Top 5 Income streams for producers 

In today's music industry streaming and licensing music has been on the raise. Digital downloads, cd sales has been on the decline. So where does that leaves the producers?. Back then producers ha to rely on record sales and advances to make money in the music industry. Outside of publishing it really wasn't that many outlets for producers to make money. 2018 there many ways for producers to make money out here. So here are our Top 5 income streams producers:



I know a lot of producers especially old school producers have a problem with leasing out their beats for a low price. But licensing beats has to turn into a whole new market over the past 10 years. This is one of the main income streams that producers can make money and earn a living off their music. You can lease out beats for $25-$30 bucks to artists whose looking for beats for a low price. Guess what you the producer still own the rights to the beats. Imagine if you lease a beat for $25 bucks and it has been downloaded 10x you made $250 bucks off that one beat. Plus your can still collect the publishing income as well.


This is one avenue that a lot of producers bypass often. There's an audience out there who loves to listen to instrumentals with out any singing or rapping on it. There is a lane for it. There are people who support this part of the music industry. There's money to be made with your beats. Also you can release your instrumental album with CD BABY, TUNECORE put it on spotify, apple music, tidal and pandora. That's an whole another income stream for producers. Then it's a good chance your album might end up on a spotfiy playlist. Now we talking $$$.


If you don't have any beats on youtube then you need to stop reading and go do this now. Youtube is the number one search engine in the world. When people go and look up music they go to youtube first. When artists need beats they go on youtube first before they go any where else. Even tho youtube criteria has changed but you still can make money with the ads on your videos. Plus a lot of well-known artists go to youtube looking for beats to buy. Another income stream.


This is another lane that's being over looked. Back then producers also wrote the songs as well as produce the record. Now not too many producers write songs today. I heard L.A. Reid say he doesn't buy beats he buy songs. Remember he signed Rihanna and Lady Gaga. They need complete songs for these type of artists. Indie artists need complete songs too. What better way to go into the studio with a well-known artist setting yourself apart not only with dope beats but lyrics that comes with it. 


It's a lot of artists in your city. It might be more dope artists in your city then there are dope producers. Get with as many as artists in your city as much as you can and put a project together and put it out under your company. This is a great way not only to get your name out but also increase your income. On top of that those same artists will come to you looking for beats to buy. The more artists you know the better you chances of increasing your income. Don't over look streaming and licensing your beats.



Top 10 reasons why you need a website 

Social media is not enough to be taken seriously in the music industry. Here are 10 reasons why you should have a website for your music: 

1.You own your .com domain name 
2. Social media platforms come and go - a website is permanent 
3. It's professional - labels, managers & bookers expect you to have a website 
4. You can sell music and merch directly to fans 
5. It can help you book more gigs 
It has all your career info in one place 
6. It lets you showcase your unique personality 
7. No design limits - you control your fan experience 
8. It's better for SEO organic search results 
9. You can collect emails and own your data 

10. You can do all of this with Bandzoogle, and it's easier than you think.

Salute to Bandzoogle for the article.


The Best Hip Hop Albums are Produced by One Producer 

This a great read from check it out:



It true. This is not even an opinion. I’m kickin’ straight facts. If you have a problem with what I said, you can DM me on my Instagram, we can met up somewhere, and you can catch this fade. 

Don’t tell me about Nas’ Illmatic, or B.I.G.’s Ready to Die. The universe is full of rare occurrences. But by and large, if you want to increase the odds of your album being memorable as a whole and not just peppered with a few hot singles between a bunch of filler bullshit tracks, have it produced by one beat maker. 

I’ve always felt this but of course Jay-Z’s 4:44 confirmed this again for me. It’s just a solid piece of art that’s nice to listen to from beginning to end. Most albums produced by one producer are. This was not so unusual once upon a time but somewhere along the line, labels got so desperate to get a hit record that they hired every hot hip hop producer they could afford to insure that they got a hit record somewhere on the album. 

If you need examples of the many consistent producer/artist collabs and noteworthy albums, I’ll present to you exhibit A,B,C,D, and the rest of the entire alphabet… 

Dr.Dre’s work with N.W.A .and his solo album The Chronic produced memorable hip hop classics. 

Organized Noise production relationship with Outkast 

RZA and the Wu Tang crew. 

DJ Premier and Guru (Gangstarr) 

The best albums A Tribe Called Quest are known for were produced by Q-Tip.

Almost anything produced entirely by Madlib (MF DOOM, Freddie Gibbs, etc…) 

Blu and Exile – Below the Heavens 

The Bomb Squad with Public Enemy 

9th Wonder and Little Brother 

J Dilla and Slum Village 

I’ll even throw Kanye’s first couple of joints in the mix. And I can go on and on. 

See, whether or not you like every song on an album produced by a sole producer is not what makes the work appealing. It’s the fact that the album feels like a book written by the same author as opposed to a book of short stories by different ones. Also the artist seems to come out of these unions with his or her own unique sound. Something that is quite rare these days. I get excited about artist/producer team-ups. They rarely disappoint. The same can probably be said about albums of other music genres as well. I’m not sure why those in the industry keep ignoring this obvious formula for quality hip hop albums.



Ced Wynez & Yooda performs in Minneapolis. 

This past weekend on May 12th I was in Minneapolis because Yooda (@Yooda21) one of the artist I produced music for was opening up for 8 Ball & MJG.

The city and people showed us a lot of love. The people in general was nice. We performed at Club Prive' right in the heart of

downtown Minneapolis. We differently enjoyed ourselves. 8 Ball and MJG of course put on a great show. Salute to all the artists

that performed and of course a big thanks and salute to DJ PHEINOX. He DJ'ed the set. The crowd was dope too. Here are a few

Pictures I took from the show.


10 Famous Beats Rappers passed on 

Great read. This has happen to us in the indie world. So we're not surprised.

Busta Rhymes Passed on "Halftime" 

Producer: Large Professor 

In 1992 Large Professor composed a beat for Leaders of the New School representer Busta Rhymes that would end up being "Halftime." With the two at his in-house studio, Extra P explained, "That beat right there, [Busta] was writing to it and everything." However, aside from Busta's contractual obligations, the Brooklyn MC confessed, "I didn't know what to do with it. I didn't know why I didn't know what to do with it, because I loved the shit out the beat." He would leave the studio as well as the beat on the cutting room floor, to which Nas liberated almost immediately. The rest, as they say, was history. 

Crooked I Passed on "How Do U Want It" 

Producer: Johnny "J" 

Despite his recent Slaughterhouse success and visible alignment with Shady Records, people forget that Crooked I has been in the rap game for a minute. Signing his first record deal in 1995 with Noo Trybe/Virgin, the Long Beach MC had the opportunity to snatch up the Johnny "J"-produced "How Do U Want It." Recalling the moment he heard the beat, he stated, "I sat in the office at Virgin and I was like, 'Nah, I'm cool with that.'" The song would later make its way onto 2Pac's 1996 double album All Eyez on Me with K-Ci & JoJo bringing the polished production full circle. 

Jay-Z Passed on "Whoa" 

Producer: Buckwild 

Before Black Rob gave us 100 different ways to act surprised in the hood ("Finger near a ni**a asshole like whoa"), the beat for his Bad Boy single was originally shopped at Roc-A-Fella Records. Producer Buckwild handed it over to A&R Lenny S., who in turn gave it to Jay-Z but to no avail. Memphis Bleek and Amil also took a pass on the record, which gave Black Rob the green light to go in over this grimy backdrop. 


Nas and Jay-Z Passed on "We Gonna Make It" 

Producer: The Alchemist 

While hailing from the Los Angeles area, listening to production from The Alchemist immediately evokes an East Coast aesthetic with an emphasis on the gritty and soulful. He certainly felt that way too when he shopped the "We Gonna Make It" beat to a handful of New York MC's, including Nas and Jay-Z. The latter heard it during a session at Baseline, while Nas actually had it tracked by Alchemist before he passed on it. Yonkers-bred rapper Jadakiss eventually picked up the beat (not without a bit of controversy involving Ras Kass who also picked it up) and it eventually became a single for his debut album, Kiss tha Game Goodbye. 

Memphis Bleek Passed on "Oh Boy" 

Producer: Just Blaze 

With Kanye West and Just Blaze at the production helm and an expanding Roc-A-Fella roster in the early aughts, any given day at Baseline Studios was an opportunity to thrive. Such was the case in 2002 with "Oh Boy," which featured a striking Rose Royce sample built over drums filled with gusto. The Just Blaze-produced record originally found its way into the hands of Memphis Bleek, but he passed on it. A newcomer to the Roc, Cam'ron scooped up the track and tacked on fellow Diplomat Juelz Santana for Harlem reassurance as "Oh Boy" would become his first single for Come Home With Me. 

D12 Passed on "In da Club" 

Producer: Dr. Dre 

After collaborating with Dr. Dre on a handful of records for their 2001 debut album Devil's Night, Detroit collective D12 went into 2002 with a few more beats by Dre, one of which happened to be "In da Club." However, D12 weren't able to find the right approach for the record and passed on it. Coincidently, 50 Cent had recently signed to Shady/Aftermath, and with his debut album in mind he created an undeniable club anthem that likewise appealed to the streets. 

Jay-Z, Beanie Sigel and Freeway All Passed on "Pump It Up" 

Producer: Just Blaze 

It's fair to say if a beat was made with Jay-Z in mind, it's going to be at least halfway decent. That's what occurred in 2003 with "Pump It Up," which Just Blaze constructed for Brooklyn's finest but ultimately wouldn't get the approval that "December 4th" and "Public Service Announcement" did later that year. He wasn't the only Roc-A-Fella artist who waved off the kinetic beat, Beanie Sigel and Memphis Bleek did the same. The beat—which sounded like a redux of A Tribe Called Quest's "Senario (Remix)"  since both songs sampled Kool & the Gang's "Soul Vibrations"—ultimately fell in the lap of Def Jam signee Joe Budden. Hov would eventually jump on the remix to "Pump It Up," but we're guessing it wasn't the type of remix Budden was seeking. 

Fat Joe Passed on "Candy Shop" 

Producer: Scott Storch, Fat Joe 

As Fat Joe tells it, he and Scott Storch co-produced the "Candy Shop" beat, but he wasn't inclined to make another record like "Lean Back" despite its commercial success. After letting it sit, Storch called, asking, "Yo, you sure you don't want to use it? 50 Cent called me. 50 Cent want it." Fat Joe declined, and 50 Cent turned it into a seductively juicy record that made women swoon, which further cemented his stature as a rap sex symbol on The Massacre. Ironically, Fat Joe's reward for helping 50 get yet another massive hit was getting dissed on "Piggy Bank."  

Shawnna Passed on "Gold Digger" 

Producer: Kanye West 

In 2004 Kanye West linked up with Ludacris and fellow Chicagoan Shawnna in Atlanta to do work on what would be the DTP rappers' debut album Worth tha Weight. The session heeded positive results ('Ye produced the provocatively smooth "What Can I Do"), but Shawnna opted out of pursuing a record that featured the hook, "I'm not saying I'm a gold digger/but I ain't messing with no broke ni**as." 

Kanye kept the record, and after fine-tuning its presentation and drawing inspiration from Jamie Foxx's Oscar-winning performance in Ray, "Gold Digger" was brought to life for his sophomore album, Late Registration, and became one of his all time biggest hits.  


Pusha T Passed on "Niggas In Paris" 

Producer: Hit-Boy 

Kanye West has long-time been an admirer of Pusha T's lyrical prowess, so it came as no surprise that he took a vested interest in the Thornton brother and subsequently signed him under the G.O.O.D. Music banner in 2010. 

The relationship clearly has its perks, as Pusha has come across a wide array of beats to choose from. However, he turned down one beat, explaining, "I was in demonic rap mode." His manager later described the MC's reaction in receiving the beat: "Pusha said, 'It sounds like a video game. Get that shit out of here!'" That "video game" sound ended up being the Hit-Boy-produced "Niggas In Paris," which Kanye and Jay-Z would virtuously tag-team on Watch The Throne.

Article from

Ced Wynez along with Yooda on Ridin Durty Radio 

Myself and Miami artist @Yooda21 was on Ridin Durty Radio promoting the our album Hiroshima in Atlanta.
Not we talked about our music and upbringing but we also touched a few topics as well. Big Big special
thanks to Big Vic XL and the crew for having us. The interview/show is also on souncloud.


Ced Wynez interview 

Shout to for interviewing our producer Ced Wynez on their platform. feel free to leave a comment and show love. Interview below

This week I’m choppin it up with one of the newest addition to the Fleet Producer Team Ced! 

SOM: Tell me about yourself how did you get your stage name, where are you from,etc?   

I was born & raised in Miami, FL. I’m from Liberty City. Tough neighborhood. My stage name is part of my real name and father’s last name. So I want to give the people more of ME!. Plus my name is more marketable. 

SOM: Why did you decide to become a Producer? 

My brother is a saxophone musician and he use to make beats in his spare time. So 
I said I can do that. I started doing my research on production and making beats. After that I got hooked

Full interview click here.


5 important steps to take before releasing your single. 

Okay so you recorded a dope song, possibly a great single. You ready to release it for the world to hear. But before you do that there are a few steps you need to take before you release it. These steps are very important because it can mean be the difference between of making and losing some MONEY! Here are 5 steps you should be before releasing as single:


Surprisingly, many artists skip this part of the process. I can't not tell you alot of good songs suffer because artists dont take the time and money to go get their music professionally mixed and mastered. So please do yourself and all of us a favor, don't skip this part.


You should already be signed up to one but if you arent then I highly suggest you do so like RIGHT NOW!. You are a songwriter, these companies collect money for you when your song is played on the radio, tv, youtube, pandora etc. No need to say more. Also you want to sign up to soundexchange as well.


This is the most important one of all. Register your song with the copyright office. It's 45 bucks to do so. A small investment that can save you many nights off not sleeping if someone tries to steal or use your work without permission. If this happens then you have the paperwork to back you up in court.


At some point before the recording process begins, you and the producer should have already sat down to go over split sheets and make sure you have exclusive rights to the track you're recording over. Its not a good feeling knowing you got a hit but you cant work nothing out with the producer. So handle the business with the producer before you start promoting the song.


This the last step but a very important one as well. BDS stands for Broadcast Data Systems. They are a service that tracks monitored radio, television, and internet airplay and detection. So when your song gets played on radio TV this company tracks it. The rumor has it that the labels uses this system to track what songs are getting played. So yeah you might want to sign up. It's free too.
Make sure you follow these steps before you release your single on itunes. Also get with a good graphic designer to design your cover art for your single. Having great visuals does help out alot. Trust me.

Follow us @Beatsbyced


Why are Hip Hop Producers are Killing the game. 

DJ Pain 1 is a dope producer but he always giving producers and artists some knowledge. This is by far the best knowledge out right now. shout out to DJ PAIN 1

When a producer gives a beat to a rapper/manager/label without asking for anything in return, in other words, "for the love," that entity can:

1. Sell the song for a profit and never pay the producer
2. Build his/her brand and boost his/her career
3. Monetize online plays/streams (even on your Youtube and Soundcloud pages)
4. Book shows/tours based on this original music
5. Merchandise and profit
6. Submit music for radio/tv play without ever determining publishing splits
7. Pay for marketing, design, photos, engineering, merchandise, but not for production

The producer loses in every scenario. Where's "the love?" It's not unreasonable to expect some type of fair compensation for your talents and efforts. Making a living doesn't ruin your art.

Ideas for producers:

1. 50/50 album partnerships with recording artists
2. Trades (beats in exchange for verses, etc)
3. Set a floor and ceiling for beat prices and stay consistent
4. Production deals
5. Releasing instrumental music (create a demand for yourself)
6. Monetizing your own streaming music (Content ID, Adsense, etc)
7. DJ for artists you produce for to split show fees
8. Form groups with even splits (Ever heard of Gangstar?)
9. LEARN. The more you know, the less you can be taken advantage of