Your Final Audio Files for Release

For each final mixed and mastered track of your project, you need a 44.1kHz 16-bit WAV file for digital distribution upload and potential physical media printing. I  won’t delve into the digital audio concepts of 44.1kHz (sample rate), 16-bit (bit depth), and WAV file, but any professional engineer can properly deliver this specification for you. This is the file people will hear when they stream your song. Carefully give a final listen to all files for errors like pops, clicks, and distortion. Your mastering engineer will hopefully catch any of these things, but mistakes can happen and files can be corrupted in transfer on rare occasions, creating issues that weren’t present when the engineer heard the finished file.

In addition to your final 44.1kHz 16-bit WAV file of the full mix (the standard version for release), it's beneficial to obtain the following WAV versions from your engineer:

Essential: Instrumental Version To be eligible for potential opportunities like Sync Licensing placements you will need both the Vocal and Instrumental versions of your records. It’s also useful to have instrumental versions for your own uses, such as in the background of content about the song or project.

Essential: Show Mix If you perform with a backing track, ensure your engineer provides a show mix tailored for live performances.

Optional/Essential: Clean Edit A version with any curse words removed. This is only relevant and essential if you have radio play and sync licensing opportunities. 

Recommended: Cutdowns Create 60-second edits of your songs for social media content. Additionally, consider creating loopable short versions so your posts can run on a perfect loop. If you work in sync licensing, there are times 60, 30 and even 15 second versions will be asked of you.

Recommended: Stems While not completely necessary, if you plan to make use of a recording for years to come you may want to ask your mixing engineer to create stems of their project file for you. Digital audio project files can fall out of date as software updates over the years make certain FX or even full projects incompatible. The only way to guarantee you can return to your project as you left it for alternate mixes and edits in the future is to create stems. You may need different edits in the future for live show backing tracks, sync licensing opportunities, remixes and more.

Recommended  Stem Groupings 

Ask your mixing engineer to create stems in the following fashion. Obviously there will be some variance depending on the actual instrumentation of your song but this will send them in the right direction.

Lead vocals

• Background vocals (BGVs)

• Sound effects (SFX)

• Horns

• Strings

• Keys

• Guitars

• Percussion

• Drums

• Bass

• Click

• Guide

This article is an excerpt from my eBook “Our Own Way: A guide for independent musicians to distribute our recordings and maximize our royalties”. Click here to get your copy  👉📘. If you’re a beginner to intermediate independent recording artist, this ebook guide offers you the essential foundations for successfully releasing your recordings. You’ll learn how to distribute and promote your releases then bring home the maximum royalty-per-stream. I’ve also included my Sync Licensing Blueprint, a highly requested topic that I’ve taught at workshops and through social media content. 

How Do You Know When Your Record Is Release-Ready? Referencing

Creating music is an emotional pursuit, and it’s usually up to the artist to decide when to stop tinkering and release a recording rather than relying on objective standards. Some artists need to explore multiple avenues to feel they’ve done their due diligence on a song. Others want to capture their ideas and performances as close to the idea’s raw source as possible. Like the music itself, the recording, mixing, and mastering processes are largely subjective, but certain elements can be objectively checked. Through a process called referencing, you can be more confident that you’ve created a quality final product.

To reference, you must be able to play your song file inside a player like iTunes, Spotify, etc., or a DAW (Digital Audio Workstation) like Pro Tools, Logic, Ableton, etc., alongside examples of mastered records in your genre that you appreciate. Set your speakers at a comfortable listening volume and do not change that level going forward. Loudness is relative; we need every song playing back at the same level to discern if they are similarly loud. Flip between your song and your chosen reference examples, paying attention first to the loudness of each song’s loudest section. Does your song sound significantly quieter than your reference songs? Is it louder? Or does it sound about right? Next, pay attention to the clarity and bass of your song versus your references.

No two songs will sound exactly the same, but you want them to sound in step with what’s popular in your genre. If you have more than one song on a project, also flip between those tracks to check if the relative level is stable. You should be able to listen on your speakers or device comfortably at the same level for the runtime of the whole project. Be careful to listen only at a moderate volume level. Loud music wears out your ears fast, and by the second or third song, you’ll have lost the ability to accurately assess what you’re hearing.

This article is an excerpt from my eBook “Our Own Way: A guide for independent musicians to distribute our recordings and maximize our royalties”. Click here to get your copy  👉📘. If you’re a beginner to intermediate independent recording artist, this ebook guide offers you the essential foundations for successfully releasing your recordings. You’ll learn how to distribute and promote your releases then bring home the maximum royalty-per-stream. I’ve also included my Sync Licensing Blueprint, a highly requested topic that I’ve taught at workshops and through social media content. 

Choosing Your Artist Name

If this is your first release and you’re not using your real name, you’ll need to decide on an artist name for your music. Don’t take this decision lightly. You’ll want a name that represents you artistically and is yours to control in terms of rights and access. Here’s what to consider and research for potential artist names:

Can a potential fan hear it once, remember it, and know how to spell it?

• Is the name exclusively available to you on Spotify, Apple Music, social media, etc.?

• Is the website domain available?

• Will you be the first result in search engines using that name?

Releasing under a name that other artists are already using can create unnecessary competition for attention, and a digital distributor may even deny distributing your release over it. Even if you plan to use your real name, researching it is crucial; you may discover that your real name is already in use, necessitating creation of a unique stage name.

This article is an excerpt from my eBook “Our Own Way: A guide for independent musicians to distribute our recordings and maximize our royalties”. Click here to get your copy  👉📘. If you’re a beginner to intermediate independent recording artist, this ebook guide offers you the essential foundations for successfully releasing your recordings. You’ll learn how to distribute and promote your releases then bring home the maximum royalty-per-stream. I’ve also included my Sync Licensing Blueprint, a highly requested topic that I’ve taught at workshops and through social media content. 

my new eBook! Our Own Way: A guide for independent musicians to distribute our recordings and maximize our royalties.

As a producer and engineer working with independent music artists since 2008, I’ve been involved in numerous indie releases, including several that have garnered substantial fanbases. Artists often ask me for advice on how to maximize the impact of our recording projects. The information I've collected and shared over the years has become this guide to ensure your music is available worldwide and you're receiving your maximum royalties per play. Whether this is your first release or you’ve grown to millions of streams, this guide contains essential information to help you get heard and increase your recording income.

Deciding to create and share art with the world is a courageous act. You put your heart on the line, creating with the intention of connecting with and healing others who feel the same way you do. Recording and releasing music can be emotionally challenging, labor-intensive, and expensive. However, if you create music that speaks your truth and lights up your soul, you can’t lose. If you feel passionate about it, there are people out there who will feel the same way. Even if you fail to reach as wide an audience as you hope to, the journey of writing and recording music is its own reward. One of my all-time favorite songwriters, Sting, expressed it beautifully at the 2003 Billboard awards:

“If you play music with passion and love and honesty, then it will nourish your soul, heal your wounds and make your life worth living. Music is its own reward.

— Sting

This article is an excerpt from my eBook “Our Own Way: A guide for independent musicians to distribute our recordings and maximize our royalties”. Click here to get your copy 👉📘. If you’re a beginner to intermediate independent recording artist, this ebook guide offers you the essential foundations for successfully releasing your recordings. You’ll learn how to distribute and promote your releases then bring home the maximum royalty-per-stream. I’ve also included my Sync Licensing Blueprint, a highly requested topic that I’ve taught at workshops and through social media content. 

Sample Replacement

Music Sampling involves taking a piece or “sample” of a pre-existing recording that someone else created and integrating it into your own production. Unless the chosen sample is for sale as royalty-free, using someone else’s songwriting and recording requires obtaining rights for legal use.

Sample Replacement is a technique of re-recording the performance of the original recording you’d like to sample, transforming it into an Interpolation. Interpolation is the use of someone’s copyrighted lyrics and melody inside your own new recording, but without using their original recording.

Sample Replacement can be prudent when working with production that contains samples for a couple reasons:
-Creating a higher quality, more mix-friendly version of a sample. It’s often part of the charm of sampling that the original audio is twisted and mangled but in some cases a more hi-fi sound in desirable. Accurately re-recording the instruments of a sample gives you control over the elements of that performance giving you more flexibility in how it’s integrated into your new mix.

-Clearing sample rights and paying royalties for a sample will likely be easier and more affordable if the sample is re-recorded, as there are rights for both the composition of the sampled song and the recording of that song that need to be navigated. By creating your own recording of a sample rather than using the original, you can skirt the issue of obtaining rights for the recording and secure rights for the composition only.

Here’s an example of a song I performed a sample replacement on.

ProbCause X Chrishira’s Vibeline “Shine Bright”

Here’s the original recording that was sampled then replaced.

Should you file for copyright protection for your music when releasing?

Copyright is a protection that is inherent for all creatives under US law. If you create something, your work is automatically copywritten. So what most people are talking about when they ask about should they copyright their music, they're talking about purchasing copyright protection, which is something that you can file and pay a fee for with the government.

Purchasing copyright protection involves filing an application and paying a fee to the appropriate government agency, typically the United States Copyright Office. While registering your copyright is not mandatory, it offers several advantages:

1. Legal Protection: Registered copyrights provide a legal basis for pursuing legal action against individuals or entities that infringe upon your intellectual property rights. This includes unauthorized use, reproduction, distribution, or performance of your music.

2. Presumption of Ownership: Copyright registration creates a public record of your ownership of the music, making it easier to prove your rights in case of a dispute. This can be particularly crucial when asserting your rights against larger corporations or entities.

3. Statutory Damages and Attorney's Fees: In the event of copyright infringement, registered copyright holders may be eligible for statutory damages and attorney's fees, providing stronger incentives for pursuing legal action.

4. Global Protection: While copyright protection is automatic in many countries, registering your copyright in the US can strengthen your legal standing internationally through various international treaties and agreements.

While these advantages sound great, as long as you can prove in court that you created the work (in the case of recorded music, providing original source files) you can win a case in the unlikely event your copyright is violated.

If you like to be very cautious, copyright your releases but I don’t think it’s the best use of an independent musician’s budget.

Final Stems

Situation: your album is done, mixed and mastered, finished. How are you going to preserve your sessions for the future? Probably never even thought about that, did you?

I've seen situations where people need to access their session files five, seven years in the future. The thing is, these digital recording sessions that we use over time- the plugins and software compatibility changes, and you could be left with a session that you can't access anymore or that doesn't sound the way it sounded when it was mixed.

Check out this list, these are the WAV file stems you want to end up with at the end of any project. These stem groupings will allow you to later make any show mixes you need, remixes, and alternate versions for sync licensing opportunities needing only access to any DAW.

Final stem WAV files to request:

Lead vocals

BGVs

SFX

Horns

Strings

Keys

Guitars

Percussion

Drums

Bass

Click

Guide

Now, these will take hours for your engineer to make. You're likely going to get charged extra for this, but I think it's worth it if you're seriously trying to monetize and promote your music going forward.

It only takes one.

It only takes one.

If you're putting art out there, you're putting social media content out there and you feel like nobody's listening- it takes one person.

It takes one person to become your superfan. It takes one person to make a significant purchase from you. It takes one person to find you and give you your next big opportunity.

If, for example, I release a post on social media and it flops, fine. Because I've done posts that caught the algorithm and were seen by a lot of accounts, got likes and comments but didn't necessarily move the needle much for my career. Other times, I’ve posted a clip of me making a beat that got 10 likes, but an artist messaged me and said, “I need to purchase that beat”. The views, likes and comments weren't impressive, but it took that only one right person to find it.

MASTERING PREP

MASTERING MY MIXES

I include mastering as part of my mixing process. All of my most successful works have been both mixed and mastered by me. You’re welcome to request a mastering-ready file for a song I’ve mixed to have another engineer master it but I discourage you from doing so. Most mastering engineers my clients have paid for were underwhelming and expensive. At best, the resulting masters sounded no better than mine. Most of them were worse.

MASTERING FOR SONGS I DIDN’T MIX

I’ll need from you a 24bit WAV file without master processing on it for each song. Also include a playlist (Apple Music, Spotify or YouTube) of 3+ songs that embody the sound you want to achieve. This will inform choices like the loudness, brightness and low end I use in the mastering process. Keep in mind, mastering processes the entire mix as a whole, not individual tracks. It is a crucial final stage in the process but it’s limited in what it can do to transform the song.

MIX REVISIONS

I’m not too fussy about being given notes for mix revisions. Fortunately I tend to be so aligned with the artists I work with that they rarely request significant changes. If we’ve agreed to an hourly rate project, I may include a small round of revisions for free but will charge hourly for additional. If we’ve agreed to a flat rate project, I will do unlimited revision within reason. I haven’t had anyone pass the threshold into unreasonable revision requests yet.

TIPS ON GIVING THE MOST USEFUL MIX REVISION NOTES:

Remain calm. This is rare, but once in a long while an artist will respond to the first mix in a panic that I’ve missed the mark. In almost every instance, after lowering the intensity of the situation and asking follow up questions I’ve found that all they needed were some small revisions to get the mix completely back on track for them. Asking for revisions is part of the process, there’s no need to get emotional about it.

Keep your revision notes in chronological order so I can efficiently tackle them moving forward through the timeline of the song.

Include time codes of the minutes and seconds (at XX:XX or from XX:XX to XX:XX) relevant to each note so I can easily find them. For vocals it also helps to include the lyrics and song section relevant to a note.

Refer to dates. Every version I send the artist of a mix will have a date on it. Sometimes I might change something and the artist preferred an older version of it. For example, you could say “I prefer the latest instrumental mix but prefer the vocal mix from from 6.13.23.” I can now go to the source sessions of each corresponding date and compile them into a new version.

Include references, where applicable. If you’re hearing an idea in your head that you’re having trouble describing in words, refer me to a recording of a song that features the sound you’re looking for.

MIXING PREP

ATTENDED/UNATTENDED MIXING

I do the majority of my mixing unattended, on my schedule, with a fairly large degree of creative freedom. I’ve had few issues with this, as most artists are coming to me because my portfolio of work inspired them to trust my process. I’m not opposed to having the artist attend parts of the mixing process, especially stages where we’re experimenting with ideas or if they have revision notes they want to discuss, but there is a large portion of the process that’s best not having anyone hovering over my shoulder.

MIXING SOMETHING FOR YOU THAT I DIDN’T RECORD

I’ll need from you 24bit WAV file stems or Pro Tools folders for each song to mix (the entire contents of the PT session folder, not just the .ptx file). I recommend wetransfer.com for sending large packs of files for free. Send to drewmantia@gmail.com. If you need tutorials on how to create 24bit WAV stems, YouTube search “export WAV stems from (insert your DAW)” for detailed instructions on how to export from your specific software. Also include a playlist (Apple Music, Spotify or YouTube) of 3+ songs that embody the sound you want to achieve. Even better, you can note specific elements of each song that are inspiring you - “I like the vocal sound of song A, the drum mix of song B, the impact of the bass on song C” etc.

RECORDING SESSION PREP

Even if we’re working together in a capacity where I’m not producing you, just being your recording engineer, I still recommend you use the info above to demo the material on your own in advance of our session. That preparation will yield better results once you’re on the studio mic doing final takes. Many musicians relate to the experience of having a certain level of competence with a piece of music only for it to feel like their capacity to perform it drops 25% on stage or in the studio when the red light goes on. You may even feel totally confident with it on stage only to find that the more forgiving live environment was hiding your rough edges once you’re in the studio. Demo what you’re going to record to get a more accurate sense of where you’re at with it so you can adjust before hitting the studio. Having my own studio, I have free unlimited studio time and I still don’t allow myself to record something until I’ve sung it to my phone first. I hope it goes without saying that practicing your vocals and instruments prior to a recording session makes a smoother experience for all involved.

Just make something.

Taking the action of making something, even if you don't feel like it, even if you're uninspired, even if you're not motivated, having sat down and made something is always better than having thought about the philosophy of making something.

BEWARE THE DEMOITIS!

Demoitis is a condition that leaves an artist too attached to the first version they heard of a song, making it difficult for them to consider changes that might make it better. While I am asking you to demo your song, I’m also asking you keep an open mind about where it can grow from there. While I don’t typically suggest radical transformations to a song, I have made suggestions that bettered songs by changing tempo, lyrics, chords, etc. At the end of the day, the artist is the customer and I won’t push you to make any changes you feel betray the heart of the song. I hope you’ll come to work together open to new possibilities though.

Preparing for Production Sessions

SCENARIO 1: WRITING MATERIAL TOGETHER

In the event we’ve agreed to write fresh material together from scratch in the studio, your best prep is to compile a playlist (Apple Music, Spotify or YouTube) of 3+ songs that embody the vibe you want to achieve. Even better, note specific elements of each song that are inspiring you - “I like the mood of song A, the lyrical style of song B, the drums on song C” etc. We will use these, if needed, to get our creative juices flowing then set them aside to forge our own path from there. You may also want to prepare your archive of ideas (hopefully you keep one!) in case we want other sources of inspiration to dip into - voice memos, lyric ideas, chord progressions, etc.

SCENARIO 2: PRODUCING MATERIAL YOU’VE ALREADY STARTED WRITING

If our production session is to develop a song you’ve already written or partially written, I request you create a simple demo in one of the 3 specific formats I’m about to detail.

SIMPLE DEMO: VOICE MEMO

To start you’ll need any device that can record and send an audio file - smartphone, laptop, tablet, portable recorder, camera, etc. Don’t overthink the complexity or audio quality of the device, it’s best to keep this simple and low quality. If you’re experienced working in a DAW yourself, you can record a demo there but no need to spend a bunch of time perfecting takes, editing or playing with the mix.

Next you need a metronome/click track. On most smartphones, tablets and laptops it’s possible to play a free metronome app out of the speaker at the same time as recording a voice memo. If you need to play the metronome click on a different device from your recorder, you can use another electronic device or a traditional metronome.

Find the BPM of your song. Just about any metronome app will have a tap tempo button so you can identify the BPM of your song with 4 taps of your finger. If you’re using a more basic metronome without tap, turn the click on and determine if it’s faster or slower than the tempo you’re hearing in your head. Use the arrows up or down to go faster or slower to find the BPM that best represents where you want your song to groove.

Once you have a metronome going at the proper BPM, let it play in the background as you perform your song to it. We want the metronome to be heard in the demo. Guitar/vocal, piano/vocal or even Acappella are all helpful ways to perform your song on a demo. Don’t get caught up in chasing perfection. You do want to get correct the song’s form and perform tightly with the metronome but you don’t need to perform with zero mistakes and perfect intonation (although being able to do that will make you a champ in the studio). If you’re bringing a song that’s not fully complete to the studio, demo as much as you have written as accurately as you can.

Bring your demo files to your session or, even better, send them in advance to drewmantia@gmail.com so I can get familiar with the song before we meet. For each song, I can now easily load up your demo and begin recording foundational layers of production under it. Being able to hear the vocal at tempo as many times as possible and create loops of it will help me hear what can be added to serve the lead vocal of the song. As the production builds, the demo will be referenced and played back less and less as it’s eventually completely replaced with higher quality versions of its parts.

If you’re able, include a chord chart of what you’ve played on the demo recording. Typed out lyrics can also be helpful.

SIMPLE DEMO: REFERENCE BEAT

Some artists like to write to generic beats in the style of production they want to achieve then seek custom production after the vocals are written. I think this method is great, as long as you don’t get too attached to the original beat. You may find these beats to listen to for free on YouTube, Soundcloud, Beatstars, Airbit, Instagram, TikTok, etc.

To start you’ll need any device that can record and send an audio file - smartphone, laptop, tablet, portable recorder, camera, etc. and a second device with headphones or earbuds to play the beat on. Don’t overthink the complexity or audio quality of the device, it’s best to keep this simple and low quality. If you’re experienced working in a DAW yourself, you can record a demo there but no need to spend a bunch of time perfecting takes, editing or playing with the mix.

Play your writing beat in headphones on a second device separate from your recorder or download and import it into your DAW. It’s important that the beat be playing in headphones and not out in the open, so that the resulting recording is just your vocal with no beat. Listening to the beat in headphones from your second device, perform your vocal into your recorder device. Don’t get caught up in chasing perfection. You don’t need to perform with zero mistakes and perfect intonation (although being able to do that will make you a champ in the studio).

If displayed, note what the tempo of the beat is. If you don’t see the tempo, link me to the original beat so I can listen to 4 bars of it to find the tempo to sync your vocals to. I prefer to never hear the original beat to keep my mind completely open to new production possibilities, but if I have to listen briefly to find the tempo I can block that out.

Bring your demo files to your session or, even better, send them in advance to drewmantia@gmail.com so I can get familiar with the song before we meet. For each song, I can now easily load up your demo and begin recording foundational layers of production under it. Being able to hear the vocal at tempo as many times as possible and create loops of it will help me hear what can be added to serve the lead vocal of the song.

BEAT REPLACEMENT PRODUCTION

A more advanced version of the reference beat demo, sometimes an artist has already written, recorded, maybe even mixed a song but needs to replace the instrumental. Reasons might include they’ve changed their vision for the song, they’ve had a falling out with the original producer, or there’s a rights issue with uncleared samples or a producer that initially sent the beat for free but now demands a large fee. Whatever the reason, if this is your situation you’re going to want to get for me a vocals-only 24bit WAV file of the song, 24bit WAV stems of the vocals and the BPM of the song. I recommend wetransfer.com for sending large packs of files for free. Send to drewmantia@gmail.com

ADVANCED DEMO: SELF-PRODUCED DAW DEMO

If you’re an artist that has some proficiency of your own in a DAW like Logic, Ableton, FL, etc. you may want to create your demos in your software of choice. You may even have some production skills you want to put towards creating an outline beat. Cool! I’ve had great results taking production ideas from the artist and expanding on them. If you’ve done a demo like this, I’d like an mp3 or WAV of your rough mix, the BPM, 24bit WAV file stems of your session (so your tracks are high enough quality in case I want to integrate any of them into my production) and MIDI files if you’ve used VST sounds. If you need tutorials on how to create 24bit WAV stems or MIDI files, YouTube search “export WAV stems from (insert your DAW)” and/or “export MIDI from (insert your DAW)” for detailed instructions on how to export from your specific software. If you’re able, include a chord chart of what you’ve played on the demo recording. Typed out lyrics can also be helpful. I recommend wetransfer.com for sending large packs of files for free. Send to drewmantia@gmail.com

WHICHEVER DEMO STYLE FITS YOUR NEEDS. . .

I also request that you compile a playlist (Apple Music, Spotify or YouTube) of 3+ songs that embody the vibe you want to achieve. Even better, note specific elements of each song that are inspiring you - “I like the mood of song A, the lyrical style of song B, the drums on song C” etc. We will use these, if needed, to get our creative juices flowing then set them aside to forge our own path from there.

My 2023 Career Stats

Something I added up for fun. I like to gas myself up for the year to come.

Streams of my work: 20,000,000+

Songs produced (completed): 105

Song mixes completed: 129 ( I also mastered all of those. One of my sync publishers prefers to mix their own catalog so I didn’t mix dozens of tracks I produced this year)

Songs signed to sync licensing publishers: 42

Largest income source: song royalties for works from 2013-2022

Public Domain songs

As the holiday season rolls around each year, a timeless tradition takes center stage: the joyous sounds of Christmas music fill the air. But did you know that much of the beloved Christmas repertoire falls into the realm of public domain music?

Public domain music refers to compositions whose copyright has expired, allowing for unrestricted use and adaptation by anyone. And during the festive season, it's like a treasure trove of musical delights just waiting to be explored.

At present, any music created before 1926 automatically falls into the public domain. Additionally, works from composers who passed away 70 years ago or more also join this category. Consequently, a significant portion of Christmas music, steeped in centuries-old tradition, is now freely available for artists to reinterpret and share with the world.

The beauty of public domain music lies in its accessibility and versatility. Independent musicians can create their own unique versions of classic holiday tunes, whether it's a jazzy rendition of "Jingle Bells" or a soulful take on "Silent Night." What's more, they can distribute and sell these creations without worrying about copyright restrictions, keeping all the profits for themselves.

However, there are some nuances to consider. Platforms like YouTube pose challenges in identifying and monetizing public domain songs due to the multitude of versions available. Additionally, while the original compositions are free to use, artists may still hold copyright over their specific arrangements of public domain music. This means that while you can perform a traditional carol, you may need permission to use a contemporary artist's arrangement of that song.

The implications of copyright and public domain music extend beyond the holiday season but are particularly pertinent during Christmas, given the widespread use of these timeless melodies. Understanding the intricacies of copyright law empowers musicians to navigate the landscape confidently, ensuring they respect intellectual property rights while leveraging the rich heritage of public domain music.

As we embrace the spirit of giving and celebration, let's not forget the gift that is public domain music. It's a testament to the enduring power of creativity and a reminder of the shared cultural heritage we all cherish during this special time of year. So go ahead, let your imagination soar, and spread some holiday cheer with your own unique musical creations inspired by the magic of the public domain.

More Tips for Writing More Songs

A good friend and music colleague recently asked me how I write so much music, so I want to share some of those points with you.

First and foremost, it's important to learn how to push through and write even when you don't feel like it. Lower the bar for what you consider successful writing, whether it's just 15, 20, or 30 minutes a day. Break the writing process down into small chunks, writing a verse a day, a hook a day, or a 60-second beat demo. Small accomplishments add up over time, and nothing adds up to zero.

It's also essential to lower the stakes and not be too hard on yourself. Many artists judge themselves too harshly, afraid of being judged by others when they're trying to create. Remember that it's okay to have bad songs on your hard drive, and even if you accidentally release a less-than-perfect song, the worst that can happen is that people ignore it and move onto the next thing.

Having a system for writing, documenting, recording, and cataloging ideas is crucial. This helps you to streamline the process and make it easier to get started. It's also important to have a backup system to switch things up when your current system feels stale. This could mean trying new approaches, like starting with the verse instead of the hook, or beginning with a different instrument, etc.

In summary, writing more music requires persistence, consistency, and a willingness to experiment. By breaking down the process into smaller chunks, lowering the stakes, and developing a system that works for you, you can overcome creative hurdles and write more music than you ever thought possible.

"Nasty" Song Success Case Study

Artists and producers, listen up. I promise we all need to hear this. This is a quick case study of Joshua Showtime Williams' "Nasty," one of the most successful songs of my production career yet. Here are the streams and views stats:

Joshua Showtime Williams - Nasty

produced, recorded, mixed, mastered by Drew Mantia 

Apple Music 2,000,000+

Music video 1,100,000+

YouTube audio 2,600,000+

Spotify 500,000+

TikTok posts using the song 24,500+

plus whatever other platforms

. . .but let me show you some more important stats. The song was released July 2nd, 2021, and it was getting plays in the low five figures. It got picked up by a TikTok influencer in October ‘22 that helped skyrocket it to its first million streams in January ‘23. Its first million music video views in March ‘23. 

Song single released 7.2.21

Album released 8.4.21

Plays in the low 5 figures

Tiktok influencer post 10.29.22

Hits the first million streams 1.2.23

Music video first million views 3.30.23

So what did Josh do to get it there? Social media, but of course. Look at all these posts:

Pre-single-release teases 3

Post-release posts 26

Album release posts 12

Total posts (so far) 41

He teased it three times before it came out. After the song was out, he's posted it at least 26 times. He's posted about the album that it's on at least 12 times. So we're talking at least 41 times that he's posted in promotion of this song. Josh did pay for TikTok ads but only after he found a piece of organic content that attracted attention on its own. Also worth noting that he posted that same piece of successful content at least a few times, in addition to running ads. None of his content was cringey trend-riding either, mostly just singing the song to the camera. Eventually some clips of the music video and live performance footage. For months he's also been doing a weekly live stream performance on Instagram and TikTok so he’s promoted Nasty an additional dozen or so times there.

What did you do when your last song was released? Post about it twice and then give up because it didn't get the plays and attention you wanted? I’m guilty of this when releasing my own songs as well. I hope the story of Nasty can inspire us all to push our releases harder. 

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Make More Music: The Answer to Most Questions Around Your Music Career

As a musician, you've probably asked yourself at one point or another how you can break into sync licensing or build a sustainable music career. While there are many factors that contribute to success in the music industry, the answer to many questions is surprisingly simple: make more music.

This may seem like a simplistic answer, but the truth is that many musicians don't make enough music to achieve their goals. Whether you're looking to get more streams, break into sync licensing, or simply improve your craft, making more music is always the right answer. Here's why.

1. You Haven't Released Enough Music

If you're not seeing the results you want from your music career, it's possible that you haven't released enough music. The more music you have out in the world, the more chances you have to be discovered by fans and industry professionals. This is particularly true in the streaming era, where fans have access to millions of songs at their fingertips. The more music you have available, the more likely it is that someone will stumble across your work and become a fan.

2. Your Music Could Be Better

Even if you've released a lot of music, there's always room for improvement. Making more music gives you more opportunities to hone your craft, experiment with new sounds and styles, and refine your sound. The more you make, the better you'll get. Some are gifted with amazing natural talent but most of us need to spend thousands of hours becoming great.

3. Making More Music Is Never a Bad Thing

At the end of the day, making more music is never a bad thing. Even if you don't achieve the results you're hoping for right away, you'll still be improving your skills and growing as an artist. And who knows? You might just stumble upon your next hit song in the process.

In conclusion, if you're looking to build a successful music career, the answer is simple: make more music. Whether you're trying to break into sync licensing, get more streams, or improve your craft, making more music is always the right answer.