BoraChill is a newly established independent record label, founded by a team with extensive experience in the music industry and supported by a robust global distribution network.
We are committed to nurturing original talent and ensuring that every artist we represent receives widespread visibility. Our artists are guaranteed placement on major streaming platforms including Spotify, Apple Music, YouTube Music, and more than 100 digital outlets worldwide. Additionally, your music will be made available for use across social media platforms such as TikTok, Instagram, and Facebook, increasing your reach and audience engagement.
We are currently seeking artists who produce original music. If you’re an emerging talent ready to share your sound with the world, we invite you to submit your demo recordings for consideration.
📩 Submit your demos to: submit@borachill.com
Please note: Only original compositions will be considered. Submissions must not contain copyrighted material.
We’re ready to partner with unique and creative artists.
BoraChill Records
A track is a single layer of audio or MIDI within your DAW. You can have separate tracks for vocals, drums, guitars, and more. These are mixed together to create a full song.
MIDI stands for Musical Instrument Digital Interface. It’s a digital language that lets you control virtual instruments using notes, velocity, and timing instead of actual audio.
A plugin is an add-on used inside your DAW to enhance your music. Plugins can be instruments (like synthesizers) or effects (like reverb, EQ, or delay).
A metronome is a tool that produces a steady click sound to help you keep time while recording or practicing music.
A beat is the basic rhythmic unit of a song. In most music, it's what you tap your foot to, and it's often built using drums or percussion instruments.
Headphones are used to listen closely to your mix while recording or editing. They help you hear details, isolate sound, and prevent mic bleed when recording vocals.
Tempo refers to the speed of the music, measured in beats per minute (BPM). A faster BPM means a quicker song, while a slower BPM gives a relaxed feel.
A sample is a pre-recorded sound or snippet of music that you can use in your own track. It could be a drum hit, a vocal line, or a sound effect.
A beat maker is someone who creates the instrumental part of a song, usually focusing on rhythm, basslines, and melodies using loops, samples, and virtual instruments.
A loop pack is a collection of short, pre-made music loops you can drag and drop into your project. These help speed up the creative process and add inspiration.
Clipping happens when your audio is too loud and distorts. Always make sure your levels stay below 0 dB to keep your mix clean and distortion-free.
A vocal take is one recording of a vocal performance. Artists usually record multiple takes and choose the best parts for the final mix.
Bouncing a track means exporting your project or a part of it into a single audio file, such as a WAV or MP3, so it can be shared or mastered.
Pan refers to the placement of sound in the stereo field - left, center, or right. Panning helps create space and makes your mix feel wide and balanced.
A reference track is a professionally mixed song used to compare your mix. It helps guide your levels, tone, and overall sound quality.
Mixing is the process of blending individual audio tracks together to create a cohesive final version. It involves adjusting levels, panning, EQ, compression, effects, and more to ensure every element fits well in the stereo field.
Mastering is the final step in music production. It enhances the overall sound, ensures consistency across all playback systems, and brings the track to industry loudness standards using EQ, compression, limiting, and other tools.
DAW stands for Digital Audio Workstation. It is software used to record, edit, mix, and produce audio files. Popular DAWs include Ableton Live, FL Studio, Logic Pro, and Pro Tools.
Sidechain compression is a technique where one audio signal triggers the compression of another. It's often used to duck the volume of a bass or synth when the kick drum hits, creating a pumping effect common in electronic music.
Gain staging is the process of managing volume levels throughout the signal chain to avoid distortion and maintain audio clarity. Proper gain staging ensures a clean mix with enough headroom.
Automation allows you to program changes in volume, panning, effects, and other parameters over time. This adds movement and dynamics to a mix, making it more expressive and interesting.
A loop is a short section of music that repeats continuously. Loops are commonly used in genres like hip-hop, EDM, and pop for rhythm or melodic foundation.
Quantization corrects the timing of notes or beats by snapping them to a grid. This helps tighten performances and align elements rhythmically, especially in MIDI or drum recordings.
A click track is a metronome used during recording to help musicians stay in time. It is especially useful for multi-track recordings or syncing instruments in post-production.
Reverb simulates the sound of a space by adding ambient echoes and reflections. It helps place instruments in a virtual environment and adds depth to a mix.
EQ, or equalization, is the process of adjusting the balance of frequencies in a sound. It helps to clean up muddy mixes, highlight important elements, and remove unwanted noise or resonance.
Sample rate refers to how many samples per second are captured in a digital audio recording. Common sample rates are 44.1kHz and 48kHz. Higher sample rates provide more detail but use more storage.
Bit depth determines the resolution of an audio file. Higher bit depth offers greater dynamic range and audio detail. 16-bit is standard for CDs, while 24-bit is often used in professional recordings.
A bus is a channel that combines multiple audio tracks into one. It's used to apply processing like compression or EQ to a group of instruments, such as all drums or vocals, for more efficient mixing.
Latency is the delay between input and output in a digital audio system. It can disrupt performance during recording or monitoring, so minimizing it through buffer settings and proper hardware is crucial.
Parallel compression is a technique where a dry (uncompressed) signal is blended with a heavily compressed version. This adds power and sustain without losing the natural dynamics of the original track.
Mid-side processing separates a stereo signal into its center (mid) and sides. This allows for targeted EQ or compression, like brightening the sides for width without affecting the core vocal or kick drum in the center.
Multiband compression splits a signal into frequency ranges and compresses them independently. It’s useful for controlling harsh highs or booming lows without affecting the rest of the mix.
Transient shaping enhances or softens the attack and sustain of a sound. It's especially useful on drums to make them punchier or tighter without using compression.
Spectral editing allows you to visualize and manipulate audio based on frequency content. It’s often used to remove unwanted noise, resonances, or even isolate specific sounds in a mix.
Phase alignment ensures that multi-mic recordings or layered sounds are not canceling each other out. Misaligned waveforms can lead to thin or hollow audio, especially in drums and vocals.
Saturation adds harmonic distortion that emulates analog gear, giving digital recordings warmth, color, and presence. It can subtly enhance vocals, drums, and full mixes.
A transient designer is a specialized tool for shaping the attack and sustain of a sound. It offers greater control than traditional dynamics processing, especially for percussive elements.
Dynamic EQ combines equalization with compression. Frequencies are adjusted only when they exceed a threshold, making it ideal for taming harsh vocals or resonant instruments dynamically.
Reamping is the process of sending a recorded dry signal back through amplifiers or effects to capture a different tone. It’s commonly used for guitars and creative sound design.
Stem mastering uses grouped audio files (stems) like drums, vocals, and instruments instead of a single stereo track. This allows for more detailed adjustments during mastering.
Convolution reverb uses impulse responses from real spaces to recreate authentic acoustic environments. It’s ideal for film scoring, orchestral mixing, and realistic spatial placement.
Hybrid mixing combines analog hardware and digital plugins to take advantage of both worlds - analog warmth and digital precision. It’s used by top engineers for unique sonic textures.
Dithering adds low-level noise when reducing bit depth to prevent quantization errors. It's a subtle but important final step in mastering to preserve audio quality during file conversion.
Stereo imaging controls the perceived spatial width of a mix. Tools like stereo wideners, Haas effect, or panning automation help create a three-dimensional listening experience.
When submitting a demo to a label, provide high-quality MP3s (usually 320kbps) or private streaming links (like SoundCloud). Keep the file names clear (e.g., *ArtistName_TrackTitle*) and include basic metadata. Avoid sending large WAV files unless requested, and never send mass emails - personalize your message.
Use a short, respectful message that introduces you, your project, and why you’re contacting the label. Include relevant links, your best track first, and keep it under 2–3 tracks unless otherwise specified. Labels appreciate professionalism and brevity.
Labels look for originality, solid production quality, and music that fits their sound. Don’t worry about perfect mastering - focus on a clean mix and strong idea. Include unreleased material and avoid over-compression or brickwall limiting in your demo.
Export your mix as a stereo WAV or AIFF file, 24-bit or 32-bit float, at the session’s native sample rate. Leave at least -3dB of headroom and disable all limiting or mastering plugins on the master bus. Label the file clearly and consistently.
Don’t normalize your track or export at 16-bit unless requested. Avoid heavy processing like stereo widening or multiband compression on the master. Mastering engineers need a clean mix with dynamic range and headroom to work with.
Yes, providing 1–2 reference tracks helps communicate your sonic goals. Choose songs with similar style and loudness expectations. This guides the mastering engineer while preserving the identity of your mix.
Only if the engineer asks or you agree on stem mastering. Otherwise, a stereo mixdown is standard. If sending stems, group elements like drums, bass, vocals, and instruments separately, all starting at the same time code and sample rate.
Use a ZIP folder or a shared drive (Google Drive, WeTransfer, Dropbox). Include a text file with details like track title, BPM, sample rate, desired output format, and your contact info. Double-check the file before sending to ensure it plays correctly.
Leave around -3dB to -6dB of peak headroom. Don’t try to make your track as loud as possible - that’s the mastering engineer’s job. The goal is a balanced, dynamic mix with enough space for final processing.
Use a clear and consistent naming system like *Artist_TrackName_MixDate.wav*. If submitting multiple versions, label them accordingly (e.g., *VocalUp*, *NoFX*, *Instrumental*). This helps prevent confusion and speeds up the workflow.
After submitting your demo, labels may take days to weeks to review it. If interested, they’ll reach out - often with questions or feedback. Silence usually means they’re not moving forward, but it doesn’t always reflect the quality of your music.
If a label likes your demo, they’ll contact you for more info or a meeting. You’ll discuss your music, goals, and possibly send more tracks. This is not yet a signing - just an expression of interest and initial vetting.
Once the label is ready to commit, they’ll offer a deal - often a contract outlining rights, royalties, release plans, and obligations. It’s crucial to read and possibly review it with a lawyer before signing. Don’t rush this part.
After signing, you’ll work with the label on preparing your music. This may include mixing/mastering revisions, choosing artwork, and setting a release timeline. Some labels offer creative input; others let you handle the details yourself.
Labels usually plan promo around your release: press, social media, playlist pitching, and sometimes music videos. You may be asked to provide a bio, photos, or do interviews. This stage can take weeks or even months to prepare.
A few weeks before release, your track is distributed to DSPs (Spotify, Apple Music, etc.) and often sent to press and DJs. Pre-save campaigns and teasers may begin. This is when your marketing campaign goes live.
Your track goes live across platforms. The label may boost visibility with posts, paid ads, and PR. You’ll likely need to share and promote as well - it’s a team effort. Release day metrics (saves, plays, shares) are crucial for momentum.
After release, the label may push for remixes, playlists, or blog features. They track performance and may suggest follow-up strategies. If the track performs well, they’ll often invest more in future projects with you.
Labels typically issue royalty statements quarterly or biannually. Payment depends on streams, sales, and the terms of your contract. Some deals offer advances (upfront money), which must be recouped before you earn royalties.
Many deals are for a single release, but good results can lead to long-term partnerships. Your success depends on music quality, consistency, branding, and teamwork with the label. Stay professional and keep creating.
A remix is a reimagined version of an original track, often changing its genre, tempo, arrangement, or vibe. It can highlight new creative angles and reach different audiences while keeping some recognizable elements like vocals or hooks.
Record labels often commission remixes to expand a release’s reach. They’ll contact producers or DJs with a remix offer, including deadlines, creative direction, and payment or royalty terms. The label provides stems (individual audio files) of the original song for remixing.
Remix agreements vary. Some offer a flat fee, others include royalty splits. The label usually owns the final remix and handles distribution. You’ll likely need to meet technical specs, deadlines, and sometimes brand or genre guidelines.
Yes, but only with permission. Unofficial or bootleg remixes can’t be commercially released without legal clearance. You can post them online (e.g. SoundCloud) for exposure, but monetization or distribution may get blocked without rights from the original copyright holders.
Reach out to the artist, label, or publisher with a polite request. Include a portfolio or links to your work, and explain your intentions. Some labels are open to remixes, especially if you offer a fresh angle or promotion plan.
Send only your best work. Include a streaming link (like private SoundCloud) and a short note explaining your approach to the remix. If it’s an official opportunity (like a remix contest), follow all submission rules carefully.
Be mindful of copyright, especially when sampling from the original. Use only the stems you’re given or authorized to use. Even creative reinterpretations can violate rights if not cleared. Always clarify whether your remix is promotional or commercial.
Sometimes. Label-commissioned remixes may offer a royalty split or just a one-time fee. Self-initiated official remixes may negotiate a percentage of streaming or sync revenue. Always confirm the terms in writing before delivering the remix.
It depends. Free remixes can be good for exposure or entry into remix contests. But be selective - focus on projects aligned with your style and goals. Don’t undervalue your time or skills, especially if the remix will be commercially released.
Build a portfolio with a strong signature sound. Enter remix competitions, collaborate with artists, or release bootlegs on non-commercial platforms. Consistent, high-quality remixes can attract labels, artists, and new fans.
Copyright protects original works like music, lyrics, and recordings. If you use someone else’s material - melody, vocal, beat, or lyrics - without permission, you’re infringing on their rights. This applies even if the use is short or altered.
Only if you clear it first. Sampling copyrighted audio (even 1 second) requires permission from both the **songwriter (publishing rights)** and the **owner of the recording (master rights)**. This is usually handled by contacting the label and publisher or using a sample clearance service.
Yes - if they’re royalty-free and legally licensed. Commercial sample packs (e.g. Splice, Loopmasters) come with usage rights. But you can’t resell the samples as-is or claim copyright over them. Always check the license terms.
Not without permission. Even unofficial remixes or edits using isolated vocals are copyright violations if publicly shared or monetized. That includes YouTube, SoundCloud, and DJ sets. Some vocals are cleared for remix contests, but use them only as instructed.
No, not without a license. Reusing lyrics, even a few lines, requires clearance. Cover songs are allowed if distributed through licensed platforms (like DistroKid or CD Baby), but you must pay mechanical royalties and credit the original writer.
Technically yes, unless all tracks used are cleared. Mashups combine copyrighted works, which still requires permission from each rightsholder. Most DJs post mashups unofficially for exposure, but they can be taken down or monetized by the original rights owners.
Fair use rarely applies in music. Unlike educational or parody content, most music use is commercial or public, making it ineligible. Sampling or quoting music without permission is almost always considered infringement.
To clear a sample, contact the publisher (for composition rights) and the label (for master rights). You may need to pay a flat fee, agree to a royalty split, or both. Alternatively, some services like Tracklib offer pre-cleared samples for easier licensing.
Penalties can include takedown notices, demonetization, loss of distribution, or lawsuits. Fines can reach thousands of dollars per violation. Even unintentional use can result in DMCA strikes or blocked accounts on platforms like YouTube and Spotify.
Use royalty-free libraries, hire session musicians, or create your own sounds. Many producers re-record samples to create "interpolations" - you still need clearance for melodies, but you avoid using the original recording.
Register your tracks with a performing rights organization (PRO) like ASCAP, BMI, or KODA. You can also use services like SoundExchange, YouTube Content ID, or digital fingerprinting to track and protect your work online.
Starting music production doesn’t require expensive gear. Many modern producers work entirely "in the box" using just a computer and software. The essentials are a reliable computer, a DAW (digital audio workstation), headphones or speakers, and some virtual instruments and effects.
A decent laptop or desktop with a modern processor and 8–16GB RAM is enough to get started. Music production can be CPU-intensive, especially with plugins, so prioritize performance and storage over fancy graphics.
A DAW (Digital Audio Workstation) is the main software you use to record, arrange, and mix your music. Popular choices include Ableton Live, FL Studio, Logic Pro, and Studio One. Choose one that fits your workflow - most offer free trials.
Not necessarily. Good headphones are enough for starting out, especially if you're in a small or untreated room. Look for closed-back headphones with a flat frequency response, like Audio-Technica ATH-M50x or Beyerdynamic DT 770 Pro.
MIDI keyboards aren’t essential, but they make it easier to play melodies, chords, and drums. Compact controllers like the Akai MPK Mini or Arturia MiniLab are affordable and beginner-friendly. You can also click in notes using your DAW’s piano roll.
Most DAWs come with stock synths and effects that are surprisingly capable. Start with those before buying third-party plugins. Later, you might explore synths like Serum, Vital, or plugins from Native Instruments and Arturia.
If you're only using headphones and soft synths, you can start without one. But if you want to record vocals or use studio monitors, a basic audio interface (like the Focusrite Scarlett 2i2) improves sound quality and reduces latency.
Room treatment helps with accurate monitoring, but it’s not urgent when starting out. If you’re on a budget, focus on learning your headphones first. Later, consider basic acoustic panels or bass traps if you set up studio monitors.
External hard drives for backup, a good chair, and a simple desk setup can improve workflow. Tools like a pop filter and mic stand are only necessary if you plan to record vocals or instruments.
Many successful producers began with just a laptop and headphones. Focus on learning your tools, practicing regularly, and finishing tracks. Skills and creativity matter far more than having expensive gear.
Mixing is an art and a science, and beginners often make avoidable mistakes that can hold back the clarity, balance, and impact of a track. Awareness of these common pitfalls helps you grow faster and make better decisions in your mixes.
Monitoring at high volumes causes ear fatigue and distorts your perception of balance. Mix at moderate levels and take breaks to keep your ears fresh. Loud doesn’t mean better - clarity matters more.
Too much EQ can make a mix sound unnatural. Instead of constantly cutting or boosting, consider balancing levels, changing sound selection, or using subtractive EQ in moderation. Don’t "fix" something that isn’t broken.
Reverb adds space, but overusing it makes a mix muddy and distant. Use it strategically - often shorter, subtle reverbs work better than long, washy ones. Try EQing your reverb returns to control buildup.
Soloing can help you isolate problems, but decisions should be made in the context of the full mix. A kick might sound weak soloed but sit perfectly when everything’s playing together. Always mix in context.
Bass and kick often fight for space. Use EQ to carve out room or sidechain compression to help them breathe. Without control, low-end muddiness can ruin an otherwise solid mix.
Improper gain staging leads to clipping, noise, or unbalanced tracks. Make sure each element is hitting plugins and buses at healthy levels - usually around -18dBFS is a good target for digital mixing.
Compression is powerful but easy to overdo. Too much squashes dynamics and kills energy. Learn to use attack, release, and ratio settings properly, and listen for when compression helps - not just when it’s applied.
Without reference tracks, it’s easy to lose perspective. Compare your mix to well-produced tracks in a similar genre to check balance, tone, and loudness. This keeps your ears grounded and guides your decisions.
A mix might sound great in your headphones but fall apart on a phone or car stereo. Test your mix on multiple devices and environments to ensure it translates well across platforms.
Mastering can enhance a mix, but it can't fix a bad one. Don’t rely on mastering to solve balance, clarity, or dynamic issues. Take time to get the mix right first - it’s the foundation of a professional sound.
Music royalties are payments to rights holders (artists, songwriters, producers, publishers) for the use of their music. There are several types of royalties: mechanical (from sales/streams), performance (from radio/venues/TV), sync (for film/TV/games), and print (for sheet music). Royalties are collected and distributed by rights organizations and licensing agencies.
A publishing deal involves the rights to your songwriting and composition. A publisher helps collect royalties, license songs, and promote your catalog. A record deal, on the other hand, is about the master recording (the actual performance). The label promotes, distributes, and monetizes your recordings. You can have both deals at once - just for different rights.
A PRO (Performing Rights Organization) collects and distributes performance royalties on behalf of songwriters and publishers. They track when your music is played on radio, TV, live venues, and streaming platforms. Examples include ASCAP, BMI, SESAC (USA), PRS (UK), and KODA (Denmark). Registering with a PRO ensures you get paid when your music is publicly performed.
Sync licensing refers to placing your music in visual media like films, TV shows, ads, and games. It requires two licenses: one for the composition (from the publisher or songwriter) and one for the recording (from the artist or label). Sync deals often pay upfront fees and can boost exposure significantly. Sync libraries and music supervisors are key players in this process.
Metadata is the embedded information in your audio files - such as artist name, song title, ISRC code, writer credits, and contact info. Accurate metadata ensures you get properly credited and paid. Streaming services, radio, and licensing platforms rely on this data to track and report usage. Always tag your music files correctly before distribution or submission.
Building your artist brand means defining your sound, visual identity, message, and presence. This includes your logo, bio, social media voice, and music style. Consistency is key. A strong brand helps you stand out, attract fans, and get the attention of labels, playlists, and industry players. Think of your brand as your artistic personality across all platforms.
Pricing beats has become more flexible and accessible. Many producers now offer their beats for free upfront in exchange for a 50/50 royalty split upon release. Others still offer traditional license models, such as non-exclusive ($10–$50) or exclusive ($100– $500+). Platforms like BeatStars and Airbit allow you to customize terms, split royalties automatically, and scale based on your audience. Be clear about usage rights, crediting, and limitations in every deal.
Distributing your music to platforms like Spotify, Apple Music, and YouTube Music typically involves using a digital distributor such as DistroKid, TuneCore, CD Baby, or Ditto. While these services handle the delivery and royalty collection, they often require upfront fees or yearly subscriptions, which can become costly for new artists. Additionally, building visibility and a fanbase entirely on your own can be slow and challenging. For many new artists, signing with a record label or a small independent label is a more effective path - they often cover distribution costs, have existing relationships with DSPs, and can help promote your release more professionally. Always consider your long-term goals, budget, and level of support when choosing how to release your music.
A DSP is a platform that delivers digital music to listeners - like Spotify, Apple Music, Amazon Music, and Tidal. DSPs stream or sell your music and pay royalties based on the number of plays or purchases. Distributors send your music to DSPs, and your metadata ensures it's correctly tracked and credited.
Playlist placements can greatly boost your exposure. Submit your songs in advance (at least 2–4 weeks before release) to platforms like Spotify via their artist portal. Build relationships with independent curators on platforms like SubmitHub or Groover. Keep your branding consistent and include a compelling pitch when submitting.
A good release strategy involves planning your content rollout weeks in advance. Tease the track on socials, use pre-saves, prepare press releases, and schedule posts. Plan a launch day strategy including visuals, email campaigns, and post-release follow-ups. Aim to build momentum before and after your release day.
Pre-saves let fans save your upcoming release to their library before it's live, boosting early engagement. Smart links bundle your streaming platform links into one shareable page. Tools like Hypeddit, Linkfire, and ToneDen help you create and manage both features. They’re key to maximizing clicks and tracking your marketing performance.
ISRC (International Standard Recording Code) is a unique ID for each track, used to track plays and royalties. UPC (Universal Product Code) is for the entire release (like an album or single). Distributors often generate these for you. Having them ensures proper cataloging, royalty tracking, and eligibility for charting.
Start by maximizing free platforms. Post consistently on social media, engage with fans, and join music communities. Use Reddit, TikTok, and Discord to connect with listeners. Collaborate with other artists and cross-promote. Send your music to blogs, playlists, and radio shows that accept free submissions. Consistency and authenticity beat expensive ads.
Many producers struggle with unfinished projects. To finish more tracks, set realistic goals for each session, limit your sound palette, and avoid over-editing early on. Create a structure first, then refine. Use templates, deadlines, and even collaboration to stay focused. Remember: finished is better than perfect.
Burnout happens when creativity turns into pressure. To avoid it, take breaks, switch tasks, and don’t force inspiration. Balance music with other activities, and try experimenting without expectations. Protect your passion by treating it with care and pacing your workflow.
Arrangement is how a song is structured over time - intro, verse, chorus, drop, etc. Even the best loops fall flat without a clear progression. Arrangement keeps listeners engaged, creates tension and release, and gives your track a professional shape. Study tracks you love to understand their flow, then apply similar techniques to your own music.
Collaboration opens creative doors. Start by finding artists with complementary styles and good communication. Define roles clearly (who does what), agree on file formats, tempos, keys, and set deadlines. Share project files via cloud platforms like Google Drive or Splice. Always discuss credits and splits early to avoid misunderstandings later.
Intros should grab attention or set the mood; outros should close the experience smoothly. Start with an element that builds curiosity or rhythm, then evolve naturally into the body of the track. For outros, use fade-outs, reverb tails, or return to the intro motif. DJs appreciate clean endings for mixing, so think practically too.
Choosing the right sounds is key to a pro-sounding track. Build a go-to library of high-quality samples and synth patches. Avoid clutter - focus on contrast and balance between instruments. Audition sounds in context, not solo. Learn what fits your genre, and trust your ears more than your screen.
A producer tag is a short audio signature that identifies you in a track - like a vocal phrase or sound. Tags are popular in genres like hip-hop and EDM and help build your brand. Use one if you want recognition, but keep it subtle and tasteful so it doesn’t distract from the music. Make sure it's consistent and unique to you.
Music contracts can be complex. Always look for key terms like length of agreement, royalty splits, ownership rights, advance payments, recoupment clauses, and obligations. Don’t rely solely on verbal agreements. Read carefully, and consult a music attorney if unsure— never sign anything you don’t fully understand.
Beware of contracts with vague language, no end date, one-sided royalty splits, ownership transfer of your masters or publishing without fair compensation, and no exit clause. If a deal pressures you to sign quickly or discourages legal review, it’s a warning sign. Always protect your long-term interests.
A non-exclusive license allows multiple artists to use the same beat or instrumental. You still own the rights, and can license it to others. It’s common in beat selling and is often cheaper for buyers. Be clear on usage limits (e.g., streams, video rights, monetization) and define expiration if needed.
To safeguard your work, always register your songs with a Performing Rights Organization (PRO) and optionally with copyright offices (like the U.S. Copyright Office). Use services like Content ID (for YouTube) and metadata tagging. Back up all files with timestamps, and share only with trusted collaborators or platforms with agreements in place.
If someone uses your music without permission, report it to the platform hosting the content (e.g., YouTube, Spotify, SoundCloud). Provide proof of ownership (e.g., registration, timestamps, agreements). You can also file a DMCA takedown notice or work with a rights management service to automate the process.
If someone copies your melody, beat, or lyrics, first document the similarities and gather your evidence. Contact the infringing party directly if possible. If unresolved, consult a lawyer for a cease-and-desist letter or formal legal action. Public confrontation should be a last resort. Legal proof and professionalism are key.
Platforms use audio fingerprinting technology (like YouTube’s Content ID or Facebook’s Rights Manager) to detect music based on uploaded reference files. Once your music is registered, these systems compare all uploads to identify unauthorized uses. Proper metadata, registration with PROs, and third-party rights management tools help automate protection and ensure monetization.