4 PRODUCERS PER ARTIST.

                             4 PRODUCERS PER ARTIST

After a long discussion in the office by our small but very talented staff at THENXTSTAR 

(shameless plug) lol. 

We came up with a format and actual number to the mystery of how many producers should a recording artist have on one project. 

We took all our answers from 5 different staff members and 4 others that happen to be in the office, we questioned each answer on why that number would be the best fit and after doing all this a few hours and beers later we came up with         4.

Here is why we chose 4 producers per artist album. 

As a recording artist you need your 1 go to producer,  look at it like this ( DRAKE HAS 40) and every real artist has one producer who just gets it and can give your thousands of tracks that fit your style.  This producer should be your in house producer. 

IN HOUSE PRODUCERS: 

This producer is your go to producer, so your contracts should reflect this, your in house producer is the key most important part to your music, besides marketing.  Negotiate with your in house producers on percentages of sales. 

Creatively Royalties 

are usually broken down 50/50 this means 50 towards production and then 50 towards artist label etc. This percentage can go up and down, but remember that this is the producer that will be creating your whole sound and also powering your career with fresh beats so treat them with respect and don't try to be to cheap on the percentage margin. 

Anything lower then 25% of the royalties for an in house producers who creates more then 40% of your album is disrespect. 

2nd Producer 

This producer should be just as good as your go to producer, and here is why. 

 If your in house producer happens to get big headed LOL and leaves you, 

you may loose your signature sound completely. The 2nd producer keeps a safety                         net for you can also compliment your sound and would give you the same quality                         beats at a lower rate or smaller percentage of the royalties if you create a hit single                       with this producer. Also it will create a small studio rivalry as both producers will be up to challenge each other on making your new hit sound. The 2nd producer can be offered some royalty interest on album sales but you should never offer more then 20%. unless the 2nd producer has actually produced more of the album then your in house producer 

( this sometimes happens when then the in house producer is your go to producer for singles, 

1-3 tracks. but the 2nd producer is the one who makes the more solid tracks to fill an album) 

3rd Producer

The 3rd producer should be the one who pushes the envelope tests your limits on musical boundaries the producer that makes those slightly experimental tracks that will make you go outside of your safety zone. This producer should only be offered royalties on singles. 

If they are going to contribute to your album then negotiate a buy out per track. 

This producer should not have more then 2 tracks on your album unless your looking to transfer your sound and move this producer up your production line. Pay them off first. or negotiate a pay back per track once albums start selling etc. but not a royalties agreement. 

4th producer

The 4th producer is technically the youngest or rawest in your group, this person has budding talent, and keeps a fresh spin added to the production circle. This producer could work wonders on mixtapes  and free tracks to give away. The 4th producer is good to flood the underground market. If your paying for these tracks only do cash or per track contracts, never do royalties for this one, unless this producer has made you a single. 

In the event of making  a HIT SINGLE with an outside producer, other then your go to 4 producers, negotiate a contract for royalties only on that single. If your going to add that single to your album, then create a buy out clause, unless your willing to give this outside producer a chunk of royalties for one song on your 12-15 track album produced by your groupd of producers. A buy out is an amount you will pay this producer to own track outright with no royalties involved remember the 50/50% break down and with 4 producers already in your camp you can only split that 50% up so much before you start dipping into your own 50% portion. Also remember that if signed to a major label your portion is more like 25% the label has to eat. 

GOOD LUCK FINDING YOUR TOP 4 PRODUCERS, ONCE YOU DO THIS A SOUND WILL BE ESTABLISHED FOR YOUR MUSIC AND CAREER SO CHOOSE WISELY. 

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