SilasBeats

21/05/2024

Beat Leasing or Exclusive Rights? What to Know in 2024

06/05/2024

Prioritizing Your Current Fans!

03/05/2024

Does using samples make you a bad producer?

30/04/2024

My Experience Getting Screwed Over in the Music Industry

29/04/2024

What's good?
How many streams have you personally racked up this year?

26/04/2024

Two practical ways you can use to gain visibility on social media

Here are two effective strategies for boosting your visibility on social media, especially if you're a creative on a budget. While they both demand some time and effort, one involves a modest financial investment, with a daily budget of no more than R50 for as long as you can manage.

1. Interaction
This strategy is a no-brainer and should be part of your daily routine for optimal results. I employ this method whenever my page feels quiet or when I want to attract more attention to my work, whether it's new beats or songs.

Firstly, I ensure I've posted regularly on my page in the past few days. These posts range from studio pictures to old songs and any other random shots or videos I want to share. I keep it simple and avoid overthinking. This shows that the page is active and not neglected, which can deter potential followers.

Next, I make sure there are links to my work in my page bio, making it easy for people to access my content and reach out to me. This reduces unnecessary messages and makes their experience smooth.

Then, I check that the platform hosting my music/videos looks good and is user-friendly. Once everything is set up, it's time to attract people.

I go back to my social media platform and use the search function. I search for terms related to my niche and start browsing. I usually target posts with fewer than 10 comments, as my comment is less likely to be overlooked. I leave genuine comments without overusing emojis, engaging with the content or sharing my thoughts. For example, if I come across posts showcasing studio setups, I might comment on the gear being used. If I like the post, I hit the like button, and if the content resonates with me, I follow the user.

If you find yourself with free time, dedicate an hour to this method, engaging with the community surrounding your search term. Hashtags like 'sahiphop' and 'beatmaker' are good places to start.

This approach is a numbers game. Some people may ignore you, while others may like your comment or engage with you. Occasionally, someone may check out your profile and decide to follow your work. Consistency is key, so try this method daily for a week and see the results. Let me know how it goes!

2. Facebook slow burn
Many discuss using FB sponsored posts to boost their brand or projects. However, I stumbled upon a tactic where I invest a small amount in an advert promoting my music production services, and it's been surprisingly effective. I'm not a FB expert, but I've found that my long-term sponsored posts with smaller budgets tend to outperform short-term posts with larger budgets.

I ensure the post is highly targeted to my local area, focusing on Johannesburg and nearby regions. I narrow down the age range and other demographics to make the results more predictable. Then, I let the sponsored post do its work while I focus on making beats, mixing, and running my business.

After the first week, I've noticed an uptick in engagement on my social pages and more inquiries for work. Additionally, there's a gradual increase in followers, which is beneficial for credibility and attracting more likes, views, shares, and interactions on new content.

Combining these two strategies can help you build a page you'll be proud to call your own.

Peace
SB

25/04/2024

Ryan Leslie Made $2 Million Off of 1000 True Fans🔥

24/04/2024

Communication

They say communication is the cornerstone of every good relationship and this holds true in music too. Many fights I hear about could have been avoided with a little bit of communication.

I come across artists that have become fed up with their producers because they take forever with their mixes. I implore any creative that offers a service to try hard to communicate with their client about when you will have the work ready. I get that one can't place a time on good work, but because you're dealing with humans you have to. Be realistic and budget for any reasonable eventuality that may delay you. This gives your client piece of mind so that they aren't blowing up your phone everyday hinting at when the track will be done. They will only hit you up on the day you promised to deliver. Make a promise and stick to it.

Let's talk about that for a second...

You're a brand as an engineer/producer and your good name lies in your promise to give good, timely work. Your name gets dragged through the dirt if you don't stick to time or quality expectations. Over and above that, if you exceed the time you've given, communicate why and offer a speedy apology. These are basics that make any business great. Do this and you begin to develop a good reputation.

In some cases, I've witnessed artists and producers parting ways abruptly, citing reasons like "they didn't get me" or "they weren't up to par." I recall a time when I was in that position myself—I wasn't meeting expectations, and some people dropped me like a hot potato. Fortunately, there were a few who stuck around, offering valuable feedback and support to help me grow. I'm forever grateful to them, often giving them freebies and discounts as a token of appreciation. Then there are those who ghosted me, probably embarrassed by their past actions. I don't hold it against them; everyone wants to progress at their own pace. And then there are the ones who resurface, expecting discounts and acting like they did me a favor by leaving. It's a reminder of how fickle some relationships can be in this industry, but I try to focus on the positives and stay grateful for those who stood by me.

I often encourage people to reconcile because you never know where someone will end up. There's nothing more regrettable than abandoning someone you once journeyed with and seeing them thrive years later. While I haven't reached my ultimate goal yet, I've certainly come a long way since 2008.

Communication isn't just for beginners. I've observed artists who only reach out to their fans when they need something—like promoting music or asking for votes. But fans aren't just tools; they're real people. You can't treat them like servants, or they'll move on faster than you can release your next track. When was the last time you reached out to your fans just to chat? When was the last time you started a conversation that wasn't about you or your music? Stop being selfish with your time and start adding value to others' lives. That's how lasting connections are formed, and it's bigger than any paycheck. Many claim they're in music to inspire and spread a message, but behind closed doors, it seems like fame and money are their true priorities.

If you fall into any of the above categories and you're feeling a little guilty, send a text or call someone to take that step to improving your communication.

SB

23/04/2024

Creative Wellness: A Priority

23/04/2024

I'd like to weigh in on whether artists or producers need managers.

The question of whether a record label or long-term management is necessary to build a music career sparks ongoing debate, and in my view, the answer varies depending on the situation. There are various reasons why artists seek management. Some struggle with self-management, others prefer to focus solely on their craft, avoiding administrative tasks. For some, the workload is simply overwhelming, requiring assistance to lighten the load.

Whatever your reason for wanting a manager, you'll need to assess what you want out of a manager and whether you will be able to find one willing to begin this journey with you.

Many management agreements often begin with a friend or someone familiar who shares your vision and wants to support your journey. Initially, you might not have the means to compensate them, but you can arrange a setup where they receive payment when you do. In these early stages, don't expect top-tier management companies to approach you. Your attracting power matches what you offer, and without an established presence, securing assistance from an established manager can be challenging.

I must reiterate that you need to iron out the expectations of this person before you start working. There are few things worse than relying on someone who doesn't know what they're supposed to be doing for you. Establish whether they're meant to handle bookings, studio opportunities, features, finances, social media, etc. Having a clear indication of this will save you a lot of time and effort in the long run.

An idea I want to mention is laziness vs. busyness.

I've met a lot of upcoming artists who want a manager because they're too lazy or disinterested in running their own careers. These artists hope to offload tasks like securing gigs, registering with agencies, or getting airplay onto someone else.
However, these early stages are crucial for learning essential skills like booking shows. It's important to have some understanding of running your own affairs and setting up gigs before passing the reins to a manager. This approach safeguards you from exploitation and helps you set realistic goals when you eventually bring a manager on board.

With regards to busyness, this is a great time to seek out management. When you're juggling multiple gigs, studio sessions, photoshoots, and interviews, having someone to coordinate everything is invaluable. Getting to this point rarely happens within the first few years, and this is why I personally feel that a lot of people seek management way too early.

A manager is there to help you carry your load, and when you figure out how they fit into the ecosystem of your career, you'll know exactly when to start looking for one.

Peace
SB

22/04/2024

Time management, I had to learn this.

19/04/2024

You get what you pay for

18/04/2024

Writing a for a video

17/04/2024

What’s good

Today I wanted to tell you a short story about how I got a music publisher.

In 2013 while playing FIFA, I heard Sun in My Pocket by Locnville and thought it would be a great idea to try and get my music onto a video game, television advert or prime-time soapie. My search took me from camera crews to production houses and then ultimately to CAPASSO (formally known as NORM). I spoke to a guy by the name of Vivienne, and he broke down the library music game for me. Looking back now, He did not need to do that for me. I was an unknown, and taking an hour out of his day to assist me with understanding music publishing would pave the way for me to start earning royalties in this way. He showed me a list of music publishers on the CAPASSO rate card and asked that I communicate with those publishers.

I sent out a few emails to these publishers requesting that they assist me with opportunities to submit music to them for different opportunities. What would follow were many meetings that I would drag myself to after my 9 to 5 to find out what the terms of the agreement would be. I learnt a lot!
Some publishers wanted my work exclusively while others wanted full catalogs of music. Once I had exhausted that list, I sat down with all the options and made my choice. I started submitting work to them and I made a point to request feedback so that I would improve.

A few months later, I would receive an email informing me that one of the songs was used in an Adidas campaign for Orlando Pirates. The hard work and digging had finally paid off! I received a small payment of R3000 and went about my day.
Encouraged by this success, I continued to pour my energy into creating more music. To my delight, more opportunities followed as my music found its way into various advertisements and TV programs. I still recall the thrill of hearing one of my tracks playing in the background during halftime of a football match on TV. It was an indescribable feeling of accomplishment and validation.

The following year I received a random payment to my account. It had to have been a mistake. I’ve never been paid that much money so randomly in my life. The amount was R13 000. It all made sense when I read who the reference was. I was over the moon. I continued to create more music for them hoping to get more pay days and that’s exactly what happened. We developed such a great working relationship that I could almost guarantee R40 000 of my yearly income would come from royalties alone. I know that comes to just over R3000 a month, but it was passive at this point. I continue to release a few albums a year just to boost my earnings every now and again.

It is not easy to find a good publisher that fits your genre and your needs, but when you find them, hold onto them and always give them your best work. It will pay off eventually.

Regards,
SB

16/04/2024

Check out our Q&A session, where we drop some valuable insights.

15/04/2024

Specialization is key in the

14/04/2024

Happy Sunday! 🎶
Don't forget to check out my beats at [https://www.silasbeats.com].
Find free downloads and solid packages that are tailored to your budget.

12/04/2024

Before Quitting Your Job: The Importance of Having a Plan As A Creative

11/04/2024

Appearing credible as a musician

Given that there is so much competition in the music industry, we constantly find ourselves needing to work extra hard to stand out.

Sheer work ethic isn’t enough to get ahead these days. Today I wanted to highlight the importance of setting up your brand to perform at its best. This is done by being aware of the type of image you portray in various circumstances.

Learning from Experience: Recently, I nearly fell for an online scam while trying to buy a puppy. The experience taught me valuable lessons in portraying legitimacy, which I apply to my music career.

Website Presence: Having a user-friendly website is essential. It serves as a virtual showcase for your work, services, and contact information. Simple one-page websites work well, providing a concise overview of your offerings.

Testimonials: Testimonials are a great way to show credibility. They show people that you can be trusted. This can be done in many ways. You can post pictures of conversations, ask people to leave reviews on your website or on your page. Whenever you get someone into your studio, store or around where you work, take a picture with them and caption it with something that they’ve said or any thoughts they may have about your work. If you receive any special tweets or social media posts, screenshot and repost them to show how people feel about you. It may seem like you’re gloating, but all you’re doing is confirming your ability and crushing any doubt by using social proof.

Contact Accessibility: I know artists who don’t feel like it’s necessary to give out contact details, but this really helps to build rapport. You can buy a second phone to talk to your audience. You can also consider getting a second instance of WhatsApp so that you can keep fans separate from your personal contacts. It seems tedious and you may think that it’s a waste of your time, but this was one of the most valuable things I did while I was building up my audience. People like to know that they can get in contact with you when they need to. Beyond this, you can do special things for people in your audience like doing a live session on social media where you answer questions or do polls with them to gather their thoughts.

Clear Procedures: Having a clear procedure on your website of how to reach out to you is great because it helps to give interested parties direction. This means that when they eventually do reach out to you, most of their questions have already been answered.

Show your face and give your name: It would seem like a no-brainer, but you should lead with your name. It’s crazy how many scammers don’t use their name when interacting with their prey. As a legitimate musician you should be overcommunicating your name/alias with your audience. Getting your name in people’s mouth means they’re more likely to remember you. Get T-shirts made if you need to!
Having a picture of my face on my website and in my social profiles really helped my credibility. People used to identify with my logo long before they saw my face. I was very shy, but I reluctantly posted more and more pictures of myself. As my audience grew and new people started communicating with me, people started recognizing me at events. I even had a few instances where I was noticed at the mall as that ‘producer guy from Facebook’. Being more noticeable builds trust quickly because you’re willing to put your face behind what you’re promoting.

Get to work and let me know how it goes.

Regards,
SB
+27 74 605 7360

10/04/2024

Insightful Conversations: Your Industry on IHHG Podcast.
Dropping today at 6 PM on my YouTube channel.

09/04/2024

Considering Quitting Your Job?
Check out the full video on my YouTube channel for more insights.

09/04/2024

How to Promote Yourself as a Musician in South Africa 2024?

Promoting yourself as a musician in South Africa can be challenging yet rewarding. Here are some strategies to consider:

1. Utilize social media platforms: Build a strong presence on platforms like Instagram, Facebook, Twitter, and TikTok. Share your music, behind-the-scenes footage, and engage with your audience regularly.

2. Collaborate with other artists: Networking and collaborating with other musicians, producers, and influencers can help expand your reach and introduce your music to new audiences.

3. Perform live: Take advantage of local gigs, events, and festivals to showcase your talent and connect with fans in person. Additionally, consider live streaming performances on platforms like YouTube or Twitch.

4. Create compelling content: In addition to sharing your music, create engaging content such as music videos, vlogs, and behind-the-scenes footage to keep your audience entertained and interested.

5. Build an email list: Collect email addresses from fans and followers who are interested in your music. Send out regular newsletters with updates, new releases, and exclusive content to keep them engaged and informed.

6. Submit your music to local radio stations, blogs, and playlists: Get your music heard by submitting it to local radio stations, music blogs, and playlists that cater to your genre. This can help increase your exposure and reach new listeners.

Remember, consistency and persistence are key when it comes to promoting yourself as a musician. Keep creating and sharing your music, and don't be afraid to try new promotional strategies to see what works best for you.

Feel free to share additional strategies in the comments!
SB

08/04/2024

How to Make Money with

08/04/2024

Have you ever heard of Beat Block?

It’s a real thing. Contrary to popular belief, producers are people and they do suffer from beat block from time to time. I’ve just come out from a short spell of it myself. I swear it hits you like the flu and you have no desire to make anything or be creative at all. Here are a few ways I combat beat block.

New Music

When you feel like nothing inspires you, I believe that the quickest way out of that rut is to inspire yourself. Go grab some new music from your favorite artist and watch that imagination drought fade away. Better still, put together a playlist of your favorite songs from your favorite artists and listen through them a few times. Those old melodies will have you creating in no time.

New genre

Sometimes giving a new genre a chance will give you plenty of inspiration to come out of this creative standstill. When I gave Enya a chance, I never looked back. The melodies I heard in her music were like nothing I’d ever heard.

Create an unfinished folder

Do you delete your unfinished music if you don’t like it? Rather save them in an unfinished folder for later. I’ve often opened up an old project with new ears and completed a beat that’s been sitting there for months. You get a great sense of accomplishment and it takes that uninspired feeling away.

My unfinished folder is filled with beats that I think I'll never use. I've often worked on beats months later and gotten them placed. You need to get comfortable with the fact that a beat you work on today might only get placed in 5 to 10 years. Playing this long game brings a sense of calm and may allow you to create more beats.

Get into dialogue with your mentor about your beat block

1st off if you don’t have a mentor then you need to get one ASAP. I maintain that it doesn’t have to be someone you know or have contact with. It can be an overseas or famous artist that you can follow. Their new initiative may inspire you. I remember watching the Black Mozart video. I was inspired for a few months. I found it so powerful. I still use it today when I’m in a creative rut.

Stay inspired,
SB

05/04/2024

SAMRO, the Southern African Music Rights Organization, often sparks confusion among musicians regarding its role in royalty collection.
In this article, we'll tackle common misconceptions surrounding SAMRO and shed light on its significance in the music landscape.

Copyright:
In South Africa, artists inherently own their songs upon creation. SAMRO primarily focuses on managing royalties for song compositions, while other entities handle master recordings.

Royalty Varieties:
SAMRO specializes in performance royalties, stemming from music played in public venues like gyms or eateries. Registering with SAMRO ensures artists receive due compensation for these performances.

Should I register with SAMRO?
Contrary to belief, registering with SAMRO is essential regardless of using a distribution service. SAMRO guarantees artists are remunerated for public plays, both domestically and globally.

How long does it take to get paid?
This one's a bit tricky. The registration process will take a little over 30 days. During this time, they'll onboard you and set up your portal access. After you've registered and paid the R100 one-time membership fee, you'll need to submit all your music to them. Your main goal then is to get your music played on stations and establishments that have a license and pay royalties. After that, you'll have to wait until the payment date, which could be the following year. Check the distribution schedule for accurate payment dates, as they vary for radio, television, internet, and foreign plays.

Different establishments pay different amounts based on factors like when, where, and how long your music played. Don't be surprised if you're playlisted on a varsity or community station that doesn't pay royalties. Make sure to find out their policy before submitting your music for playlisting. While some stations offer great exposure, others may not provide any financial compensation.

Royalty Tracking:
SAMRO has a special section dedicated to undocumented works. These are songs that haven't been claimed due to incomplete or incorrect information. Regarding late registration, it's ideal to register your work before its release. However, SAMRO can still track your song retrospectively for a few years. Just make sure not to approach them with a song that aired on radio back in 2012.

SAMRO's Integrity:
Despite skepticism, SAMRO consistently honors payments to its members. Artists must proactively register their works and claim their rightfully earned royalties.

I often write articles about SAMRO and other music-related topics.
If you want more, you can search my blog [https://businessandfreelance.com] for articles related to music, copyright and music business.

04/04/2024

04/04/2024

Having a good mix/master is very rarely about which plugins you can get a hold of. I can bet you that one can do a crisp mix with stock plugins. You don't need outboard gear or fancy equipment to make things sound good.

1. Sound selection
Mixing and mastering can't save an ugly synth or a cheap snare. Make sure your libraries are filled with powerful sounds. Invest in some kits that have been crafted and are being sold by well-known producers you look up to. Just because it says Timbo drums doesn't mean he made them. Certain popular cracked synths sound cheap. We all have a copy of nexus but it sounds cheap to be honest. Invest cash in something from Native instruments, Sonokinetic or Output. ADSR or the Native and Output websites, are a good start.

2. Balance
This is the volume of each sound relative to other sounds. Having the knowledge to know how loud the bass needs to be compared to the kick and snare is vital. Balancing the vocal parts is also vital to getting a coherent mix. I place volume balance over equalizing in terms of importance in a mix. Get your ears right by referencing on different sources with well-known songs. See where you went wrong by comparing them to yours. If you play a song by your idol and you play yours after and it sounds super flat, weak and low then go practice.

3. EQ
People talk about additive EQ vs Subtractive EQ. I almost never do additive EQing as it can sometimes leave a sound feeling fake. I spend quite a bit of time 'cleaning' each sound so that it doesn't bring 'mud' or any unwanted frequencies into the overall mix. Don't EQ things just because you read it somewhere.

4. Signal
How you record is almost as important and what you record. Make the environment as conducive to recording as you can. No one cares if you recorded in an expensive booth, just treat the space you're recording in with household items like blankets, mattresses or foam if you don't have a booth. Leave the rest for social media. Invest in a decent mic and accompany it with a decent audio interface. Scarlet and Steinberg make some nice affordable stuff.

5. Plugins
Stock plugins can do the job but invest in a few decent plugin bundles like the Fabfilter series. They make life easier. Be careful with the waves bundles. While they offer a robust set of plugins, they tend to be quite 'wet' upon startup compared to others. Remember, less is often more. If you don't notice a significant difference, consider removing the plugin.

6. Your ear
Your ability to analyse, change and then analyse again is your greatest asset when working on a track. Do some exercises when listening to your favourite music like realizing how loud things are in the mix relative to other sounds. Try to name all the instruments you hear and try figure out what effects have been used on each sound. How many vocal layers has the artist done and how have they been treated.

Lastly, don't blame your tools when the work is poor. Some of the biggest tracks that are on TV and radio right this second were made on crappy computer speakers in someone's bedroom.

03/04/2024

I wish our idols would share their mistakes more openly. I watched an interview with a famous musician where someone asked how to succeed in the music industry.

The musician advised believing in oneself and making the right connections. Don't, get me wrong! I love this answer, but I feel like some successful people don't show what happens behind the scenes. They glamorize their hustle and it gives people a false sense of what to expect.

A successful person might mention that a certain deal took them months to get right, but they might not mention the 50 rejections they got before they got their first positive reply. Someone might talk about how they released song after song, but they won't talk about the daily activities of waking up early to work on new music and not affording to eat properly that day. Worst of all, there are people that portray an image of luxury and lavish living when a lot of what is portrayed is rented or borrowed.

Instead, we breed a large group of hopeful people who envision releasing 10 songs and touring the country and making hundreds of thousands of Rands all within an unrealistic time period. The reality ends up being very different and then disillusionment sets in. Feelings of inadequacy and disbelief set in and then the artist sets on a downward spiral of destructive introspection. The artist doesn't mention it because they feel like they're going through it alone.

Instead, we breed a large group of hopeful people who envision releasing 10 songs and touring the country and making hundreds of thousands of Rands all within an unrealistic time period. The reality ends up being very different and then the disillusionment sets in. Feelings of inadequacy and disbelief set in and then the artist sets on a downward spiral of destructive introspection. The artist doesn't mention it because they feel like they're going through it alone.

I see this pattern at least once a month from artists that come into studio and I figured it's something that we aren't talking about enough. Let's start having the difficult conversations.

29/03/2024

🐰 Happy Holidays
Join me as I delve into the beat-making process behind 's track.

28/03/2024

Got burning questions about sync strategies, music licensing, or anything else music-related? Don't hesitate to slide into my DMs!
I'm here to help and always ready to chat.