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True. The Motown assembly line would be one I'd work at. You will not see me peddling steak knife "HOT WIZ KHALIFA w/ hook" beats on the net. But you will see me plug my albums, Most of what is on the radio can probably be done in any daw in 2hr or less, if you can figure out the sound library they used. I think the magic in radio music right now is the mixing. All I know is with all the noise out there, I've got to make sure what I'm putting out pierces through it. If it's not back to the drawing board. I would advise the same. The most impressive beat making I've heard in a while was off of Danny Brown's XXX.
I hear you, i the t. It's the struggle between assembly line or custom cars approach to beatmaking. I have a full time job so I'm not struggling to pay rent making knock off beat on soundclick (no everyone on soundclick is bad, haha). If music becomes my bread and butter then I don't want to be chained again to a desk cranking out product for a client I have no connection to. I might as well stay doing what I'm doing. It will probably pay a lot more and I'll get more sleep. I do this cause I love creating something by myself and with people that is a part of me, not a campaign or fad, just me. I think that's the problem people are more about getting "hustle on" then getting their creativity or feelings on. But like I said, I'm not in anyone else's shoes. I'm just observing.
I was saddened when I got in to beatmaking to see that it wasn't about building a team or relationships but seeing how many beats you can sell for $20 or $50 to a people you've never heard of or care about. I want to work like you said, with talented artist that have a connection with. That's part of the reason I haven't actively pursued selling anything. I'd rather perform and sell my instrumentals straight to the public then give them cheaply away to someone who doesn't appreciate them. I'm slowly finding some people though.
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Dec 6, 2011