Buy Beats Online – A Guide

Note: I am not an attorney, and you should not consider this legal advice. This is Self Defense 101 for interacting with the music industry.

It pains me as a musician to suggest the ways on how you can purchase high quality music, buy beats online, for a low price. Yet, it’s obvious that you want to get the highest profit with your work for the least amount of buck. Also, $500,000 (i.e. for an ad campaign) seems a little pricey when you simply want to introduce the music into the beginning of your work or set it as the background of your music.

So, something you might want to know when you buy beats online is that you can get some really high quality beats for cheap–if only because the musician simply doesn’t know what he’s doing in the music publishing realm.


Buy Beats Online: Introduction


So, we’re going to discuss two main things when you buy beats online: 1) What you actually purchase and 2) Where you can purchase these high-quality beats. These are the two fundamentals toward getting the beats that you want. I’m going to cover #1 for now and link you to number two in an upcoming post.

I’m not saying that other publishers and writers don’t know what they’re talking about (they do), it’s just that most of what I’ve seen takes the music publishers into account, but it doesn’t take you into account.

Music publishers pushing for higher rates on their end doesn’t exactly take you into account, does it?


Buy Beats Online: What Are You REALLY Purchasing?


You MUST know what the hell you’re buying. That is, you want to know what you’re buying if you want to avoid the chance of a huge lawsuit should your creative work go big. You need to know what rights you have with the music you purchase, even though it can get a little technical.

You might buy a license for:

  • Personal Use License- (i.e. iTunes) In this license, you cannot redistribute this for a public performance or sale of any kind (Note: Mechanical License for Alterations)
  • A Mechanical License – In this license, you can alter the beats the person has made while keeping the initial integrity of the song)
  • A work-for-hire license – In this license, You pay a flat fee and the song is (usually) completely yours
  • A step deal – This, like the inadvertently created deal above, dictates that you pay the musician in amounts that elevate according to certain milestones you reach… let’s say that you purchase the beats to the song and you pay a certain royalty… then your music or your film his the box office for billions of dollars and rapes the world record a new one… according to the deal, you’ll need to pay something like “$10K bonus for every million made.”


Ensure that I, the music publisher, haven’t registered the songs I created via work-for-hire to ASCAP. This is because an ASCAP registered song doesn’t honor a work-for-hire agreement. And if you think you’ll commercialize an ASCAP-registered song without paying fees, you’ve got a surprise coming for you, per ASCAP’s site.

Also, according the music industry expert Randall Wixen in his book The Plain and SImple Guide to Music Publishing he notes frequently the power of performing rights organizations frequently.


By the way, as a music publisher, that would be cool if I could step up my income up based on your success.

For example, let’s say you make Avatar and “gross” $1,000,000,000 in revenue.

$1,000,000,000 => $1000 Million => 1000 x $10,000 = $10,000,000 you pay to me because of how awesomely successful you are.

Even though $10,000,000 is 1% of your revenue (note the chart below) and $10,000,000 has two fewer zeroes than the overall revenue from Avatar it’s still a huge chunk of money.



Sure, it seems fair that my awesome music helped make your movie what it is. But let’s face it. $10,000,000’s a rather big sum of money that you pay to me, right?

Well, even though I deserve the money or I feel that I deserve it (you know, because I created that kick-ass music/set of beats that helped you make your blockbuster hit)—even though I feel I deserve the money–you’ll get a much better deal by using a work-for-hire agreement with me.

And as we said before, the work-for-hire agreement means that you get to keep full rights to the music (usually), no questions asked.

You’d also make sure that the music you retrieve from me is NOT ASCAP registered–otherwise ASCAP will come aknocking for the royalties for:

  1. Movie theater presentations (or a percentage of the revenue) and
  2. the DVD sales royalties.


Just because you’ve drafted the work-for-hire agreement doesn’t mean that you can’t put royalty agreements or pay me, the musician, when your move turns into the blockbuster.


Buy Beats Online: License Recap

So, to recap, to save money, make sure that

  1. Whatever work you want from me is NOT ASCAP-registered
  2. Draft a work-for-hire agreement where you gain 100% ownership of my work (or some variation that allows me some ownership… which’d be more fair)


Buy Beats Online: Conclusion

What could it cost you not to learn the material above and make sure you know what you purchase? If you said, “It’d cost me big time,” I’d agree with you very much.

Look forward to seeing your awesome music with my work on the big screen. Just consider sending a royalty… even if the government doesn’t ask you to! It’s the music writers that give depth and vision to your work.

“Music is the most visual communication.”

“Energy Flows Where Attention Goes”: Pay Attention To Your Music

If you come from a similar background to me, then you recognize that family fights run deep within your family. Well, as it turns out (you’ll like this little nugget of gold here), I used to always believe that diving in the middle of the proverbial s*** storm would allow me to pull everyone up in an anti-gravity beam of light. Well, I had infused energy into the argument, which has only exacerbated the issue.

That’s the bad side of this delicious pancake.

Now the good side of the pancake (cut the pancake in half and eat the good side). When I stopped paying attention to that garbage, they literally disappeared–both for myself and those involved. This means that we have a lot of influence on others based on what we care about about and devote ourselves to.


If we haven’t made this clear yet (lol), it applies very much to music creation and music publishing.

Don’t reward garbage with your attention. Your family, friends, and your music will conform to whatever you focus on the most (even if the absolute trash doesn’t seem to go away at first, give it time… it will). \

When you let things flow in improv, thinking about the beautiful music you want to create (or the theme), you will probably make something incredible.

When you focus on that bastard who stole your music rights (or when you focus on hording your music from any would-be shark), you could very possibly hinder your positive energy that you could otherwise devote to crafting high-quality art in the form of your music.
Time to apply this law POSITIVELY to your life. Let’s do something great with your music career… both in music production and music publishing.

Before we start, take a moment to do the following: Focus on your subconscious mind. Focus on the positive impacts of your life. Focus on the good qualities of life. I mentioned in my first post that most people tend to filter most good in life. Then, even if they don’t receive the bad (i.e. they filter out the bad), they generally live a very neutral life. It seems crazy.

Take ten minutes just to study everything about your career. To do this, buy books on music publishing and music production (such as The Plain and Simple Guide to Music Publishing). Then, create Google account and subscribe to every music publishing blog available. Then read daily.

Afterward, especially every day after this ten minutes session, create a power plan now to play music, improvise for ten minutes while bringing in the most powerful concepts into your play. It’ll make things so much more fun and more available.


Wouldn’t it fill your life with value, wouldn’t you emote your most valued feeling every time when you know that whenever something bad comes around that, as long as you train your mind to focus on the great aspects of life, the bad will shrink to a tiny blip… which then fuels the positive in life with both energy saved and energy produced via recycling.

Ignore the drama and the bad deals life may throw you. It’ll give you more room to focus on the good ones still to come, you will enjoy a lot more love and success in life, because where attention goes energy flows.



You can find more information on music publishing companies at PlayGrind. Furthermore, you can find out how to protect yourself with modern digital music distribution.

Or you can simply explore PlayGrind for more information for your music publishing needs.

Drop the Hammer on Modern Digital Music Distribution: Using the Law to Your Advantage

Sorry about the late post. Measures have been taken to assure your daily fill of music publishing knowledge.

If you want to really protect yourself and your delicious music juice from illegal digital music distribution sources, then you’ll like this post. I’m no lawyer, and thus you might continue to befriend and confide in your attorney with more dollar bills (or pounds) for his input. Nonetheless, read below for a piece of delicious, law-based candy.


Hammer Modern

Digital Music Distribution

With U.S. copyright laws (currently, I speak just for the U.S. here).

S0mething to consider: when you conceive your intellectual property in tangible form (sticks, paper, audio recording, video recording, crayons on wall), copyright laws stand guard to protect you and your property. Two copyrights you immediately contract (in ways not unsimilar to diseases):

  • Performing Arts (PA) Copyright: The actual composition, map, that will create the sounds that make your music
  • Sound Recording (SR) Copyright: Interpretations of that map, the actual recordings of people following the map of your music

For digital music distribution companies to legally spread your music, they need obtain a mechanical license (aka audio-only license) from you. They must contract (whether oral or written) with you before spreading your music, digital or otherwise.


Randall Wixen* and Eric Beall** (music business weasels) recommend that you acquire an official copyright license as little formality to protect you one step further than the default copyright laws.


If you remember these two little bits of information, you can prevent shark music publishers from eating your media (music or otherwise) alive.


More Resources

Sources: Law In Business (8th Edition), and The Plain and Simple Guide to Music Publishing

Related Posts: Protecting Yourself With Music Publishing Companies and Digital Music Distribution (Your Rights)

Related App: Protect yourself more. Stay mentally alert in the presence of shark music publishing companies when you rest with Atmospheres.


Why Doing Digital Music Distribution Through YouTube Is a Great Idea (Word of the Day: Mechanical)

So you feel infuriated that 14,536 people just downloaded your song free of charge? This post explains why you should feel happiness in these seemingly dark times for your songs and current vehicles of digital music distribution . This post also explains what to do about the whole download thing. World-famous, multi-millionaire Internet marketers back the ideas suggested in this post–these marketers sell products in formats identical to your songs.


Digital Music Distribution Nowadays


When you consider digital music distribution, whether in the legal or illegal sense, things have changed where a user can actually rip the mp3 from a YouTube video straight off the bat.

This means that the game is likely going to change entirely, making music free for everyone in the long run (or ridiculously cheap anyway). Tools are available that makes music-generation exponentially easier, and even though the power has shifted tothe individual, it appears that such means of digital music distribution cuts a pretty hefty hole in the music publisher’s pocket.

The real money appears to lie within the ever-increasing entertainment industry. Musicians and music publishers in this business in music recognize that the entertainment industry has elevated from X to Y and continues to elevate (and likely will continue to elevate… people like to feel good).


Digital Music Distribution Done Right


Yet, in the realm of mechanical licenses (licenses that allow audio-only distribution through digital music distribution companies like Apple), there’s still a means of creating an income through public channels like YouTube (even though people can download it). If you constantly distribute content through these channels and increase your fanbase and views, you’ll grab a certain percentage of the growing number of people who will want to buy your music.

At the very least, when you distribute your music in whatever ways available, you’re more likely to land a fun gig with Kia and the Kia hamsters (LMFAO) or with the latest video games (Johnny Cash’s cover of “Hurt” on Prototype 2… Even though he’s not around anymore).

Either way, digital music distribution is simply a means of value distribution. The more value you create for others, the more the world will pay you. Sure, governments and companies may set up systems to ensure your payment, but in the end, what you get paid is the value you give to the world.


Where To Go From Here

Your Recommended Digital Music Distribution Campaign:  Put everything you own on YouTube, SoundCloud, SoundClick, MySpace. Put the best, most amazing content, and you’ll improve your following… and eventually the thickness of your wallet.


How much do people value you and what you do? If we keep on increasing the answer to this question for you and program ourselves to forever increase the answer to this question, I would bet my keyboard (I love my keyboard) that you will make a lot of money.

Life is good, and thanks for being here. We love you, friend.

~ Your Friend, Aaron



Go with us as we explore time and space with music publishing: For more information on music publishing companies. If you’re still in the process of creating music (I expect that you and I always are), here’s some quality information on how to make instrumentals great (with insights from a video producer).

For outside sources, you might consider all things Eben Pagan, Joe Polish, Tim Ferriss, Seth Godin, Ed Dale (His other website: The Challenge, and/or “Guru Bob.” These guys interact with and create revenue with information in (exact) same format that your music comes in. These guys deal with digital information distribution (the general topic music lies under).

Music Publishing Companies: Your Rights When You Sell Your Music

This royalty-free site is an example of a shark music publishing company that allows the exploitation of a music producer. I found this question in a comment on Todd Brabec’s video on Artists House Music’s channel. He asked:

“[sic] what does ascap do for me if i sell an audio clip (copyrighted/registered with ascap) through a royalty free site, and that clip ends up in a tv show/documentary that is being aired alot?”


When you join a performing rights organization (PRO), you essentially put on a suit of water-proof armor that protects you from music publishing companies that act as cold-blooded sharks–versus the music publishing companies that stand fierce as a hawk, scoping out for your best interests with fair payments to each involved.

It costs a little bit of energy to create and wear this suit of armor that costs $35 to wear initially–and then a bit of your percentage to cover the companies’ costs. With these costs in mind, though, PROs protect you from the financial bloodletting of your music, say, from some music publishing company that wants its hands in your pocket.


Find a PRO When Working With

Music Publishing Companies

Performing rights organizations will collect your royalties, especially if played on national TV, regardless of what work-for-hire or royalty-free agreement you establish with another site or person directly. At the least, they’ll make it very painful for whatever music publishing companies that attempt to use your work for less than you deserve.

BMI’s a little more vague and tiered in their payment system, but at least consider ASCAP’s philosophy when it comes to money and deals involving music publishing companies:

“As a condition of membership, all ASCAP members agree that the writer – and not the writer’s employer – will be paid the writer’s share of ASCAP performing rights royalties, even in work-for-hire situations. ASCAP’s Articles of Association provide that writer royalties “shall not be sold or otherwise disposed of.” Therefore, with very few exceptions, ASCAP will not honor an irrevocable assignment of writer’s royalties. We strongly believe that music creators should benefit from their work. Period.” (ASCAP’s Payment System: Introduction)

No matter what you might do with your music behind the scenes, companies like ASCAP (and, likely, BMI) will help ensure that you get the pay you deserve.


Be Your Own PRO When Working

With Music Publishing Companies

Still, on the other side of this pancake, You still need a powerful system of defending yourself from “Shark” music publishing companies– music publishing companies that want to draw out your money (and your soul–kind of like the dementors from Harry Potter). Protect yourself!

Tom Petty and the Heartbreakers and Trent Reznor with Nine Inch Nails both made the mistake of not protecting themselves and their intellectual property and thus lost many dollars and much ability to control their initial albums.

UPDATE: Trent Reznor now claims that record labels are not bad–which contradicts the message I initially intended to convey in this post. It’s good to keep things in perspective and see the good in all things, I suppose.

A good boundary to establish between you and the unfortunate evils that exist in the music business are the following:

  • ‘Education on music copyrights and copyrights in general (aka read on music publishing… know the game that music publishing companies play SO THAT YOU CAN WIN)…
  • Connecting with your fans; You can connect with your fans on multiple platforms like YouTube, SoundClick, SoundCloud, MySpaceThere’s a video where Trent Reznor figuratively gives the middle finger to the music publishers who own’s NIN’s first albums (he tells the crowd to steal his first albums); it’s good to have a fanbase to “Boo” the publishers who do the real stealing.
  • Touch base with a trustworthy music publisher; Just keep yourself educated when you bring up something that involves your music.
Now there’s what you need to do. here’s a couple suggestions on how to implement the above when protecting yourself from shark music publishing companies with your knowledge, your platforms, and your music publisher allies.
How to Educate Yourself on Copyright and Music Publishing:
  • You can educate yourself by subscribing to a series of blogs and reading through on music publishing and music publishing companies through these blog posts
  • Read The Plain and Simple Guide to Music Publishing by Randall Wixen (foreword by Tom Petty)
  • Read 100 Answers to 50 Questions on the Music Business
  • Ask yourself empowering questions like, “What is the job [this song] has been hired to do?” (Ed Dale) when considering payment for your song (or when creating it for example).
Establish “Your Platform”
  • Register with (and then upload content and link to that content regularly)
  • Register with (and then upload content and link to that content regularly)
  • Register with (and then upload content and link to that content regularly)
  • Register with (and then upload content and link to that content regularly)
  • Register (and then upload content and link to that content regularly) with another content-hosting website that will display your music and/or music videos
  • Connect regularly with established artists and band members; create mixtapes with them
  • Write on blogs or forums and link your content with the value you provide on that forum
Connect With Your Trusted (Hawk) Music Publisher
  • Connect with friends you know in the music publishing industry
  • Create (video) comments on music publishing channels (on videos that talk about publishing music)
  • E-mail other artists on their preferred music publishers (Randall Wixen)
Here’s a quick comment from music business weasel, Eric Beall, of Berklee Music.

“It now seems that every record label uses songs without mechanical licenses in place, theater shows routinely drop songs into a revue without clearing the dramatic rights, advertisers sign sync licenses long after ads are on the air, and everyone pays late, if at all.  It takes a new kind of tenacity to get paid, and only those who are the most persistent, the most unrelenting, and the nastiest will get their money. You can’t just put your registrations in place and wait for the payment to show up.  Those who snooze will be abused.”

Eric Beall’s Blog

You always have rights no matter what you do. It is possible to sell your musical soul to the devil, but the musical society has leaned the odds in your favor when it comes to collecting rights for your music.


The Journey Ahead

There are plenty of sources to observe when it comes to protecting yourself from “Shark” music publishing companies, including the PRO websites. Furthermore, you can observe more in our blog when it comes music publishing companies, because, well, we’re the “Hawk” music publishing company.

You deserve to get paid for the value you create.

Why Thor Is the Best Piano Module For Your Synth Toolbox

Thor has always been my favorite “piano module” to apply to any music I create ever since I started using computer software to create the music I want.


What it does is it affects everything about a soundwave. It also helps you affect soundwaves with the most user-friendly interface I’ve ever seen. Thor has every method of transforming a wave with basic tools that actually create the wave, including three different oscillators such as FM, analog, and wavetable oscillators. Each of these oscillators (and tools otherwise unmentioned) have a purpose explained in the initial Thor tutorial given by “Reasonmastaa.”


To apply Thor to suit your piano module based needs, simply download and install Reason (if you haven’t already), then click Edit => Create Instrument => Thor Polysonic Synthesizer. From there, click “Show Programmer,” then just mess with it as much as you’d like.


This will create maximize everything you could ever want for every situation you could ever think of. Let’s make it work.



For more information on modular synths. For more info on creating and mastering music in general, go to Propellerhead’s Substance section for more information about all things reason and music production–it is really the highest quality source of information I’ve seen on music product to date.

Five Ways to Make Instrumentals of Yours Clean and Creative


(Thanks to AF-Studios for the image!)

To make instrumentals of yours the best they possibly be is art in its highest form. So, consider the research performed at PlayGrind to make the best music, the best music that will receive you the most love available for your work, in both human and money form.


Below is the five step process to follow that’ll make instrumentals of yours a reality, a reality refined:

  1. Define Your Purpose – Why are your writing this music?
  2. See Your Outcome – Different from purpose; here you conceive the structure to which instruments will conform
  3. Prepare – Buy equipment after conceiving your first song or what you want to create, because you’re buying the equipment mainly to conform with the material that you create (which can save you money)
  4. Freewrite – Have fun—You have many resources at your disposal… Use them and make your 168M+ View/Listen soundpiece; this is where you let your creative genius flow and play; this is what creates the “diamond in the rough”
  5. Eliminate – Bruce Lee said that the highest form of mastery is not addition, but eliminating things that do not contribute to our purpose; here is where we put everything we have into it and grit our teeth and remove everything that doesn’t make the song as cool as possible; the goal here is to cut 50% of the “stuff” and DOUBLE the impact of the piece while we do it.


Alright. We’ve covered what we’re going into. Now, let’s delve a bit further into how to apply this process to YOUR work.

To do this:

  1. Define Your Purpose: Why are you writing this song? Why do you want to make instrumentals? Who are you making this for?Answer this and the rest is easy.
  2. See Your Outcome: Construct your song’s framework.Put these words in order (or find words of your own) and build around them:Hook/Intro/Lead-in/Open the Loop
    End/Completion/Close the LoopLife has provided for you a million cool different “phrases,” but unless you say “No” to the ones that don’t work, and you combine the ones that do in the right order, it’s rare that you’ll get the effect you want
  3. Prepare – Buy your equipment and download the software you want;To give you an idea of what you can use, here’s an incomplete resource list of instruments and software you can use to construct your own “studio” (or just studio, if you’re going legitimate)(S) Reason
    (S) Logic
    (S) Pro Tools
    (S) Fruity Loops
    (S) Ableton Live
    (S) Dr. Drum
    Electric Drumset
    Bass Guitar
    MIDI Keyboard
    Drum Machine
    Soundproofing Material or “Sound Catchers” (My preferred term)
  4. Freewrite – Take ten minutes now, plug your guitar in, start the audio/MIDI/clay pot recorder and jamIf you’re connected to the computer, you’re lucky because you can use software to do plenty of things with the music you record.If you just have a recording device, you’re still lucky, because you can really get an organic feel or style of music to conform to whatever you want… Which can be a lot harder than just doing it to the software and making music through the very robotic interface straight away.
  5. Eliminate – David Jenyn, my music producer friend, invests three hours into every minute of edited video he makes (and his video is typically very good); it’s you’re music, but this is generally a good idea to get “Just the right feel” in your songs.It’s a good idea to invest more time into your work, because this is the part where you chip away at the diamond in the rough and make instrumentals of yours epic and amazing once and for all–not to mention “Shiny.”


Follow these ideas, and you’ll be well on your way to making excellent content for everyone to enjoy. Let’s make it happen.


Life is Go; Life is Good! Talk to you soon!

Your Friend at PlayGrind,

~ Aaron


P.S. Here’s the link our original, abbreviated post on how to make instrumentals great.


P.P.S. Want music? Go to this blog post to get your instrumental music free download.


P.P.P.S. Buy our balls and go to sleep–180-Day Satisfaction Guarantee that you’ll like our balls and rest more easily.

Drastic Ideas for Drastic Change…Music Publishing Ideas from a Non-Professional Music Publisher

(Graphic Content Below! Not For Punks!)


Thought of you yesterday. Banging the keyboard, I came up with an interesting realization.

It could be interesting to you, because this idea came to me earlier, yet you’ll find this post more applied to making the work you really know you can make.

I don’t know this as a music publisher. I know this as a writer. Nonetheless, you will find it useful, I believe, because it applies to many professions.

You saw the above comment that suggests graphic content below. I feel you can handle this. It’s pretty intense, so imagine us coming out the other side in love and trust, which I appreciate our relationship to always be.

I appreciate your readership, and perhaps we can continue having you around—even after this post.


You may have read in an earlier post on focusing during content creation. When you focus on a specific theme when you craft your musical piece, you gain the emotional effect more readily than just by throwing stuff out there (and hoping to go one day, “Hey, man… it works!”).

You also read earlier that I said that I know this as a writer, not a music publisher. The reason I know this applies to songwriting and making these musicals of yours is because it applies to other people as well.

  • (Good) Writers know how to conform their work to the book title, chapter, article title, or section paragraph—if they don’t, they risk losing the focus and effect of the chapter
  • Actors like to think of the word or image when creating an emotion for the audience
  • (Good) Athletes focus their attention (“Hit ball,” “Ball, bat,” “Basket,” “Line, Faster, Cruise,”)

It’s “performance psychology.”


Because we’ve already covered some performance psychology in the earlier post mentioned before, in this post you’ll get a scenario to play through in your mind, which you’ll preferably play your instrument as you consider these scenarios.

Remember that we’re still friends after this.

Imagine this:

  • What would it feel like to have earned a million dollars through your newly released record or series of rock concerts from your tour? You’ve been working hard with your gigs for three years now, and your time has finally come.
  • Now, feel cold cement pressing against your knees and palms. What would it feel like to be on your knees, hands before you, and a man standing before you with a gun to your chin, knowing you’re about to lose it all? This man is taking everything from you.
  • With you on the floor, he walks to the door in this empty room. How does it feel having the gun withdrawn from your immediate person?
  • The man reaches for the door handle and stops. He reaches for his gun to his side, hesitates a moment with his hand hovering above it, then pulls the gun from his denim pocket and turns to face you. You’re still on the grown. “I’m sorry,” he says as walks too quickly to you and draws the gun back to your face. How does it feel in that brief moment before the trigger squeezes, as the explosion from bullet propels the metal from the barrel… what does it feel like in that brief moment when all is lost? What do you think about then? What have you lost? What happens for you?
  • Then, as your body lies before you, suddenly, you think of all the good you’ve done to the world. You think of how much joy you’ve given to your thousands and thousands of loving and loyal fans. You’ve reached the apex of your career, and you have fans shouting and tears streaming their cheeks as scream how they love you, waving their lighters before you, arms outstretches. You even hear of how a performance of yours saved a man from committing suicide. How does it feel? How does it feel knowing that your life was worth it? How does it feel knowing you’ve changed the lives of those you’ve touched?

You know, this is an interesting story in itself. It’s story that, if performed correctly, could probably make people a lot of dollars. Yet the formula isn’t secret to only me. Many authors and playwrights have uncovered the art of letting more than just the aerie fairy (or just the negative chains of the world) evolve from your focus with your work.

You could do a lot with this work. You could make it an award-winning movie, play, or expand it into a novel or comic series. Or you could take it and make instrumentals of yours absolutely fantastic. It’s thoughts like that which create beautiful images in the mind. It’s thoughts like the above which produce the most beautiful work conceivable to the human soul.


If you take these ideas to heart, you can be sure that you’ll enjoy a greater level of success with your work. You’ll enjoy a greater level of enjoyment, of fulfillment, too, as you work.

Look forward to your long and lasting friendship as a dedicated reader and loving friend.


Talk soon!

Your Friend,

~ Aaron

P.S. Here’s the original post on how to make instrumentals of yours twice as connectable, twice as great. Let me know what you think in both posts.

P.P.S. Here’s the Atmospheres advertisement. What do you think?

If You Want to Make Instrumentals Great–Consider Bringing Color Into the Equation


(Photo Credit to darksage777!)


For more info on how to make instrumentals awesome, consider the link in this sentence.


If you want to experience the love associated with being able to identify essential components of a song (and thus being able to apply them when you make instrumentals of yours truly great), then consider what a friend of mine, Elijah, told me tonight. Also, later in this post, you’ll get to figure out exactly how to get this legendary trait that experienced musicians call “perfect pitch,” with me proving how you can do it in posts to follow.


He said that people with perfect pitch associate colors to a certain color. Like “A is red, A#/Bflat is a more red-orange, B is an orange, C is a orange-yellow, etc.”


To get a perfect pitch, we can associate colors, feelings, tastes, whatever–when people are able to “read” tones…it’s nothing more than easily accessible associations.


For the next ten days, while you make instrumentals, consider taking ten minutes a day to really think of a color to associate with certain pitches. That is, when you press the A key, think of the color “red” or “azure.” I advise the colors of the rainbow, the ROYGBIV sequence because it follows a logical order.


What if you could identify a pitch with the bat of an eyelash? How would it help your music career to identify the note in a drop of a hat? What if you could pull the notes from the song just by listening to it?


Look forward to hearing how your results with music improves after applying this strategy. You’ll make instrumentals of yours absolutely phenomenal.


Talk soon!

Your Friends from PlayGrind,

Jim and Aaron


P.S. Practice learning perfect pitch with Atmospheres, the sleep and relaxation aid–now available!


P.P.S. Here’s that link again for the other post on how to make instrumentals amazing…check it out!


P.P.S. Check this link for an awesome instrumental music free download!

How to Make Instrumentals–And All Content–Twice As Deep, Twice As Connectable (A Mountain-Moving Way to Make Instrumentals)

As we said in the other post on “How to Double the Amount of Time People Listen to You,” when you think of the things you’d never want to have happen to you or a loved one, you’ll have content that people will pay you money for.

Considering terrible, emotionally degrading thoughts while developing your music can create that certain feel to your music that people will love. When you make instrumentals along the lines you’ll see here, you’ll create a work that others will download and work with time and time and time again.


For example, Johnny Cash wrote the song “Hurt,” (not an instrumental…but still moving…the instruments themselves convey the emotion described in the lyrics and tonality of Mr. Cash).

In the song, he explains and magnifies what really matters in life…by illustrating the guilty and more apathetic components of life.

The cool thing is that he illustrates a deep love for humanity in the guilty, sorrowful tonality– noting that giving (when he says, “You can have it all—my own pile of dirt”) is the best thing we do, because the people we’ve hurt deserve it (and they deserve so muc h more than we can ever give them…the love runs deep in this song).

And he illustrates his love through feelings of hurt from what others of done, hurt for loss of those he’s loved, hurt in his forlorness in that life is gone sooner or later, and hurt in that he’s become someone he hasn’t wanted to become…someone who’s hurt.

By showing the things we don’t want to have happen to us, we simultaneously represent the existence of the better side of things in its contrast, which is part of what makes songs (and what will make instrumentals you right) so very beautiful.

I, personally, love it in every way possible for a person to love a song, songwriter, and performer.

Other people love this as well (Youtube shows 40+ million views as I write this) .

With your emotion, your thinking on the opposite realm from happy and all-things-good, people will embrace and connect very deeply with your music.

(A funny story here. I heard the Nine Inch Nails version first, so when I heard the Johnny Cash original in a trailer for a video game called Prototype 2, I thought some guy had ripped off Trent Reznor’s amazing song…lol! How off I was!)

The video works so well with it as well…which is what you want your song to be able to do with ads/movies/etc. for big-time deals, in certain cases.


Try to keep those sad, infuriating, hope-extinguishing thoughts in the front of your mind while writing and performing these instrumentals. It’s good to have a little darkness in your work.


If you keep these thoughts in mind while working your work, creating this piece, this art you want to give the world, people will feel you at the deepest level possible.

Let me ask you this. What if you could connect with people at the deepest levels of their existence, their humanity? What would it do for your career? What would it do for your soul, your level of being when you paint such moving feelings and images–when you make instrumentals that sweep the feet of others in a very dramatic way?

By doing what’s described above, your audience (and those outside of your audience, probably) will connect with you and appreciate your work so much.

We all look forward to hearing your work, friend.

Talk soon!

From Your Friends from PlayGrind and Sindustry Beats,

Jim & Aaron

P.S. Atmospheres sleep aid app–Ruminate on your favorite work while using the most user-friendly touch interface the app store has seen.

P.P.S. Another post that might interest you on how to make instruments of yours great.

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