The Best Way To Submit Your Beats For Placements

What’s going on music producers, let’s talk about submitting your beats off for placements and even probably some TV production. Let’s talk about it. 

Music producers, new year, new you. You wanna start getting more placements, maybe nobody’s ever explained to you a strategy of how to get placements. Now, you know, me personally, I’ve had the opportunity to produce for commercials on MTV, I’ve had the opportunity to have my music featured on VH1, I’ve had opportunities to produce for the likes of artists like Kendrick Lamar and Absoul and E40, but this is not about that. This is to show you that I have a track record that shows you I have a strategy for you, as you start to submit your stuff for placements, as you start to try to get your name out there, and you know, I know I’ve made videos in the past about you know, really honing your own business and only focusing on yourself but sometimes you know, there are people out here who wanna get placements and I’m not gonna down you for that. At one point in time, that was the biggest deal for me.

So, if you wanna get a placement, here’s the way that I go about it. Let’s start first when it comes to the artist and then we’re gonna talk about like TV sync and talk about you know, that particular world.

Now, when it came to an artist, I’ve gone through many different strategies when it comes to you know, attempting to submit my beats off. You know, especially when you don’t have a direct contact to an artist, when you don’t have an opportunity to you know, it’s like I for instance had Absoul before he was huge, he came to my grandmother’s patio and we recorded over in my grandmother’s patio and that’s how I built my relationship with him. You don’t always have that opportunity. S

o, as you’re submitting over for placement, as you’re starting to see emails pile up on your Twitter and they’re saying hey, submit your beats here. Here’s the mindset I will go about it. You know, now, a lot of producers in the beginning when you’re sending stuff off for placements, they get so insecure about I don’t wanna send you know, just a few beats and what if they’re not tight enough and what if they’re not, you know, what they’re looking for and I don’t know what they’re looking for and there’s so much confusion about what you should actually send.

Here’s what I’mma tell you, you should do first and foremost.

Zero it down to about 3 choices, yes, don’t send 15 to 20 beats. Cause you gotta think. When somebody has been going through a list, we’re gonna talk about the rapper that you’re submitting to okay? Imagine there’s a rapper, just put a rapper in your mind that you’re submitting beats to, right? Somebody you wanna get a placement. Imagine that they have been going through about 2 hours of listening to submissions through email, okay? And that’s not an exaggeration. I remember seeing back in the day Wiz Khalifa used to listen to beats on his live stream for 2 hours and I tell you, 60-70% of the beats, weren’t what the artists were looking for.

So, here’s how you stand out. As you’re starting to attach your beats to this email, first beat out the gate needs to be an absolute banger or whatever your definition of a banger. It needs to be so undeniable, that is the one. You need to start with that one, that’s first. Second, I would look for a beat that really is in the mindset of the artist, trying to figure out a beat that really fits the aesthetic of that artist and I mean you really should study that artist if you wanna submit beats to them and not just their old work, you wanna study you know, sort of the things that they talk about and the concepts they talk about. Like a Lupe Fiasco talks a lot about samurais and he talks a lot... So, maybe you have something as a samurai theme that you wanna submit off to him that you think might be aligning with his next project, cause you don’t know, you’re really playing a guessing game.

But make sure you submit beats that line up with their particular branding, with the second beat at least. Like I said, that first beat is the hard one and mind you, I have never heard anybody in the history of making beats, where a rapper came to me and said man, I would’ve took this beat man, it’s just too hard for me. Wait what? I’ve never heard that happen, so have no fear about that first beat, hard one. Second one, you wanna send something that’s really within the lane of their particular aesthetic.

And the third one. Send an oddball. Send a left field beat. Here’s the thing about it. You gotta think of rappers in the same way that you think about your next beat. Rappers are thinking about their next project, they’re not trying to recreate something that happened just the last album. They’re trying to advance from that, they’re influenced by so many things going on around them, other music, things in their life, maybe a rapper just had a son or a daughter and now they’re starting to look at the world a different way. Maybe they’re being inspired by you know, a soulful sample from the 70s and now that’s kind of the lane they’re heading into that direction. You know, it’s almost like, you couldn’t judge where Jay-Z was going, by listening to blueprint 3, you couldn’t predict a 4:44 was gonna happen, you know? Or you couldn’t predict that you know a watch the throne would eventually be a part of his catalog. But here’s the thing about it.

If you’re always thinking about the next phase, the next move, by sending an oddball beat, a beat that you know, people will be like, I don’t know if that’s a you know, Kendrick type beat, I don’t know if that’s it. That’s fine. Send that left field beat because they’re looking to experiment the same way you’re looking to experiment as a producer. So, as you start to put your beats together and you’re like yeah, I’ve been making a lot of trap beats, but I kinda wanna, I don’t know, I wanna do something more soulful. The same way you’re evolving, they’re evolving too, so don’t treat them as if, they’re gonna be stuck in the same box, over and over and over again as the years go on. You know, treat them as the creative creatures that they are. Cause you’re a creative creature in itself. I don’t mean that in a bad way. Treat them with that respect. Now those are three things that I think you should keep in mind as you’re submitting beats off to rappers.

Now, when it comes to TV and sync, you know really thinking about commercials and thinking about that particular world. The beats that ended up getting picked. Cause I’ve had placements in video games, all these different things. The beats that I feel like they pick, are the ones that you don’t really see people rapping over. They’re instrumentals that stand on their own, they’re instrumentals that don’t need a vocal on it because I’ve already filled that space up. So, some of those beats that you got, that are a little bit more musical, some of those beats that you’ve got that have a little bit more experimental sounds. Maybe even like some synthesizer blips that you’ve never used within an actual song. Maybe it’s some German down tempo you know/ dub synthesizers that are really harsh on the ears and nobody wants to rap on it.

Those are the type of beats you need to submit off for them. And then also, before you submit those off, make a folder based upon you know sort of the scenes that you see these beats for because a lot of times you’ll get these folks who are in the TV sync that say, man do you have something that’s great for a car chase? Or do you have something that’s like you know, somebody shopping on Rodeo or a very expensive you know street and they’re living the luxury life? Do you have beat that evokes the feelings of luxury you know, or promotes the luxury life? And as you start to think of it that way and what emotions, even like think about separating your beats between emotions. Like anger and frustration or you know sad or emotional. When you separate those, you make the job of the person who has to pick the music so easy. And when you make their job easy, they’re gonna make sure you’re getting taken care of. They’re gonna make sure that you get first dibs next time they start looking for submissions on beats. So, that being said, keep that in mind. Separate those by emotions, by scenes, you know maybe even double some of the beats down so that they fit different criteria.

Whatever the case may be, as you start to figure that out, there’s plenty of websites out there that allow you to submit. Why not prepare yourself first to get into that particular spectrum? You know, go to events. I remember the first placement I ever got, outside of a rapper was this thing called vans downtown showdown and it was at the Paramount studios, I had a friend that worked in the actual video editing company that was basically covering the event and because I went there, shook hands with the CEO of that company and he said hey, you make music? I said yeah, matter of fact I got a beat CD with me. This was back when we was holding CDs and CDRs all the time. I gave him the CDR, within a month, he asked for my performance rights organization information. He asked for you know, my PayPal information or my address and within a month I got a check for about 300 bucks, 200 bucks. 200 bucks I got a check and I was just like yo, this is too amazing. Well, that’s what happens when you get out there and shake hands and sometimes just open yourself up to other opportunities outside of just rappers.

Rappers are not the only ones looking for beats, you know you got YouTube channels now that are looking for beats. You got YouTubers that make gaming videos and now they wanna have your beats in the background. Start looking at it from that angle. Also, it’s a great way to get your name out, if you’re not necessarily looking for the money. Just get out there. That’s all you can really do. 

Once again, this is Curtiss King of airbit.com. Have a good one. 

Music producers, don’t forget to subscribe to the airbit channel right now. 

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