decide on what value you're
  • 00:27:26
    going to provide. And this can change
  • 00:27:27
    person to person. And this is why I
  • 00:27:29
    think studying them even before you go
  • 00:27:31
    out and reach out to them is important.
  • 00:27:32
    Like let's say you study this producer
  • 00:27:34
    and you could tell every placement he
  • 00:27:36
    has is with like a old soul sample and
  • 00:27:38
    you make the craziest original soul
  • 00:27:40
    samples. Now you have something
  • 00:27:42
    interesting that you can offer him value
  • 00:27:43
    with. Yo, I make original soul samples.
  • 00:27:46
    Where can I send them? And now he's not
  • 00:27:47
    going to have to worry about sample
  • 00:27:48
    clearances. So you're giving him
  • 00:27:49
    something valuable. So anyways, let me
  • 00:27:51
    give you five examples of value that you
  • 00:27:53
    could give. First one that I talked
  • 00:27:54
    about earlier is just paid collapse.
  • 00:27:56
    Right? If you offer someone money, it is
  • 00:27:58
    a very high likelihood that they're
  • 00:27:59
    going to hit you back and be like,
  • 00:28:00
    "Yeah, let's do Or if you're not trying
  • 00:28:02
    to pay upfront, you could offer them
  • 00:28:03
    50/50 splits if they ANR your stuff.
  • 00:28:06
    Let's say if you don't have loops, but
  • 00:28:07
    you got full beats, say you can send
  • 00:28:08
    them FLPS and they can take a higher
  • 00:28:10
    percentage on anything you guys collab
  • 00:28:12
    on, something like that. So it shows
  • 00:28:14
    that you're giving them something and
  • 00:28:15
    you're not just asking for something
  • 00:28:16
    from them. If you guys don't know this
  • 00:28:18
    about me, I'm [ __ ] a huge nerd about
  • 00:28:20
    Star Wars. If I had just posted
  • 00:28:22
    something on my story of like Star Wars
  • 00:28:24
    on my screen in my studio or something
  • 00:28:25
    like that, you could slide up and be
  • 00:28:27
    like, "Yo, I found this crazy like Star
  • 00:28:29
    Wars graphic tee of that movie like blah
  • 00:28:31
    blah blah. Where can I send it through?"
  • 00:28:32
    That's just an example. I don't want
  • 00:28:33
    y'all sending me [ __ ] t-shirts. But
  • 00:28:35
    something like that or like I know my
  • 00:28:36
    boy Ghost Rage loves vintage rock
  • 00:28:39
    t-shirts. So you could either send him
  • 00:28:41
    one for free or you could even just put
  • 00:28:42
    them on. Be like, "Bro, I found this
  • 00:28:44
    crazy ass thrift shop in like West
  • 00:28:46
    Hollywood that has these D." and that's
  • 00:28:49
    easier to kind of get in the door to be
  • 00:28:51
    able to make a music connection. Another
  • 00:28:53
    thing of value that I talked about
  • 00:28:54
    earlier is having a special skill
  • 00:28:56
    outside of music. So, this could be
  • 00:28:57
    video editing, graphic design, offering
  • 00:28:59
    free assistant work, etc. As an example
  • 00:29:01
    that this actually does work, I have my
  • 00:29:03
    boy Zippy Tano, who I've talked about
  • 00:29:05
    many times, blew up from doing those
  • 00:29:06
    cover arts. But even a smaller example,
  • 00:29:08
    my boy Veil was constantly asking me to
  • 00:29:11
    do free work for me. And eventually, I
  • 00:29:13
    ended up hiring him as an assistant. So,
  • 00:29:15
    if he ever makes a collab on my stuff
  • 00:29:16
    and sends it to me, I'm going to listen
  • 00:29:18
    to it every time. So you could start
  • 00:29:19
    your relationship with someone based on
  • 00:29:21
    free work or something like that for
  • 00:29:23
    something outside of music. You're just
  • 00:29:25
    providing them value for free just to
  • 00:29:27
    get that relationship going. So this is
  • 00:29:29
    definitely a long approach that would
  • 00:29:30
    take a lot of effort and free work,
  • 00:29:32
    which is why most people don't do it cuz
  • 00:29:33
    they're not willing to do it, but it
  • 00:29:34
    definitely could work. And kind of on
  • 00:29:36
    the similar side, but more music
  • 00:29:37
    related. You could have a skill that's
  • 00:29:39
    special music-wise, like I was talking
  • 00:29:41
    about with a vocal. Maybe you play the
  • 00:29:42
    live flute, guitar, whatever it is.
  • 00:29:44
    You've got something unique about your
  • 00:29:45
    music that you can pitch as something
  • 00:29:47
    valuable to those big producers. Now
  • 00:29:49
    that you've got some ideas of value that
  • 00:29:51
    you can provide hopefully, let's get
  • 00:29:52
    into some example messages. And with
  • 00:29:54
    these messages, you want to keep them
  • 00:29:55
    brief. Nobody wants to read a whole
  • 00:29:56
    essay about your whole life. And also,
  • 00:29:58
    you want to make sure that you have a
  • 00:29:59
    call to action in the first message.
  • 00:30:01
    even if they don't see that DM again,
  • 00:30:02
    I'm asking for that contact information
  • 00:30:04
    or where I can send stuff. I at least
  • 00:30:06
    got that and I can send to them from now
  • 00:30:08
    on. But anyways, the first example is,
  • 00:30:10
    yo, how much do you charge for paid
  • 00:30:12
    collabs? Would love to get some work in.
  • 00:30:14
    Very simple, but I guarantee someone
  • 00:30:15
    who's down to do paid collabs would see
  • 00:30:17
    that and jump on it instantly. Another
  • 00:30:19
    thing is, yo, I got whatever it is,
  • 00:30:21
    FLPS, loops, beats, vocals, whatever it
  • 00:30:24
    is, would you be down to split
  • 00:30:25
    everything you place 50/50? So, this is
  • 00:30:27
    something that you could send maybe to a
  • 00:30:29
    manager or offer a higher split to a
  • 00:30:31
    producer that you're trying to work with
  • 00:30:32
    or whatever it is. So, you could be
  • 00:30:33
    like, "Yo, I got crazy hard beats for
  • 00:30:35
    Baby and you're sending this to his
  • 00:30:37
    manager or whatever it is. I'd be down
  • 00:30:39
    to split everything that you plays with
  • 00:30:40
    him 50/50. Where can I send vibes?"
  • 00:30:42
    Something like that. Anyways, third one.
  • 00:30:44
    You could reply to their story about
  • 00:30:46
    whatever thing that they're obsessed
  • 00:30:47
    with. So, if someone's obsessed with the
  • 00:30:49
    NBA and they're always posting about the
  • 00:30:51
    [ __ ] Nuggets, you could reply to
  • 00:30:52
    their story saying something about
  • 00:30:54
    sports or yo blah blah blah, I found
  • 00:30:56
    this cool thing. To kind of start that
  • 00:30:58
    conversation and get them talk about
  • 00:30:59
    something that they're interested in
  • 00:31:00
    outside of music or even music related.
  • 00:31:03
    Now, number four, let's say it's someone
  • 00:31:04
    who is putting out content. Hit them up.
  • 00:31:06
    Be like, "Yo, I want to edit your videos
  • 00:31:08
    for free." Or maybe it's graphic design
  • 00:31:09
    or whatever it is, right? Really like
  • 00:31:11
    your stuff and would love to work.
  • 00:31:12
    Something simple like that could
  • 00:31:13
    definitely get you in the door. All
  • 00:31:14
    right. And then the last one, this is
  • 00:31:16
    something I personally send out all the
  • 00:31:17
    time. Whenever I know that someone likes
  • 00:31:19
    soulful samples, I'll be like, "Yo, I
  • 00:31:21
    make 100% original soul samples with
  • 00:31:24
    real gospel choirs and session
  • 00:31:25
    musicians. Would love to work. Let me
  • 00:31:27
    know where I can send something like
  • 00:31:28
    that that shows off what's different
  • 00:31:30
    about my music compared to everyone
  • 00:31:32
    else. And if you really can't think of
  • 00:31:33
    how you could provide value in any way,
  • 00:31:35
    a good go-to message could just be, "Yo,
  • 00:31:37
    bro, love the work you did on Blank."
  • 00:31:39
    Whatever song they worked on or a kit
  • 00:31:41
    that they put out that you liked or
  • 00:31:42
    whatever it was. Would love to lock in.
  • 00:31:43
    I got blank for you. Let's say you know
  • 00:31:45
    that they are a loop maker. I got crazy
  • 00:31:48
    live instrument starters. I got blah
  • 00:31:49
    blah blah blah blah. Where can I send?
  • 00:31:51
    Something like that is a good go-to
  • 00:31:52
    message. And then just this is just
  • 00:31:53
    something I thought of now. But if you
  • 00:31:55
    get to the point that you even if
  • 00:31:56
    they're not the strongest connects, if
  • 00:31:58
    you start to have a few connections here
  • 00:32:00
    and there that you could offer them
  • 00:32:02
    work, yo, like it's a loot maker. I got
  • 00:32:04
    crazy starters for you. Whatever. I'm
  • 00:32:05
    sending collabs back for Drake right
  • 00:32:07
    now. Let's just say it was Drake. They
  • 00:32:08
    might see that and be like, oh, I'm
  • 00:32:09
    getting an opportunity out of working
  • 00:32:11
    with this guy. And now you guys are like
  • 00:32:12
    mutually benefiting each other. And then
  • 00:32:14
    one thing I want to say is don't just
  • 00:32:15
    leave it at one message, one DM. They
  • 00:32:17
    don't respond and then you give up. You
  • 00:32:19
    want to continue to be active on their
  • 00:32:20
    socials like I was talking about
  • 00:32:21
    earlier. Still comment on their post,
  • 00:32:23
    reply to their stories whenever they
  • 00:32:24
    post a placement. Be like, "Yo,
  • 00:32:25
    congrats. Oh, that's the craziest song
  • 00:32:27
    on the album. What blah blah blah." And
  • 00:32:28
    I'm not saying just glaze people and
  • 00:32:30
    like lie through your teeth and say you
  • 00:32:32
    like stuff that you don't like, but just
  • 00:32:33
    be genuine. Sooner or later, you might
  • 00:32:35
    be able to cash in on one of those
  • 00:32:36
    chances. And then here's one little
  • 00:32:37
    secret tip before I get into the fourth
  • 00:32:39
    step. little secret sauce that my boy
  • 00:32:41
    Veil taught me actually is that he will
  • 00:32:43
    delete everyone off of his close friends
  • 00:32:45
    list except one producer that he's
  • 00:32:47
    trying to reach out and work with. And
  • 00:32:48
    he'll make a story mentioning that
  • 00:32:50
    producer in his close friend story, not
  • 00:32:52
    to get any views or to show anyone else
  • 00:32:54
    stuff, but specifically just to get that
  • 00:32:56
    person's attention. I don't know exactly
  • 00:32:57
    what he's doing, but it could be like a
  • 00:32:59
    beat showing off something that's fire,
  • 00:33:01
    or it could straight up be like you in
  • 00:33:02
    front of your camera, your iPhone, like
  • 00:33:04
    pitching yourself like, "Yo, bro, I want
  • 00:33:05
    to work blah blah blah blah blah." But
  • 00:33:07
    anyways, let's get into step four,
  • 00:33:08
    following through and consistency. So,
  • 00:33:11
    none of this stuff matters. Networking,
  • 00:33:12
    getting all these people's contacts,
  • 00:33:14
    having a great looking Instagram, having
  • 00:33:15
    great music and all this stuff if you
  • 00:33:17
    can't follow through. When you get one
  • 00:33:19
    of these big connects and they start
  • 00:33:21
    trusting you and asking you for stuff,
  • 00:33:23
    you need to be able to come through
  • 00:33:24
    every single time. And I know that
  • 00:33:26
    sounds a little stressful cuz it is. But
  • 00:33:28
    if I ask someone for stuff for this
  • 00:33:30
    person, they send me a pack that's not
  • 00:33:31
    that great. I might be like, "Ah, maybe
  • 00:33:33
    they miss on that one." ask them again,
  • 00:33:34
    didn't come through again, starting to
  • 00:33:36
    second guess it, maybe I give them one
  • 00:33:37
    last chance. If I ask them like three
  • 00:33:39
    times in a row and they send stuff that
  • 00:33:41
    isn't that good, doesn't match it, or
  • 00:33:42
    they just don't send at all, I'm just
  • 00:33:43
    going to stop asking that person. So,
  • 00:33:45
    you need to be able to actually keep
  • 00:33:47
    conversations going, ask people what
  • 00:33:49
    they need, what they're working on, so
  • 00:33:50
    you can follow through after you get
  • 00:33:52
    these connects, and actually make them
  • 00:33:54
    useful. So, one thing that I would do is
  • 00:33:55
    once you start making a good amount of
  • 00:33:57
    connections, is I would build a
  • 00:33:58
    spreadsheet. So, I would have a
  • 00:34:00
    spreadsheet with like all the
  • 00:34:01
    connections that you have, their names
  • 00:34:02
    listed out, what stuff they need, what
  • 00:34:04
    kind of stuff they like, so you can stay
  • 00:34:06
    on top of all these connections that you
  • 00:34:08
    have. And for me personally, I've gotten
  • 00:34:09
    to a point where there's so much demand,
  • 00:34:11
    there's so many opportunities that it's
  • 00:34:13
    hard to keep up myself. So, for me, my
  • 00:34:15
    system is really that Discord server
  • 00:34:17
    that I was talking about where people
  • 00:34:18
    are making collabs with my stuff. So, I
  • 00:34:20
    am sending out my own stuff. It does
  • 00:34:22
    have my stuff incorporated in it, but I
  • 00:34:24
    don't have to work on it all the time.
  • 00:34:26
    So, I think something that you guys
  • 00:34:27
    could do is if you have that community,
  • 00:34:29
    that group of people, you could either
  • 00:34:30
    have them collab on your stuff whenever
  • 00:34:32
    you need a pack for a certain person, or
  • 00:34:34
    you could just anrr their stuff and then
  • 00:34:36
    they anrr your stuff for opportunities
  • 00:34:37
    that they can't fulfill and just work
  • 00:34:39
    together as a team instead of trying to
  • 00:34:41
    play as like a one-man sport. But yeah,
  • 00:34:43
    once you get these connects, you want to
  • 00:34:44
    make sure to stay in contact with them.
  • 00:34:45
    Another thing that's underrated is
  • 00:34:47
    getting on phone calls with people. So,
  • 00:34:48
    when you have their phone number, you
  • 00:34:49
    can just hop on the phone with them and
  • 00:34:51
    talk to them. you'll create a way deeper
  • 00:34:52
    connection than just like sending a few
  • 00:34:54
    MP3 files over iMessage and stuff like
  • 00:34:56
    that. And another thing I want to
  • 00:34:57
    mention is you need to be prepared and
  • 00:34:59
    organized with your files. So let's say
  • 00:35:01
    right now someone hits me up, I need 80s
  • 00:35:04
    pop beats for the weekend. Even if I've
  • 00:35:05
    made a few of those in the past, if I
  • 00:35:07
    don't remember the names of those beats
  • 00:35:08
    or I don't remember where I kept them in
  • 00:35:10
    my files, I might miss out on that
  • 00:35:11
    opportunity just looking for stuff cuz
  • 00:35:13
    sometimes people need stuff like that.
  • 00:35:15
    And I have the same thing going with my
  • 00:35:16
    loops. So whenever it's like I need club
  • 00:35:17
    banger loops, I go to my go-to loops
  • 00:35:19
    folder. Here's my club folder. These are
  • 00:35:21
    all my club loops that are just like
  • 00:35:22
    hard as [ __ ] Definitely definitely make
  • 00:35:24
    sure that you're on top of all that. And
  • 00:35:25
    one thing I want to mention with sending
  • 00:35:27
    out to these people like getting the
  • 00:35:28
    connection is important, but really like
  • 00:35:30
    following through, being consistent, and
  • 00:35:32
    continuing to send no matter what is one
  • 00:35:34
    of the most important things because I I
  • 00:35:35
    feel like you need to have the
  • 00:35:36
    expectation in your head is that you're
  • 00:35:38
    sending for like years and you don't see
  • 00:35:40
    any results from it because the music
  • 00:35:41
    industry does not work fast. So I get
  • 00:35:43
    placements still from loops I made in
  • 00:35:45
    2021. It's 2025 now. So the work that
  • 00:35:47
    you do today is probably not going to
  • 00:35:49
    pay off for like a year or two years.
  • 00:35:50
    And the way I like to look at it is
  • 00:35:52
    almost all of my energy is spent working
  • 00:35:54
    on those indirect methods to get
  • 00:35:56
    placements that are in turn building me
  • 00:35:59
    up and building my brand, which is
  • 00:36:00
    making me more money every month. So I'm
  • 00:36:02
    living off of the online brand and stuff
  • 00:36:04
    that I'm making. But the indirect effect
  • 00:36:06
    of getting my stuff out to all those
  • 00:36:08
    people, all those people learning who I
  • 00:36:10
    am, seeing my work, is that I end up
  • 00:36:11
    getting a lot more placements off of
  • 00:36:13
    that in the long run. But anyways,
  • 00:36:15
    that's pretty much it for this one. But
  • 00:36:16
    before you go, I just want to remind you
  • 00:36:18
    about the Sonics Academy. Do a little
  • 00:36:20
    shameless plug right here. But if you
  • 00:36:21
    want to learn how to get your first
  • 00:36:22
    placement, you want to learn how to make
  • 00:36:23
    more money or just improve your music or
  • 00:36:25
    all three of those. I have over a 100
  • 00:36:27
    hours of master classes that aren't on
  • 00:36:29
    YouTube or anywhere else. Inside of the
  • 00:36:31
    academy, you also get access to all of
  • 00:36:33
    my courses. How to get your first major
  • 00:36:34
    placement. I have a course on how to
  • 00:36:36
    make your first $10,000 a month online
  • 00:36:38
    as a producer. I even have a full class
  • 00:36:40
    where I talk about how to make your
  • 00:36:41
    Instagram profile look good for
  • 00:36:43
    networking. I have multiple master
  • 00:36:44
    classes where I go over how to network
  • 00:36:46
    with people. I literally just did a
  • 00:36:48
    master class the other day on how to
  • 00:36:49
    leverage your music and your ideas to be
  • 00:36:52
    able to keep up with all the
  • 00:36:53
    opportunities that you're going to get
  • 00:36:54
    once you do have a network and you can
  • 00:36:56
    get the first month 40% off with that
  • 00:36:57
    code placement. Like I mentioned
  • 00:36:59
    earlier, it'll be the first link in the
  • 00:37:00
    description down below. I just really
  • 00:37:02
    wanted to plug that heavy because I feel
  • 00:37:03
    like there's a lot of information in
  • 00:37:05
    here that will help you along the
  • 00:37:06
    journey if you're very serious about
  • 00:37:08
    making it as a music producer. So, the
  • 00:37:10
    link will be in the description. But
  • 00:37:11
    either way, hopefully you guys found
  • 00:37:12
    this video valuable and I'll catch you
  • 00:37:13
    on the next one.
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