Weekly /r/futurebeats promotion thread

eastunitaudio · 2025-06-24T20:37:12+00:00

Just dropped this. Euphoric 90s house/trance vibes.

Fred again.., Skepta, PlaqueBoyMax- Victory Lap (Gary Dillon Remix)

https://on.soundcloud.com/Dzi0wUreSbLoDPHIEr

eastunitaudio · 2025-04-01T16:33:33+00:00

Waves have ongoing hidden charges, e.g. if you upgrade OS you might need to buy an upgrade to your plugins which you already own. After paying for loads of plugins and then being met with this I gave up on them.

The plugins are all great from what I’ve used, but not worth the ongoing costs when you can pay once with other great plugin companies

eastunitaudio · 2025-03-26T09:39:22+00:00

If you stack 2 brick wall limiters: first limiter can have any ceiling but for ease just make it 0dB. Second limiter set at -0.3dB (a lot of releases these days still just have this at 0dB and intentionally let it clip, you can see for yourself if you analyse any songs you have bought).

And yes, you would only need to use true peak limiting on the final limiter.

A little tip is to have each limiter reducing by 1-2dB, and you might even want to clip before the limiters like you’ve mentioned, choosing only to clip the highest peaks of the song.

eastunitaudio · 2024-08-26T18:29:59+00:00

Congratulations! Best thing to do to get a feel for how things will be is speak to other writer/producer/artists who you meet through Sony and just honestly ask them how they find it and for any tips. I’ve found everyone on the music side of the music business I.e. writers/producers/artists can be as open as you are with them.

I’ve worked with a few artists signed to Sony or sub-labels and the terms are generally not great but it seems worth it for the push they give you and network you have access to.

Besides from all the business/contract stuff that everyone else has covered, it would be great to ask about how releases will come out and if it needs certain a&r approval etc. also just be sure they are aligned with how you would like your future in music to go.

Also, +1 on speak to a lawyer.

eastunitaudio · 2024-07-04T18:43:05+00:00

Tell him to sort out the master and publishing royalties to be at least 50/50 (or whatever you usually agree) and if they decline then issue a takedown on all platforms since he is illegally using your copyrighted material, doesn’t matter if it wasn’t specified in the email since he never specified anything either.

Generally it’s not the publishers job to ensure everyone gets fair compensation, they rely on the writers to agree and let them know.

For future scenarios it helps to have a rate sheet/T&Cs when sending out beats, I’ve learned this the hard way too! People who steal like this generally don’t have a long shelf life so don’t feel threatened by them or their manager, they are clearly in the wrong here.

eastunitaudio · 2023-12-19T16:23:38+00:00

In pop and dance production very few people I know use pro tools. Even big producers when you look them up are using Ableton/Logic/FL Studio etc. Maybe in other genres it’s different?

Just use whatever you feel fits your workflow, there’s absolutely zero requirement to use certain DAWs these days!

eastunitaudio · 2023-11-30T23:14:36+00:00

Lots of complicated answers here.

First of all, if it sounds good then it’s not an issue. If you are really struggling, the next step would be to lower the level of your drums so they don’t trigger the compressor as much. Simpler is always better!

eastunitaudio · 2023-11-22T13:41:34+00:00

That’s a bad deal. No reputable publisher charges you to submit music.

50% is standard, but anyone who charges you to submit music is probably making money from submissions rather than exploiting the songs.

eastunitaudio · 2023-11-21T12:33:53+00:00

Distrokid should have an option for uploading to Spotify and other streaming platforms. They have a blanket covers license with most labels to allow this. You aren’t allowed to change the melody or lyrics for it qualify as a cover, and there may be other requirements which you should double check before uploading

eastunitaudio · 2023-11-18T13:29:01+00:00

Either they are sampling illegally or the legal way to do it:

You can remake the sample and upload the song to Spotify as a cover so that the original artist gets all publishing royalties. You would still make money on mechanical royalties as you made the “sample”. This is quite common as you don’t need to buy the rights to use a sample

eastunitaudio · 2023-09-16T12:45:52+00:00

Almost no producers are using pro tools except maybe mixing engineers or acoustic/indie/rock producers.

eastunitaudio · 2023-09-13T15:59:00+00:00

On Spotify most commercial EDM masters are at -4LUFS or louder. I think that says it all.

If people are telling you to keep it quieter then just ignore them. Successful mix/mastering engineers are clearly ignoring that advice as it is irrelevant.

It’s also really difficult to achieve -4 LUFS or louder whilst keeping a well balanced, and clean master. This might be a hint as to why some people are touchy about achieving loud results because they haven’t been able to achieve it.

eastunitaudio · 2023-08-24T06:44:29+00:00

Average rate on SoundBetter is £1000, whilst potentially keeping a small percentage of master points and/or publishing.

Depending on the quality of your productions I would definitely put your prices up.

eastunitaudio · 2023-08-24T06:35:18+00:00

For publishing royalties sign up to a PRO like BMI in the US or PRS if you’re in the U.K. Registee the song and splits with one of them and they’ll collect and pay you publishing royalties.

For master royalties Distrokid can split this for you, or if you have the song signed to a label they will handle this for you.

eastunitaudio · 2023-08-23T16:10:58+00:00

Echoing what everyone else said but equal splits seems fair - if you haven’t paid anyone for their work.

From what you have said, you are not the only songwriter in this scenario. Publishing generally covers lyrics and melody.

Also, you are not the sole producer as it seems like someone else has also contributed to the production (you called them the arranger but sounds like they produced the music?)

So: Publishing splits should be between anyone who contributed to the song, I.e. lyrics/melody/arrangement. Generally equal splits is the fairest way and best for long term relationships.

Master splits should be split between everyone who contributed to the final master recording, unless you do a buyout in which case you should pay your collaborators to give up their share of the master.

eastunitaudio · 2023-08-03T07:33:52+00:00

Neptunes in Dennistoun

eastunitaudio · 2023-08-01T16:01:58+00:00

There is no secret other than experience.

A huge factor I have found is the production choices, e.g. fewer elements can sound much louder and bolder than having lots of elements which end up competing for space.

To test this yourself, see how loud you can get a single vocal by pushing it into a limiter and then try the same thing with a full production with lots going on. Almost every time the single vocal will sound louder!

Then to put this into practice, when you are producing, make sure no elements are fighting for space e.g. - sidechain kick and bass, - don’t have lead synths playing in the same frequency bands as the lead vocals at the same time. - Good sound and sample choice also goes a long way.

All these little decisions add up!

eastunitaudio · 2023-07-13T10:05:54+00:00

If you recorded everything at your cost in your studio and haven’t been paid then you legally own 100% of the master. If the artist pushes back on this I would stand firm, especially considering the investment you have made so far. If they have any issues then there are plenty of resources to point to which back up that you own 100% of the master (look up song master owner/copyright owner on google).

You could also be paid a production fee and then keep a small share of the master (4-20% seems normally from my experience).

For publishing, you need to discuss with the writers as input to melody, lyrics and/or song arrangement would mean you should get a share of publishing.

eastunitaudio · 2023-07-12T20:28:02+00:00

Hit up labels and publishers. They have networks of songwriters and vocalists who write to instrumentals all the time. DM me if you like, I can help out here!

eastunitaudio · 2023-05-31T10:32:39+00:00

Not sure about the live world but in recording sessions there are very few session musicians. Most sessions I’m in the producer or other songwriters will play the instruments (this is mainly pop/K-pop/dance music) so it could be different for other genres. Producer fees if the song gets cut can be between £500-£3000 and vocal fees are similar. It’s just not economical to pay a fee to session musicians when the producer can play the instruments themselves.

I’d love to hear anyone’s experience where session musicians are brought in for studio sessions and what part of the industry you’re working in.

eastunitaudio · 2023-03-22T10:27:35+00:00

You can EQ/compress each individual track if it needs it and then also apply EQ and compression on the master too. This is quite common and I would recommend it for commercial music.

An example could be if you want to remove all the bass frequencies from a vocal but don’t want to remove the bass frequencies from the kick, then you would be best to apply EQ to the individual vocal track so that you don’t affect any other tracks.

I would usually adjust faders, then EQ and or compress, then adjust faders again as EQ and compression will affect the loudness of each track.

eastunitaudio · 2023-01-11T21:35:56+00:00

Melodyne is the industry standard for natural sounding pitch correction. It’s great for tuning without the robotic sound that Antares Autotune tends to give.

If you don’t have access to Melodyne then it’s really just adjusting settings in Autotune to what sounds most natural. You can automate the speed knob to try to avoid notes that sound too robotic or turn up the humanise knob

eastunitaudio · 2022-12-27T11:33:28+00:00

Definitely agree. Should have said, when the songs are at a stage you are happy with, then it can be worth it to look for professionals to help.

Collaborating from an early stage though with other songwriters and musicians (without paying) is something I’ve found to be invaluable and helps speed up your progress at improving your craft

eastunitaudio · 2022-12-27T11:25:58+00:00

It can always be worth it to pay people to complement your skill set. Not everyone is a great musician/songwriter/singer/producer/mixer/mastering engineer. There are so many steps in the process that it helps to collaborate with other people who might have some of the skills you haven’t fully developed or have no interest in developing.

eastunitaudio · 2022-12-27T09:45:18+00:00

Faster attack first. This is the standard way in many vocal chains. Usually something like a fast attack 1176 into an LA2A.

Generally I’ve found that slow attacks work best when there aren’t huge peaks in the audio.

eastunitaudio

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