M1Beats – M1 Instrumentals F.A.Q

Beat licensing, also known as beat leasing, is the exchange of money for the legal rights to use a beat as outlined by the licensor. You may hear or see the phrase “beats for sale”, but the majority of time, it’s actually a license being sold. This license grants permission to use a beat up to a certain number of sales/streams, or a certain amount of time (legally known as the “term”). Once these limits are reached, the license expires and another license will need to be purchased to continue using the beat. There are two main types of licences: non-exclusive and exclusive. Non-exclusive beat licensing is the default licensing model. Most producers’ beatstores offer different tiers of non-exclusive licenses.
Exclusive Beat Licensing An “exclusive license” means only one artist will be the exclusive licensee of a beat. Once an exclusive license is sold, no other artists will be able to purchase a license to use the beat. However, previous non-exclusive license owners can still use the beat based on the terms of their previous agreement and the producer still retains copyright ownership of the beat. The term “exclusive rights” can be used to describe an exclusive license, as explained above. However, sometimes producers sell “exclusive rights” and put in their contract that they are transferring complete ownership of the beat to an artist. This is also known as “purchasing a beat outright” or a work-for-hire. Unless a producer is uninformed or new to the music business, work-for-hire’s or transferring complete ownership of a beat should only happen if the monetary offer is so large that it can’t be refused!
Non-exclusive Beat Licensing A “non-exclusive license” means more than one artist could legally license the beat. Once you record your vocals to a beat that was licensed to you, that new song is called a derivative work. Even though you just made a new song, you only own the copyright to the lyrics. The producer still owns the copyright to the beat. So should you submit your song to distribution services like TuneCore or CDbaby and they ask you who the copyright owners of the song are, you’ll have to tell them that you only have copyright over the lyrics and that you’ve created a ‘New work’ with copyright protected audio that has been non-exclusively licensed to you by the producer.
Mechanical royalties are generated when music is physically or digitally reproduced or distributed. This applies to hard copy sales, digital sales (e.g. iTunes) and streams (e.g. Spotify).
Performance royalties are generated when a song is performed publicly. This applies to when music is played on the radio, performed live or streamed for example.
In most cases, the artist is allowed to keep 100% of the mechanical royalties in exchange for the price they pay for the license. Regardless of whether the license is non-exclusive or exclusive. These days, distribution services like TuneCore, CDBaby or DistroKid pay these mechanical royalties directly to the artist. That is if the artist works independently.
It seems pointless, however, there’s a reason why some producers (including me) prefer selling exclusive rights with an advance against royalties. A few years back, I could easily sell exclusive rights for anywhere between $2,000 – $10,000. (The Good Ol’ Days! 🤠) These days, it’s considered ‘normal’ to sell exclusive rights for less than $1,000. With all the competition and the beat market becoming more saturated, the prices have dropped and it has become harder to close 4 or 5-figure exclusive deals. But what if the song blows up!? What if a song starts generating millions of dollars and you sold the exclusive rights to that beat for less than $1,000? That doesn’t really sound like a fair deal, does it? An advance against royalties can offer the solution. It’s an insurance for the producer just in case the song blows up. It’s also something the artist only has to worry about as soon as the song starts generating serious revenue. And even still, it’s only 3%. 🤷🏻‍♂️
Who collects the Performance Royalties? Performance royalties are collected and paid out by Performing Rights Organisations (PRO’s), such as ASCAP or BMI in the US or PRS in the UK. (Every country has its own organisation, check which one is yours) These royalties are divided into two parts: Songwriter Royalties (A.k.a. Writer’s Share) Publishing Royalties The PRO’s collect both of these royalties and divide them into two groups. For every $1 earned on Performance Royalties: $0.50 goes to Songwriter Royalties $0.50 goes to Publishing Royalties. The $0.50 Songwriter Royalties will be paid out to the songwriters directly by the PRO. The other $0.50 publishing royalties will be paid out to a publishing company or publishing administrator. (more about this later).
First, let’s break down the Songwriter Royalties. The songwriter royalties, also known as the ‘Writer’s share’ will always be paid out to the credited songwriters. This is the part that can not be sold through an exclusive license, other than a work-for-hire agreement. As I said before, this is wrong in the industry of licensing beats online. In case you’re getting confused; In copyright law, a producer is considered a ‘songwriter’ too. 🤓 Songwriter royalties apply to anyone that had creative input in a song. Producers, songwriters (lyricists) and sometimes even engineers. Generally, non-exclusive beat licenses are sold with 50% publishing and writers share. This is usually not negotiable since the music part is the producers’ contribution to your song and is considered half of the song. The lyrics are considered the other half. It doesn’t matter if there happen to be multiple songwriters that contributed to the lyrics. In that case, this 50% should be divided between them. Example Non-Exclusive beat licenses: 50% Producer 25% Writer 1 25% Writer 2 As part of an exclusive rights deal, a different split between all creators could be negotiated. It all depends on the price and flexibility of the producer. While I generally stick to my 50%, some producers sometimes agree to the following example split. Example Exclusive Licenses: 30% Producer 35% Writer 1 35% Writer 2
Unlike Songwriter royalties, Publishing can be assigned to outside entities called publishing companies. Most independent artist and producers will most likely not have a publishing deal, which means they’ll have to collect the publishing royalties themselves. Surprisingly, a lot of money is left on the table here. If you’re an independent artist or producer that is only signed up with a PRO and not with a Publishing Administrator, half of what you’ve earned is still waiting for you to collect.
Yes, Once you M1Beat Expires, You will be required to re-license your beat for an additional term.

M1Beats – Website / Store F.A.Q

Were currently experiencing issues with Gmail Accepting our email addresses. This issue is being worked on and will be resolved soon. We recommend using a alternative email address until this issue is resolved.. (AOL, YAHOO, OUTLOOK, ETC).
Yes, All Informations is kept private. We never share our user information with any 3rd parties.
We have numerous links to as a failover so you always have your download ready.. If a download link fails, You have numerous mirror downloads to choose from.
Click the My Account / Dashboard Tab on the Top of the Website.
Our Licenses are usually created and reviewed by our Music Producer and will be sent out to our Recipients within 5 to 7 business days or sooner. Delays may occur due to the review of our beat license process. If you have not received your license past our scheduled estimate dates, please contact us using our contact us link.

M1Beats – VST, VST3, AU, AAX, RTAS, TDM Plugins F.A.Q

VST/VST3 As we said, VST (Virtual Studio Technology) is the most popular audio format in the world in the last 25 years. And because it was the first to become free, it was implemented in almost every DAW existing today, except (of course) for Apple’s GarageBand and LogicPro X, which developed their own format AU (more on that later on). VST developed through the years and is today on its 3.x version, thus the name VST3 for the new format. Even though VST2 is widely used and available (almost) every DAW, VST3 is supported by Steinberg’s Cubase 9.0+ versions of the program and is slowly replacing its predecessor in the audio engineering world. With VST/VST3 you really can’t go wrong, as it became the industry standard over the years, so feel free to use it everywhere, especially when you have to switch through different setups and devices. Almost every PC (Windows/Linux) DAW will support VSTs. AU Apple often don’t like to standardize things. So, it’s no surprise that they held their Audio Unit (AU) format through the years, making it the only format available on Macs. Essentially, AU is for Mac users what VST is for PC users. There is very little different to the end user between these two formats. Of course, because these are two of the most popular plugin formats in the world, there is always the question – how to overcome the differences? Luckily, there is a load of converters and wrappers out there for these two formats, and plugins are usually made in two versions, AU and VST. This usually means that plugins are made for VST and just adapted for AU, but still, there is no real difference in different versions. RTAS and TDM RTAS (Real-Time AudioSuite) and TDM (Time-division Multiplexing) are two formats made by a company now known as Avid Technology, maker of the popular ProTools DAW. These formats are now replaced by AAX format, as of ProTools 10.3.8 version, and are not supported today, but still, they play a significant role in older versions of programs you may use. The main difference between these two is that RTAS uses the power of the host computer to work its magic and TDM uses only the power of DSP processors, making it much faster and freeing up the host computer to do other work. Even in their heyday these formats didn’t have that much reach and importance as they were used only by ProTools and it was impossible to make a wrapper to the AU or VTS formats, both technically and legally, so you were forced to either use everything TDM/RTAS or nothing. Also, TDM was known for using expensive DSP (digital signal processor, devices used to transfer sound to digital form – binary code essentially) equipment, so it was advised not to use TDM formats unless you could afford everything that came with it, so it was used really buy large studios only. From 2013. the support for these formats was ended and they were replaced with more modern AAX format, which is compatible with these two. AAX It wouldn’t be much of a fight between Apple and Steinberg about who’s going to have the best format if it wasn’t for the third contender. And enter the stage Avid, maker of Pro Tool DAW. After realizing that having one 64-bit upgraded new format that can do what your existing two formats can do at the same time, they scrapped RTAS and TDM formats they supported up to that point and created AAX (Avid Audio eXtension). This format can work on both DSP and native host computers, taking the best of both company’s previous formats and putting it into one thing. From Pro Tool 11 onwards they support only 64-bit AAX which can be a bit of a problem, as there is just not enough plug-ins yet made, but that scene could be changing as we speak. This format is supposed to be an upgrade on VST essentially, especially when working on larger sessions, as it can grapple the bigger projects the best. Also, the big plus for this format is its ability to share sessions between DSP powered and native based Pro Tools systems, giving you more room to work on.

M1Beats – Sound Libraries F.A.Q

Yes. Once you purchase, the sound library is sharable. Sharing our download link is prohibited…. We recommend downloading and sharing this way, as you may be limited to your own ip when using the shared link. Other ip addressed that do not match may cause your download to be suspended / terminated / banned permanently..

M1BEATS – D.A.Ws F.A.Q

A digital audio workstation (DAW) is an electronic device or application software used for recording, editing and producing audio files. DAWs come in a wide variety of configurations from a single software program on a laptop, to an integrated stand-alone unit, all the way to a highly complex configuration of numerous components controlled by a central computer. Regardless of configuration, modern DAWs have a central interface that allows the user to alter and mix multiple recordings and tracks into a final produced piece.
A digital audio workstation (DAW) is an electronic device or application software used for recording, editing and producing audio files.
Image-Line FL Studio. MusicRadar users have voted this the best DAW. … PreSonus Studio One. An ‘upstart’ DAW that’s now playing in the big league. … Ableton Live. An inspiring DAW with a next-level workflow. … Cockos Reaper 6. … Steinberg Cubase. … Apple Logic Pro. … Reason Studios Reason. … Cakewalk by BandLab
If your DAW is set completely ‘flat’ then many people believe it will sound the same as another DAW set up in the same way. Of course, as soon as you start mixing, things will start to sound different depending on which DAW you are using
Reaper. Ableton Live. Logic Pro. Cubase. Pro Tools. Fl Studio.