My recommendation for introverts thinking about networking: "Networking events" are like cold calls - they're made for people who don't have other ways of networking. So ignore the talk about needing to go to them. My mindset is that of productivity-based networking - learn what would mean something to people, provide that (even if it's just a compliment with some depth or a comment on one of these videos), and offer your help with whatever you're good at. *That* will be your networking, and it's not some separate thing from who you are. You use who you are and what you do to network, rather than consider it something separate from you. And Alina, thank you for being so open with all of us. If it weren't for you, I'd just be sitting around calling myself a former musician and wishing my life had gone differently.
This is so inspiring! Thank you for sharing and being so transparent, I’m just starting out and it can feel so intimidating when you see people so far ahead - I’m 22 and I already feel so behind/ it’s too late! But this has really helped so thank you :)
I am 26 and have no knowledge or background but wanna try cuz I like it..... It is intense but I still have to try before giving up... So don't feel left behind and I wish you all the best
Thank you for sharing your inspiring story Alina. Your music and personality are both charming > < I just started learning production last year and recently joined a local program to collaborate with different people(even most of us are non-pro), really helpful and engaging way to improve skills
алина, как не странно я в противоположной от вашей прошлой ситуации: так получилось, что я слушаю только иностранную музыку, поэтому при её написании я думаю и пою на английском. сейчас на распутии, на каком языке писать музыку. спасибо за то, что поделились своей историей и опытом💓
Hey Alina, I love this content - it's so great to see how you invest in your own toolkit to continue being lucrative in this industry. I'm curious how you got started in writing for K-POP, and if you've been writing for other asian markets? A lot of my writing began when I was listening to a variety of Japanese and Cantopop artists, I definitely have developed an ear for it and would love to hear some best practices you have, if you have the time. Keep doing what you're doing!!
Totally get it about LA. How do you usually pitch yourself to publisher? 3 of your best track and short bio or? What is the typical deal when you signed with them? is it the same with sync? Also, what was it like to signed an exclusive deal with publisher? did they help you enough that signing exclusive would actually be beneficial? Thank you Alina! always love your content.
Hey Prong! So a lot of loaded questions here that can have many different answers, so keep in mind, this is just my experience. My pub deal wasn't bad because it came out of Nashville, and at that time at least a lot of deals there were non-recoupable (which means, whatever advance $ the publisher pays you, if you don't make it back through your cuts, it's considered their loss). Most deals I've seen or heard of in other territories ARE recoupable. Which means you have to pay back your advance in order to even be able to be let out of that deal. Which is tough, because we're talking strictly recoupment from publishing royalties, not master fees. And, as I'm sure you heard DSPs pay songwriters a PITTANCE. So, recoupment is very difficult unless you have BIG things coming in, like cuts with 500m+ streams, terrestrial radio play, syncs that are over 50k per side, that kind of thing. Which is why I would advise any writer to really think about it and consult a lawyer before you sign any exclusive deals. Don't get me wrong, there ARE publishers out there that bust their asses for their writers, but that's a very tenuous thing to base your career on because it's very challenging to predict if they will do that or not. For one, your point person at your pub co could leave, and suddenly nobody at that co cares about you or is doing anything to help you. Seen that happen many times. Another thing that can be tough is sync. Having an exclusive pub deal will pretty much keep you from working with any sync libraries bc they want all clear on pub and master and publishers don't like to give any sort of pre-clearance. I think it can be worth it for VERY successful writers because the advance would be very large + if you're already successful the publisher WILL work hard for you. But I would definitely look at the situation from many angles if you're a young writer being offered a deal.
Thank you so much for you reply, Alina. Would you suggest the best way to get into kpop is to collaborate with people only? I’ve heard of kpop songwriting camp but it seems to be very exclusive to those who signed with publishing companies. Have you been to any songwriting camp and how to even get into that camp? Sorry, I asked a lot of questions because I really want to learn and grow. Really appreciate you.
Hey Alina! This video really gave me a lot of hope 😌I had a question tho, I'm not planning to go to college and want to learn and pursue production and songwriting. Where do I learn, if there any courses you know?
В смысле я смотрю на протяжении года канал невероятного зарубежного продюсера и автора песен, мечтаю стать таким же профессионалом как она и в итоге узнаю, что она из России?!?! ))))
I’m having such a hard time finding people to work with in Los Angeles. I’m a new producer and have had bad experiences working with male producers and am getting sick of doing everything alone. I’m ready to work with others!
Awesome video Alina, Spot on as always. I just have a couple quick questions if you have the time. what advice would you give to a person that’s strengths are in writing and singing but not as strong in their own productions? Would you suggest trying to network with producers or is there a way to get yourself out there on minimalist productions and letting the hooks carry them? On tracks I’m given from other producers I feel I’m at my strongest writing the demos but just wish I could take my own productions to a similar level. I always feel they’re lacking some magic sauce to make them stronger.
OK, yes!! Producers ALWAYS need writers and singers. Always. Reach out to producers, who are strong instrumentalists, and I'm sure you can find good collaborators. Also, you can definitely make minimal track starts and send them to your collaborators. A lot of producers love elevating tracks as opposed to starting from scratch. And also, you can always elevate your own production; you just have to invest time into it. Funny enough, collabing with others will help you learn as well. I've learned a ton from my co-producers and continue to.
@@LYREMusicGroup amazing thank you Alina. Once you put things into perspective you see both writers and producers need each other. I think it’s easy as you say in the video to hide in your room and get busy but always hitting points where you need to network to do justice to the music. Thanks again Alina. 😊
Great video! Super helpful. I don’t know if you’re still checking comments on this one, but wanted to ask a question. I’m struggling with social media-I hate being on camera and I’m not sure what I, as a songwriter, should post. I’ve released a few songs so I begrudgingly promote those. Do I really want to post videos with clips of songs I’m hoping to pitch, though? How can SM work for a non-performing songwriter?
Hey alina i started producing last 2020. Every single day. I make sure to atleast create tracks for atleast an hour. My question is, how long do you think will i get good enough to be in the scene? 4/5 years?? I dont mind how long it will take tho.
That's amazing; so great to see such commitment!! To be super transparent, it's really hard to tell how long it will take for someone to reach pro level, because everyone is an individual. One thing I recommend is collaborating as much as possible and finding a mentor. I have learned more from collaborating than from working on my own or even classes/ tutorials. And I would Google music mentorship programs. I met my protegee Gisselle through one by She is the Music's mentorship program, but I'm sure there are others out there, available to all genders.
There honestly should be. I love all the women's organizations, but through my mentoring I've found there are always people of all genders deserving of help. It's obviously not the same, but you should join our Discord, it's open to music makers of all backgrounds and might be a cool support system: discord.com/invite/p4KV3dVKaV
Yo, that would be so cool! Can someone teach me how to do that! I low key spoke on Discord once as a part of this women's program, and I felt like a 90yo grandma bc I had no idea how to use it
@@LYREMusicGroup heya! i have my own server for learners of the Tetum language and i also mod another server! i'd be happy to help set up your server :))
My recommendation for introverts thinking about networking:
"Networking events" are like cold calls - they're made for people who don't have other ways of networking.
So ignore the talk about needing to go to them. My mindset is that of productivity-based networking - learn what would mean something to people, provide that (even if it's just a compliment with some depth or a comment on one of these videos), and offer your help with whatever you're good at. *That* will be your networking, and it's not some separate thing from who you are. You use who you are and what you do to network, rather than consider it something separate from you.
And Alina, thank you for being so open with all of us. If it weren't for you, I'd just be sitting around calling myself a former musician and wishing my life had gone differently.
This is so inspiring! Thank you for sharing and being so transparent, I’m just starting out and it can feel so intimidating when you see people so far ahead - I’m 22 and I already feel so behind/ it’s too late! But this has really helped so thank you :)
I’m so glad!
I am 26 and have no knowledge or background but wanna try cuz I like it..... It is intense but I still have to try before giving up... So don't feel left behind and I wish you all the best
Thank you for sharing your inspiring story Alina. Your music and personality are both charming > < I just started learning production last year and recently joined a local program to collaborate with different people(even most of us are non-pro), really helpful and engaging way to improve skills
Thank you!! And I'm so glad you're collaborating, it's the best
as a producer and also a kpop fan,, im really thankful for these information
Wow this is honestly inspirational, I hope you're proud of how far you've come!! I'm so happy for you
Ahhhh thank you so much!
Your videos are so inspiring ✨ binge watching your channel 😎
Ikr
Thank you!
алина, как не странно я в противоположной от вашей прошлой ситуации: так получилось, что я слушаю только иностранную музыку, поэтому при её написании я думаю и пою на английском. сейчас на распутии, на каком языке писать музыку. спасибо за то, что поделились своей историей и опытом💓
I love this video! I love that you want to share your journey with us and give some tips! You are really inspiring me Alina!
Ahhh thank you so much! Hope it helps! ❤️
so grateful for you taking the tim to mak this! si helpful!
Can you Make a video on how you do multiple geners of music.and what elements you see in a song to create that gener.
That's a cool idea, adding to the list!
Love all your videos! Always so insightful. Will you be making videos on how your get on blogs and being featured, sponsored by brands etc?
So great to hear all of this advice and your story! Thank you for sharing
Thank you for this video. Def found it helpful. I would like to become a Kpop producer aswell. Keep it up :)
Hey Alina, I love this content - it's so great to see how you invest in your own toolkit to continue being lucrative in this industry. I'm curious how you got started in writing for K-POP, and if you've been writing for other asian markets? A lot of my writing began when I was listening to a variety of Japanese and Cantopop artists, I definitely have developed an ear for it and would love to hear some best practices you have, if you have the time. Keep doing what you're doing!!
Thank you Learnt so much
You are welcome!
so inspiring, love your unique story and the advice of balancing improving your skills, networking, and real friendships
Glad you enjoyed it!
This is so inspiring 😮😮
Totally get it about LA. How do you usually pitch yourself to publisher? 3 of your best track and short bio or? What is the typical deal when you signed with them? is it the same with sync? Also, what was it like to signed an exclusive deal with publisher? did they help you enough that signing exclusive would actually be beneficial? Thank you Alina! always love your content.
Hey Prong! So a lot of loaded questions here that can have many different answers, so keep in mind, this is just my experience. My pub deal wasn't bad because it came out of Nashville, and at that time at least a lot of deals there were non-recoupable (which means, whatever advance $ the publisher pays you, if you don't make it back through your cuts, it's considered their loss). Most deals I've seen or heard of in other territories ARE recoupable. Which means you have to pay back your advance in order to even be able to be let out of that deal. Which is tough, because we're talking strictly recoupment from publishing royalties, not master fees. And, as I'm sure you heard DSPs pay songwriters a PITTANCE. So, recoupment is very difficult unless you have BIG things coming in, like cuts with 500m+ streams, terrestrial radio play, syncs that are over 50k per side, that kind of thing.
Which is why I would advise any writer to really think about it and consult a lawyer before you sign any exclusive deals. Don't get me wrong, there ARE publishers out there that bust their asses for their writers, but that's a very tenuous thing to base your career on because it's very challenging to predict if they will do that or not. For one, your point person at your pub co could leave, and suddenly nobody at that co cares about you or is doing anything to help you. Seen that happen many times. Another thing that can be tough is sync. Having an exclusive pub deal will pretty much keep you from working with any sync libraries bc they want all clear on pub and master and publishers don't like to give any sort of pre-clearance.
I think it can be worth it for VERY successful writers because the advance would be very large + if you're already successful the publisher WILL work hard for you. But I would definitely look at the situation from many angles if you're a young writer being offered a deal.
Thank you so much for you reply, Alina. Would you suggest the best way to get into kpop is to collaborate with people only? I’ve heard of kpop songwriting camp but it seems to be very exclusive to those who signed with publishing companies. Have you been to any songwriting camp and how to even get into that camp? Sorry, I asked a lot of questions because I really want to learn and grow. Really appreciate you.
Hey Alina! This video really gave me a lot of hope 😌I had a question tho, I'm not planning to go to college and want to learn and pursue production and songwriting. Where do I learn, if there any courses you know?
В смысле я смотрю на протяжении года канал невероятного зарубежного продюсера и автора песен, мечтаю стать таким же профессионалом как она и в итоге узнаю, что она из России?!?! ))))
Thankx
I’m having such a hard time finding people to work with in Los Angeles. I’m a new producer and have had bad experiences working with male producers and am getting sick of doing everything alone. I’m ready to work with others!
Los Angeles isn't the only place to find producers. Use the Internet to help
Awesome video Alina, Spot on as always.
I just have a couple quick questions if you have the time.
what advice would you give to a person that’s strengths are in writing and singing but not as strong in their own productions?
Would you suggest trying to network with producers or is there a way to get yourself out there on minimalist productions and letting the hooks carry them?
On tracks I’m given from other producers I feel I’m at my strongest writing the demos but just wish I could take my own productions to a similar level. I always feel they’re lacking some magic sauce to make them stronger.
OK, yes!! Producers ALWAYS need writers and singers. Always. Reach out to producers, who are strong instrumentalists, and I'm sure you can find good collaborators. Also, you can definitely make minimal track starts and send them to your collaborators. A lot of producers love elevating tracks as opposed to starting from scratch. And also, you can always elevate your own production; you just have to invest time into it. Funny enough, collabing with others will help you learn as well. I've learned a ton from my co-producers and continue to.
@@LYREMusicGroup amazing thank you Alina. Once you put things into perspective you see both writers and producers need each other. I think it’s easy as you say in the video to hide in your room and get busy but always hitting points where you need to network to do justice to the music. Thanks again Alina. 😊
great job I want to do that but I don't know how
Great video! Super helpful. I don’t know if you’re still checking comments on this one, but wanted to ask a question. I’m struggling with social media-I hate being on camera and I’m not sure what I, as a songwriter, should post. I’ve released a few songs so I begrudgingly promote those. Do I really want to post videos with clips of songs I’m hoping to pitch, though? How can SM work for a non-performing songwriter?
Hey alina i started producing last 2020. Every single day. I make sure to atleast create tracks for atleast an hour. My question is, how long do you think will i get good enough to be in the scene? 4/5 years?? I dont mind how long it will take tho.
That's amazing; so great to see such commitment!! To be super transparent, it's really hard to tell how long it will take for someone to reach pro level, because everyone is an individual. One thing I recommend is collaborating as much as possible and finding a mentor. I have learned more from collaborating than from working on my own or even classes/ tutorials. And I would Google music mentorship programs. I met my protegee Gisselle through one by She is the Music's mentorship program, but I'm sure there are others out there, available to all genders.
@@LYREMusicGroup thank you for the honest reply. Ill definitely look into those mentorship programs and ill try to collab more 🙏🙏🙏
is there an alternative to She Is The Music, one that accepts men into their program?
There honestly should be. I love all the women's organizations, but through my mentoring I've found there are always people of all genders deserving of help. It's obviously not the same, but you should join our Discord, it's open to music makers of all backgrounds and might be a cool support system: discord.com/invite/p4KV3dVKaV
why do u crate a discord so we can all get in contact :)
Yo, that would be so cool! Can someone teach me how to do that! I low key spoke on Discord once as a part of this women's program, and I felt like a 90yo grandma bc I had no idea how to use it
@@LYREMusicGroup heya! i have my own server for learners of the Tetum language and i also mod another server! i'd be happy to help set up your server :))