Why Do Rappers And Singers Choose To Buy Rap Beats Online?

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Are you a rapper or an aspiring rapper curious about where to source for beats? Are you a music producer or an enthusiast curious about the reasons why many artists are choosing to buy beats online? For any of the above reasons or others, one of the undeniable trends in the music industry is that many musicians are now opting to buy rap beats online. In fact, a great number of independent rap artists and future rap artists are choosing to embrace technology when sourcing for hip hop beats or instrumentals online, for a number of reasons. Here are some of the key reasons below.

#1: Access and Efficiency:

The online space has become a powerful medium for many musicians and rappers in terms of the ease of access to quality beats, with the simple click of a button. Getting high quality beats is a major challenge, especially if you are an up and coming rap artist with limited resources. The resource limitations alone are enough to dissuade a young talented rapper, and the lack of enough funds might result to substandard or poor beats. However, the online world offers easy access to high quality beats effortlessly. Before spending that cash for rap beats, the internet is definitely one of the mediums you need to explore.

#2: Affordability:

Getting a professional to produce your beats in the studio is not an easy feat. In fact, it can be very expensive to get a hold of professionally produced beats. Furthermore, producing beats in the studio takes some time, and you may be in a hurry. After all, you need to release your rap single before your competition does, to make it in the rap industry. On the other hand, buying beats online is more affortdable as compared to purchasing professionally produced rap beats. More so, it is very convenient in terms of time. Keeping in mind that majority of up coming artists do not have the luxury of funds to employ the services of a professional producer in a physical studio, buying hip hop instrumentals online offers an excellent alternative. One of the crucial bits of information that many upcoming artists are not aware of is that you can get quality beats for as low as a couple of dollars online. The stiff competition for online beat markets has the effect of driving prices down, ensuring you get quality with comparatively much lower funds. If this does not sell you for this idea, then consider that buying beats online offers you the flexibility of sampling through the available beats before you can make a purchase. Convenient, right?

#3: Time Savings:

As mentioned above, one of the benefits of buying rap beats online is the convenience of getting them quickly. There are numerous professional studios, most of which may be widely separated geographically. Therefore, when you need to buy beats from a professional producer working from a studio, you might have to go through several studios before you get the right fit. The costs in terms of time of walking or driving from one studio to the other can be immense. In comparison, you only need a search engine and an internet connection to access the top beat marketplaces. The process itself is very quick and seamless, and the checkout process is easy and hassle free. You will be able to hit the download button before your competition gets to the first studio.

#4: Variety:

The online marketplace has no shortage of a wide variety of beats to suit your style or tastes. Besides the existence of numerous websites which offers beats online, majority of vendors offer a wide variety of beats to suit the diverse rap styles and tastes. You can go through several websites with great ease to find the right fit for you.

#5: Licensing and Rights:

Buying rap beats online also offers the added advantage of gaining full rights to make use of the beats for commercial purposes. Buying beats online allows you to use the beats in any means you please. Some professional studio produced beats may have limitations which may undermine your usage of these beats for commercial purposes, or they may attract additional unwanted conditions.

#6:Conclusion:

With the above in mind, it is crystal clear that buying beats online is an excellent idea, and something you need to consider whether you are an aspiring rapper or an established rapper. Just think of the convenience, the variety, and the ease of access to millions of high quality beats on the simple click of a button. The future is now.

If you are looking for a legit website to buy rap beats online, I recommend to visit https://www.insane-beatz.com and browse more than 300 professional hip hop and rap beats.

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Unmasking A New Villain In The Fight Against Piracy In Nigeria

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TIME TO FOCUS ON THE BIGGEST PIRATES IN NIGERIAN MUSIC INDUSTRY

I think it is really ironic that when we talk about piracy in Nigeria, all we ever talk about are the marketers in markets like Alaba and elsewhere. To almost everybody in the Nigerian music industry, entertainment writers and even the government, music piracy seems to start and end with the local marketers in the retail markets who replicate people’s songs without paying any royalties to the musicians. Nothing can be further from the truth!

As an ardent follower of the industry and a stakeholder who has invested millions in the careers of many artistes in the last 2 years, I am of the opinion that we have all allowed ourselves to feed into the red herring and misdirection on piracy that are probably borne out of ignorance, fear or plain deceit by our leaders in this fight.

As we can all testify to, radio stations are a very big part of our entertainment and music life in Nigeria. With over 300 radio stations blasting music 24-hours a day, I continue to be perplexed that we are worrying about royalties from Alaba when the real money should be chased at the radio and television stations. Afterall, the law is very clear that royalties MUST be paid to the different copyright owners every-time music is played on air.

Radio stations by definition are major consumers of musical works. The programming of most radio stations is over 90% music. The main thing they are selling to the public is music. Listeners tune in to stations like Rhythm F.M. Wazobia, Classic FM, Eko FM, Inspiration FM etc mostly to listen to music. Businesses and advertisement companies also advertise on radio stations because they are reaching their target market with music. Radio Stations will die overnight without music to play for their listeners.   For us to understand the critical component of music to radio stations, try and imagine a Rhythm FM, Classic FM, Raypower or Wazobia FM without playing music for only one month. I guarantee you they will ALL be out of business long before then. Yet, what efforts are being made by these stations to pay the right royalties to those who use their talents and resources to create this music?

Now the irony of it all is that while these radio stations budget billions of Naira every year for salaries, fuel, transportation, repairs, equipments etc, they barely mention payment of royalties to the local artistes in their budgetary allocations. If they did, the artistes don’t know about it or have not felt it. I think the time is right for us to publicly challenge these radio stations on how much they spend as operating expenses every year and what percentage of that goes into paying for the biggest raw material(i.e music) they have been using to prepare their programming.

For those who may still need a context to understand how big this ignored elephant is, I will give the example of a CAR DEALERSHIP. The main thing the car dealership sells is cars. Now, imagine a Car dealership preparing a budget for the year with no budget for purchase of cars! Or imagine a fashion designer store preparing a budget for the year without providing any budget to acquire clothing fabric. Or better still, imagine a newspaper company planning a budget without providing for purchase of newsprint. Yet, that is what is going on in the boardrooms of most radio stations all over Nigeria. They simply take the music for granted simply because most of our artistes are ignorant and desperate for their music to be played.

So, the payment of royalties for music played on radio stations remained a big elephant in the radio room that we have ignored for years in this country and I think it is time that somebody starts addressing this gigantic elephant if we are ever going to have equity and fairness in this country.

 

While the fight against Alaba pirates is certainly a good one, I think a more rewarding war on piracy should be declared against radio stations and music-based TV programs in 2011. This fight is a much better fight for artistes and collecting societies because the chances of winning and getting paid is much higher than fighting phantoms and vicious faceless alaba pirates that no one can seem to identify. Radio Stations on the other hand, have names and they have identifiable owners. Radio stations are regulated by the government who can compel them to do the right thing. Radio stations are physical entities that can be picketed and boycotted. So, why are we leaving the elephant unfed in the radio rooms while we chase ghosts in Alaba? I think resources of the govt, artistes, lawyers and collecting societies should be focused on the radio stations and music-tv programs in 201. We stand a better chance of winning that fight!

 

So, I suggest that instead of Chief Tony Okoroji of COSON and Mr Mayo Ayilaran of MCSN tearing each other apart on the issue of who should be collecting royalties, they should come together to make sure our radio stations feed the big elephant in the radio rooms across the country. I also suggest that if the new NIGERIAN COPYRIGHT COMMISSION wants to write his name in history, he should ‘enter’ the radio rooms across the country with appropriate regulations and demand that the elephant of royalties to Nigerian artistes should be fed….

 

Of course, I understand many of the big names in the music industry are too afraid to confront the radio stations and demand justice because of their reasonable fear that their artistes may be blacklisted by these radio stations but I believe this fight can be depersonalized if the WHOLE industry joins in the fight with a concerted effort using all legal means at our disposal including machinery of state, Court Actions, Boycotts, Sit-ins and Picketing of any station that refused to do the right thing…

Tony Ward – The Music Marketer

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Tony Ward is the founder of Man On The Ground – a Hong Kong-based music and entertainment consultancy firm. Before launching Man On The Ground, Tony spent over 15 years in New York in executive marketing positions at Sony Music, BMG, Arista Records, EMI Records and Sanctuary Management. Tony managed marketing campaigns for many successful artists, including, Santana, Sarah McLachlan, Patti Smith, Eurythmics, Beth Orton and Spiritualized. For the past three years, he’s served as the Program Director for Music Matters, Asia Pacific’s annual premiere music industry event. Tony shared with us his valuable insight on the future of music and the breaking of acts.

RL: How did you get started in the music business?

TW: I’ve been a music fanatic my whole life and didn’t think of much else growing up. Then, in the 80s, I worked at my college radio station in the US. I always loved the music from the UK – especially from the then indie label, Virgin Records. So when I graduated, I decided to move to London and was determined to get a job in the music business. I actually managed to land a job at Virgin Records in London and worked there for a few years.

RL: What led to the creation of Man On The Ground?

TW: When moving to Asia, I immediately recognized that many western artists or entertainment companies now view Asia as an opportunity market for expansion and growth, and are in need of someone to help them navigate the nuances of the industry here. Many from the west see Asia as a big question mark and need assistance making connections, launching a product or service, or help with career guidance.

RL: Tell us about your role in Music Matters? What led you to take the position as Program Director?

TW: Several weeks after moving to Hong Kong, I was introduced to Jasper Donat, who is President of Music Matters. He was looking for someone with industry experience to design the conference program and secure guest speakers. We hit it off. The conference has grown to be the premiere industry event for Asia. My role at Music Matters is to create the panel topics, locate appropriate panel and keynote speakers and write the program. I also work on the festival side of the conference – Music Matters Live.

RL: What was your most successful marketing campaign for an artist?

TW: In the mid-90s, I was in New York at EMI Records and worked with a band called the Fun Lovin’ Criminals. They were an amazing live band with incredible personalities and charisma. We felt they were perfect for the UK and European markets, so we focused on breaking the band in that region and committed to this by taking the band there again and again. Over the course of a year, they went from playing small clubs to huge festivals across Europe and still have a large following in the UK today. So the philosophy of having a band return repeatedly to a market worked and I still believe in it to this day. I also worked on Santana’s Supernatural album, which sold 25 million albums around the world – so that was pretty cool as well.

RL: Who has been your favourite artist to work with? Why?

TW: Without a doubt it was Patti Smith and we worked on several albums together. It sounds like a cliche, but she is a true artist – musician, painter, poet, writer, and photographer. In 2007, she was inducted into the Rock and Roll Hall of Fame and in 2010, she won the National Book Award for her book Just Kids. Not many artists can say that.

RL: How do you think social media has affected the breaking of acts?

TW: It has obviously become important in breaking an artist from many angles – for example, many artists are now discovered on YouTube and labels troll the internet looking for talent – so there is an additional avenue for discovery. When used effectively, artists can open a very useful line of communication and commerce with their fans through social media. But in the end, it’s still about the music and playing live. If you don’t have that expertise, it doesn’t matter how many Facebook fans you have in the long run.

RL: Where do you see the future of music heading?

TW: I think it’s looking up from where it’s been going over the past 10 years, particularly for the independent, self-sufficient artist – but in different ways from how we’ve gauged success in the past. As an artist, it will be more about creating your own network of fans and marketing and selling directly to them. And it will continue to be about the live side of the business and having a global perspective.

RL: What is your advice for indie artists everywhere who are hoping to take their careers to the next level?

TW: Work very hard on being an incredible live act and always work to hone your live craft. Take your time and don’t try to skip any steps. Also, try to travel to the various music industry conventions and events around the world. It’s not cheap, but you will learn a great deal, perhaps make new and important connections, and understand how the industry works from a global perspective. Look for every opportunity out there for international festival performance slots- there are opportunities for indie artists. You can even try to utilize the crowd-funding options that exist today to help fund the trip. There are also so many on-line tools that indie artists can utilize to grow their fanbase – from selling and streaming music, studying analytics, creating and selling merch, raising funds, and getting your music distributed digitally around the world. Study the tools that are at your disposal.

Tony Ward lives in Hong Kong and continues to dispense great marketing advice.

Man On The Ground Official Website: www.manontheground.asia