Producers & Beat Makers Making Money Outside The Music Industry
The upswing of the web has annihilated the regular music business, but away from the standard music niche it’s furthermore given a different generation of singers to advance in ways that would have been difficult just several years in the past.
In fact, below the most ideal of conditions producers have it tough. They’re almost entirely dependent on other people, with little to no control over whether their production makes it onto a musician’s album, and perhaps even if by some luck they manage to get an album placement, they are still last in line to get paid. Without exaggeration it could be years between when they first produced a track and when they finally get their first royalty check, which means it’s entirely possible for a producer, particularly more radiant and newer producers, to currently have a Top Ten single on the radio and still be having a hard time to pay for their rent.
But outside that mind-numbingly made difficult, syrup-slow regular music business structure a different economy is emerging for producers. Fueled by direct-to-artist sale sites just like Myflashstore, there’s a latest class of producers emerging who are making serious money from their production far outside any major label participation, and you don’t have to fight through an army of publicists to talk to them.
Jay Stacks is among the latest production economy’s success tales. At 24-years-old he purchased a MIDI keyboard and downloaded a copy of FL Studio without any increased objective than directing out some of the music constantly floating around his mind. The conventional music business felt a universe away from his London home, other than an aspiring rapper he knew from his Footlocker job he wasn’t part of any musical community. It was simply him, alone and self-taught. He marketed the occasional beat through SoundClick, fell into a loose management offer, but it was nothing that added up to anything major. He was still promoting sneakers at Footlocker, still wondering if he was wasting his time with his production. Just when he was on the verge of lastly packing it up and letting the ambition pass away, then he promoted an exclusive hip hop beat for $1000. The validation alone wasn’t life-changing, but whether it was coincidence or a burst of confidence translating to the music, sales on Myflashstore started spiking and the money started adding up, recently enabling Jay Stacks to become that very rare thing; a full-time beat maker and rapper with a stable, considerable source of income.
Jay Stacks’s mindful to insist that he’s more beat maker and rapper than producer, a true music producer creates tracks with others, but it’s beatmaking that’s allowing him to make music a profession. Every so often he’ll offer a beat exclusively, but for the most part he’s leasing beats, enabling him to market the same instrumental to multiple musicians and giving him the kind of theoretically limitless stock he can build a business on without relying on any other musician or label.
When we end our call I’m not sure what to think of Jay Stacks’s foreseeable future. As forward thinking as I try to be, my brain’s trained to enjoy producer success with major musician placements it’s tough to let go of, and Jay Stacks’s not immune to dreams of seeing his title on a platinum album either. He’s carefully plotting out his future steps, which could include inroads to the well known music business he’s so effectively circumnavigated so far; frankly he’s not sure.
This kind of music job isn’t just brand modern to him. It’s brand latest, duration. The story of what kind of long-term profession a producer can have through digital-only avenues just like Myflashstore is being written in parallel to his own tale. What a time to be alive and making music for a living.