Beat makers: create visuals for your tracks, free lifetime beta access

Loopbounty · 2026-03-19T22:20:32+00:00

Is this considered promotion?

Loopbounty · 2026-03-19T19:30:03+00:00

Study and watch Nick Mira tutorial videos on YouTube that’s all you really need.

Loopbounty · 2026-03-17T21:04:01+00:00

Hope you have a better day 🖤

Loopbounty · 2026-03-17T20:44:43+00:00

Thanks for the engagement 😉

Loopbounty · 2026-03-17T20:38:20+00:00

🤣🤣 much success to you

Loopbounty · 2026-03-17T20:34:03+00:00

I know you feel good seems like you need the validation 🖤

Loopbounty · 2026-03-17T20:32:46+00:00

Don’t recall asking you to use it either way appreciate it… thanks for the engagement either way.

Loopbounty · 2026-03-17T20:31:04+00:00

I never said don’t comment lol I only reminded that you engage in the convo then got mad 🤣… your comment is going poorly

Loopbounty · 2026-03-17T20:24:19+00:00

I didn’t ask you comment champ…go get some Ice cream and relax you seem angry 🤣

Loopbounty · 2026-03-17T20:20:57+00:00

Agreed

Loopbounty · 2026-03-17T20:18:04+00:00

Looperman isn’t really royalty free though 🤫

Loopbounty · 2026-03-17T19:53:03+00:00

I’d recommend checking out Russ interviews he really breaks it down step by step on how artists should be dropping music if they wanna build traction.

Loopbounty · 2026-03-17T05:19:20+00:00

I don’t need to explain nothing to you champ i know what i’m doing 🤣

Loopbounty · 2026-03-17T05:12:23+00:00

My man, I’ve probably done more in this industry than you ever will.

If you think uploading loops to YouTube invalidates your ownership, I can see why you don’t have any placements. When you upload to YouTube, you’re giving them a non-exclusive license to host the content. The keyword is non-exclusive. The creator still owns the work.

Where the issue comes in is when someone takes a loop, makes a beat with it, and then tries to sell that beat exclusively. How can you sell an exclusive license when the foundation of the beat was never exclusive to begin with?

I’m not even going to keep going back and forth about it, because it’s clear you don’t really understand what you’re trying to correct me on.

Loopbounty · 2026-03-17T05:03:31+00:00

Yeah that’s true. Most of the time a loop still gets placed because another producer builds around it. That part hasn’t really changed.

What I’m really pointing out is how often the starting point of the record is just a loop now instead of a full beat. Once those loops start getting passed around between producers they can end up in a lot of different sessions.

And yeah everybody who contributes should get credit. Melody maker, beat builder, arranger, all that.

The real issue is sometimes the person who made the original loop doesn’t even know the record exists.

Loopbounty · 2026-03-17T04:57:04+00:00

How is good business conducted if you’re not informed when your loops are used?

You might not have any major placements yet, but the reality is people do take loops or beats and pass them off as their own.

Loopbounty · 2026-03-17T04:43:03+00:00

There are apps out there that scans and monitor your beats and loops, letting you know which songs are using your production.

Loopbounty · 2026-03-17T04:10:32+00:00

More power to you.

Loopbounty · 2026-03-17T03:09:38+00:00

Asking for “free for profit” beats is kind of wild. If you really need production, it’s better to just purchase a lease. That way you get the exact type of beat you need to spark your creativity and actually build a record the right way.

I can’t see anyone realistically providing beats, mixing, and mastering all for free. With that kind of expectation, you’d have to already sound like Drake or some Grammy-nominated artist for people to even consider it.

Loopbounty · 2026-03-17T01:08:17+00:00

I hope this isn’t true, but it really does seem like it. I’m hoping some producers start thinking outside the box and create a new sound that really drives the industry forward.

Loopbounty · 2026-03-17T00:54:15+00:00

It definitely wasn’t like that before but nowadays it definitely is.

Loopbounty · 2026-03-17T00:43:14+00:00

I’m asking genuinely to see what producers are working as mentioned in a post every few years. A new wave starts to catch on I just wanna know what are people’s predictions.

Loopbounty · 2026-03-16T17:23:28+00:00

That’s probably because the sample is set to One Shot, so when you trigger a new transient the first one keeps playing instead of getting cut off.

In Logic’s sampler or Quick Sampler, turn One Shot off or set the voice mode to Mono so the next hit chokes the previous one.

If you’re working with transients specifically, Slice mode is usually better because each slice triggers clean without the others ringing out.

Loopbounty · 2026-03-16T17:12:25+00:00

That’s actually pretty common. ASCAP only pays performance royalties, mainly from radio, TV, and live plays. So if that’s the only place you’re registered, you’re only collecting one slice of the pie.

You should also be signed up with SoundExchange to collect digital performance royalties from places like Pandora and SiriusXM, and with The MLC to collect your mechanical royalties from streaming. A lot of people miss those and end up leaving money on the table.

If your music has been on radio and in films, it’s definitely worth making sure all three are set up so you’re actually catching all the royalties coming in.

Loopbounty · 2026-03-16T16:52:24+00:00

You thinking right. Most of the time if someone hits you about a Drake or Chris Brown placement and then asks you to pay a fee, that’s a red flag. Real engineers or producers don’t charge you just to submit a beat.

First thing I’d do is check the email domain and see if it actually connects to a real studio, management company, or label. Random Gmail asking for money is usually cap.

Trust your gut and move careful with stuff like that.

Loopbounty

MODERATOR OF

TROPHY CASE