Reference · 90+ terms
Glossary
Every technical term used across the Free The Music Sound Engineering and Beat-Making curriculum, in plain language. Each term has a definition, an everyday analogy, and a pointer to where it's introduced or covered in depth. Search, filter by category, or scroll.
90+ terms · click any chip to filter · type to search
Recording & Foundation
The fundamentals of getting sound from microphone or instrument into your DAW.
DAW
Digital Audio Workstation. Software for recording, editing, mixing, and mastering audio. Logic Pro, Ableton Live, GarageBand, FL Studio, Pro Tools, Reaper.
Like a digital recording studio that fits in your laptop.
See: Module 1.4 · DAW Quickstarts (Logic, GarageBand, Ableton)
Audio Interface
A piece of hardware that connects microphones, instruments, and headphones to your computer. Converts analog signals to digital and back.
The translator between the analog world (mic, guitar) and the digital world (your DAW).
See: Module 1.2 · Module 1.3
Sample Rate
How many digital "snapshots" per second your DAW takes of incoming audio. 44.1 kHz (CD), 48 kHz (video standard), 96 kHz (high-res).
Like the frame rate of a video — more frames per second = smoother, more accurate playback.
See: Module 1.3 · Module 11
Bit Depth
The "resolution" of each digital snapshot. 16-bit (CD quality, 96 dB dynamic range) or 24-bit (pro standard, 144 dB dynamic range — handles louder peaks without clipping).
Like the megapixels of a photo — higher = more detail, especially in shadows (quiet sounds).
See: Module 1.3 · Module 10
Buffer Size samples
How much audio your computer processes in chunks. Smaller = lower latency (less recording delay) but more CPU load. Larger = more headroom for plugins but noticeable delay.
Like reaction time — small buffer = quick reflexes; large buffer = slower but steadier.
See: Module 1.3 · DAW Quickstarts
Phantom Power +48V
DC voltage sent through an XLR cable to power condenser microphones. Always engaged via a "+48V" button on the audio interface; never used with dynamic mics.
Like batteries piped backward through the cable so the mic never needs them.
See: Module 1.2 · Module 1.6
Gain Staging
Setting healthy levels at every stage of the signal chain — mic → interface → DAW track → bus → master. Aim for peaks around -12 to -6 dBFS at every stage.
Like passing a baton in a relay — each runner needs to receive it cleanly to pass it on cleanly.
See: Module 1.5 · Module 4.4
dB decibel
A logarithmic measure of loudness. dBFS = digital scale, 0 dBFS is the maximum (clipping). dBu/dBV = analog references. dB SPL = how loud something is in the room.
Like miles vs. kilometers — same concept, different scale for different uses.
See: Module 1.5
Clipping
When a digital signal exceeds 0 dBFS and gets "clipped" at the maximum level. Sounds like harsh, broken distortion. Almost always a bug, not a feature.
Like trying to fit too much water in a glass — it spills and damages the table.
See: Module 1.5 · Module 5.3
Phase / Polarity
Phase describes the timing relationship between signals. Polarity is the simpler "positive vs. negative" of a single signal. Two identical signals out of phase (180°) cancel out completely.
Like two people pushing a swing — in sync = bigger; opposite = swing stops.
See: Module 1.5 · Module 4.4
Mono / Stereo
Mono = one channel of audio (same in both ears). Stereo = two channels (separate L and R) creating spatial width.
Mono is one voice in the center; stereo is a duet from your left and right.
See: Module 1.5 · Module 6.2 · Module BM-4
Headroom
The space between your loudest peak and the maximum (0 dBFS). Pro mixers leave ~6 dB of headroom on the master so the mastering engineer has room to work.
Like the height between the top of your hat and the ceiling — give yourself room to jump.
See: Module 1.5 · Module 10
Bounce / Render / Export
Different DAWs use different words for the same thing: writing your finished mix from the project to a single audio file. Logic = Bounce, Live = Render/Export, GarageBand = Share.
Like printing a document — your project becomes a deliverable file.
See: Module 1.6 · Module 10 · DAW Quickstarts
Psychoacoustics
How human ears and brains actually perceive sound — the science behind every mixing decision.
Frequency Hz
How fast a sound wave vibrates per second, measured in Hertz. Low Hz = bassy (20-200), mid Hz = body/clarity (200-4k), high Hz = brightness/air (4k-20k).
Like how fast a guitar string vibrates — slow = low note, fast = high note.
See: Module 1.1 · Module 3.1
Equal-Loudness Contour
Human ears don't hear all frequencies equally loud. We hear midrange (2-5 kHz) most efficiently and bass/treble less efficiently — especially at low volumes. Mix at moderate SPL to compensate.
Like how the human eye sees green clearly but red and blue feel duller — same effect, but for hearing.
See: Module 1.2 (Equal Loudness)
Masking
When a louder sound at one frequency hides (masks) a quieter sound at the same or nearby frequency. The reason instruments fight in a mix when they share a frequency range.
Like trying to whisper in a crowded bar — the louder voices drown you out.
See: Module 1.4 (Critical Bands & Masking)
Critical Bands
The ear's "channels" of frequency resolution. Sounds within the same critical band tend to mask each other; sounds in different bands don't. ~24 critical bands across the audible range.
Like radio stations — two stations on the same frequency interfere; far-apart stations don't.
See: Module 1.4
Haas Effect
When two identical sounds arrive within ~30ms of each other, you perceive them as one sound coming from where the first one arrived. The basis of stereo widening tricks.
Like seeing your reflection just behind you — your brain merges them into "you."
See: Module 1.3 (How You Hear Space)
Auditory Fatigue
After 60-90 minutes of focused listening at moderate-to-high volume, your ears literally desensitize. High-frequency hearing dulls first. Take 10-min breaks every 45 min during mix sessions.
Like staring at a bright color for too long — eventually you stop seeing it accurately.
See: Module 7 · Module 12
EQ — Equalization
The most-used tool in mixing. Boosts or cuts frequencies to shape tone.
EQ equalizer
A tool that boosts or cuts specific frequency ranges. The most fundamental shaping tool in mixing.
Like a graphic equalizer on a stereo — sliders for "bass," "mid," "treble," but more precise.
See: Module 3.1 · Module 3.2 · Module 3.3
Subtractive EQ
Cutting frequencies that aren't serving the mix — removing mud (200-400 Hz), boxiness (300-500 Hz), or harshness (2-5 kHz). The pro's first move.
Like editing a paragraph by deleting unnecessary words instead of adding more.
See: Module 3.2
Additive EQ
Boosting frequencies to add character — air (10-15 kHz), presence (3-5 kHz), warmth (200-400 Hz). Done after subtractive cleanup.
Like seasoning a dish — added in small amounts, after the base flavor is right.
See: Module 3.3
Bell band
An EQ shape that boosts or cuts a frequency in the middle, with rolloff on both sides. The most versatile and common EQ shape.
Like a spotlight on a single frequency — bright in the center, fading at the edges.
See: Module 3.1
Shelf high/low
An EQ shape that affects all frequencies above (high shelf) or below (low shelf) a chosen frequency. Used for broad tonal moves like "add air" or "warm up the bottom."
Like dimming or brightening the lights in a whole room rather than one corner.
See: Module 3.1
High-Pass Filter HPF
Cuts everything below a chosen frequency. Used to remove rumble, mic-handling noise, or bass content from non-bass tracks. HPF vocals at 80-150 Hz.
Like a strainer that lets only the high frequencies through.
See: Module 3.2 · Module BM-4 · Module BM-8
Low-Pass Filter LPF
Cuts everything above a chosen frequency. Used to tame harshness, soften samples, or create a "telephone" effect.
A strainer that lets only the low frequencies through.
See: Module 3.2 · Module 6.4
Q bandwidth
How narrow or wide an EQ band affects frequencies. High Q = narrow surgical cut. Low Q = wide musical shape.
High Q is a scalpel; low Q is a paintbrush.
See: Module 3.1
Notch
A very narrow, deep cut at a specific frequency. Used to remove a single problem resonance (60 Hz hum, room mode, mic resonance) without affecting nearby tones.
Like surgically removing a single pixel from a photo without disturbing the rest.
See: Module 3.2
Mud 200–400 Hz
A common low-mid frequency buildup that makes mixes sound congested and unclear. Surgical cuts at 250-300 Hz on multiple tracks unmuddy a mix.
Like brown sludge on a windshield — wipe it off and everything gets clearer.
See: Module 3.2 · Module 3.4
Air 10–15 kHz
High-frequency content that adds "expensive" sheen and openness. A gentle high shelf boost (+1-3 dB) at 12 kHz on vocals and the master is a producer signature.
Like sunlight glinting off water — barely there, but you miss it when it's gone.
See: Module 3.3 · Module 5.4
Compression
The volume-shaping tool that controls dynamics — making loud parts quieter so the quiet parts can come up.
Compressor
A tool that reduces the volume of audio that exceeds a chosen threshold. Used to even out performances, glue elements, and create energy. The second-most-used tool after EQ.
Like a smart volume knob that turns down only the loudest parts automatically.
See: Module 2.2 · Module 4.2 · Module 4.3
Threshold
The volume level at which a compressor begins working. Anything quieter passes through untouched; anything louder gets compressed. Set in dBFS.
Like a height limit at an amusement park ride — only people taller than the bar get processed.
See: Module 2.2 · Module 4.2
Ratio
How much compression to apply once the signal exceeds the threshold. 2:1 = 2 dB above threshold becomes 1 dB. 4:1, 8:1, ∞:1 (limiter) = increasingly aggressive.
Like the strength of a hand pushing down on a spring — gentle vs. firm.
See: Module 2.2
Attack
How quickly a compressor responds once the threshold is crossed. Fast (1-5 ms) = catches transients. Slow (30-100+ ms) = lets transients through, compresses body.
Like reflexes — fast attack catches the punch; slow attack only feels the body afterward.
See: Module 2.2
Release
How quickly a compressor stops working after the signal drops below the threshold. Short release = pumping sound. Long release = smooth, transparent.
Like how quickly a pressed sponge bounces back after you let go.
See: Module 2.2
Knee
How abruptly compression engages at the threshold. Hard knee = compression kicks in suddenly. Soft knee = gradual onset, more transparent.
Like getting wet — hard knee is jumping in the pool; soft knee is wading in.
See: Module 2.2
Gain Reduction GR
How many dB of volume reduction the compressor is currently applying. The most important meter on a compressor — aim for 3-6 dB GR on individual tracks, 1-2 dB on bus/master.
Like a "this is how hard I'm pushing" meter on the compressor's hand.
See: Module 2.2 · Module 4.4
Make-Up Gain
Volume boost added after compression to bring the signal back up to the original level (since compression made it quieter). Most modern compressors have an "Auto Gain" option.
Like turning up the volume after squishing a balloon to make it fit through a door.
See: Module 2.2
Sidechain Compression
A compressor on one track triggered by a different track. Most common: bass channel sidechained to kick, so the bass "ducks" each kick hit. The producer's signature in modern dance and pop.
Like two people sharing a microphone — when one talks, the other steps back.
See: Module 4.2 · Module BM-4 · Module BM-8
Parallel Compression
Sending an audio track to a heavily compressed bus, then blending the squashed copy back in with the original. Adds density without losing transients. Also called "New York compression."
Like making coffee strong, then mixing it with water to taste — control the intensity.
See: Module 4.2
Multiband Compression
A compressor split into 3-5 frequency bands, each with its own settings. Compress the bass without affecting the highs, or tame harsh upper-mids without affecting bass.
Like adjusting only the loud singers in a choir while leaving the rest alone.
See: Module 10
Limiter
A compressor with an extreme ratio (∞:1) that prevents any audio from exceeding a chosen ceiling. Used on the master to maximize loudness without clipping.
Like a brick wall at the top — nothing gets past, period.
See: Module 4.4 · Module 11
True-Peak Limiter dBTP
A limiter that uses oversampling to catch inter-sample peaks (which can clip when reconstructed by DACs or lossy codecs). Industry standard ceiling: -1 dBTP.
Like a guard dog that knows to bark at the sneaky peaks the regular limiter misses.
See: Module 11
Saturation & Distortion
Adding harmonic content for warmth, character, or aggression.
Saturation
Subtle distortion that adds harmonic overtones to a signal — the "expensive" character of analog equipment in digital form. Used as a global warmth tool.
Like seasoning food — invisible but transforms what you taste.
See: Module 5.1 · Module 5.2 · Module 5.4
Distortion
Heavier saturation that's audibly clipped or "broken" — used as a deliberate character effect, especially on guitars, vocals, drums.
Saturation is whisper; distortion is shout.
See: Module 5.3
Harmonics overtones
Higher-frequency content added on top of a fundamental tone by saturation/distortion. Even harmonics = warmer, "tubey." Odd harmonics = harsher, more aggressive.
The fundamental is the singer; harmonics are the choir behind them.
See: Module 5.1
Tape Saturation
The signature warm, slightly compressed sound of analog tape recording — gentle high-frequency rolloff plus subtle harmonic distortion. Emulated by plugins like UAD Studer A800.
Like the warm fuzziness of a vintage photo vs. a sharp digital one.
See: Module 5.1 · Module 10
Tube Saturation
The character of vacuum-tube amplification — adds even-order harmonics for warm, smooth coloration. Found in classic mic preamps, compressors, EQs.
Like the glow of a campfire vs. an LED light — same illumination, very different feel.
See: Module 5.1
Bitcrush
Digitally reducing bit depth and/or sample rate to create lo-fi, "video game" or "vaporwave" character. Used as creative effect, not preservation.
Like a JPEG saved at terrible quality — artifacts become the aesthetic.
See: Module 5.3 · Module BM-3
Reverb & Delay
Time-based effects that create space, depth, and rhythm.
Reverb
The simulation of a sound bouncing around a physical space (room, hall, chamber). Adds depth and three-dimensionality to a mix.
Like the natural echo of a cathedral, captured and applied to anything.
See: Module 6.1 · Module 6.2
Delay echo
A precise repeat of a sound after a set time. Used for rhythmic effects (slap delay, dotted-8th delay) or atmospheric tails.
Like shouting in a canyon — your voice comes back at intervals.
See: Module 6.1 · Module 6.3
Pre-Delay
The gap between the original sound and the start of its reverb tail. Longer pre-delay = clearer separation, vocal stays present. Short pre-delay = wetter, more washed out.
Like the pause between speaking and the echo coming back.
See: Module 6.2
Decay Time
How long the reverb tail lasts before fading to silence. Measured in seconds (RT60). Short (0.5-1.5s) = small room. Long (3-10s) = cathedral, ambient.
How long the echo lingers in your ears.
See: Module 6.2
Wet / Dry
Dry = the original signal. Wet = the processed (reverb/delay) signal. Their balance determines how present the effect is.
Like the ratio of espresso to milk in a latte — same coffee, very different drinks.
See: Module 6.1 · Module 6.4
Send / Aux Return
Routing audio from multiple tracks to a single shared effect. Reverb and delay are almost always set up as sends so multiple tracks share the same space.
Like multiple kitchens sharing one oven — saves work and gives consistent results.
See: Module 6.2
Reverb Types
Plate = bright, smooth, vocals. Spring = vintage, surfy, guitars. Hall = long, lush, orchestras. Chamber = warm, mid-range. Room = short, intimate.
Different types of rooms produce different acoustics — pick one that fits your song's mood.
See: Module 6.2
Slap Delay
A single short delay (75-150 ms) with no feedback. Adds size and "doubled vocal" feel without sounding like a loop. The Elvis Presley vocal sound.
Like clapping in a hallway — one quick echo and it's gone.
See: Module 6.1
Ping-Pong Delay
A delay that bounces between left and right speakers, creating a wide stereo movement effect.
Like a tennis ball bouncing between your two ears.
See: Module 6.3
Sidechained Reverb
Reverb send that's compressed by the dry vocal — the reverb ducks every time the vocal speaks, then swells in the gaps. The modern hip-hop / pop signature.
Like a backup singer who only sings between the lead's lines.
See: Module 6.3
Mastering & Loudness
The final stage between mix and release — preparing your track for the world.
Mastering
The final processing stage applied to the stereo mix bounce. Subtle EQ, compression, saturation, stereo image, and limiting to prepare the track for distribution.
Like framing a painting — small final touches that make it ready to hang.
See: Module 10 · Module 11 · Module 12
LUFS loudness
Loudness Units Full Scale. A meter that estimates perceived loudness (not just peak level). Streaming services use LUFS to set normalized playback. -14 LUFS = Spotify/YouTube/Tidal target.
Peak meters measure height; LUFS measures weight.
See: Module 11
Integrated / Short-Term / Momentary LUFS
Integrated = average over the whole song (the value platforms target). Short-term = 3-second sliding window. Momentary = 400ms window for transient peaks.
Integrated is the album average; short-term is the chorus; momentary is a single moment.
See: Module 11
Loudness Normalization
When streaming services automatically adjust playback level to a target (Spotify -14, Apple -16, YouTube -14). Mastering louder than the target = the platform turns you down. End of the loudness wars.
Like a thermostat — every room (track) is automatically adjusted to the same temperature (loudness).
See: Module 11
Dither
Low-level random noise added when downsampling bit depth (24-bit → 16-bit) to mask quantization errors. Apply only on the FINAL bounce when going to 16-bit.
Like a tiny shake added to round numbers so the rounding sounds smooth.
See: Module 10 · Module 11
M/S Processing Mid/Side
A way to process the center (Mid = both channels) and stereo width (Side = the difference) independently. Used for stereo widening, mono-bass cleanup.
Like adjusting the lead singer and the harmonies separately.
See: Module 10 · Module BM-4 · Module BM-8
K-System
Bob Katz's calibrated metering and monitoring standard. K-20 = 79 dB SPL at -20 dBFS (mastering). Encourages dynamic mixing by making loud sounds physically uncomfortable in the studio.
Like a calibrated thermometer for loudness — keeps you honest.
See: Module 7
Reference Track
A commercial release in your genre, loudness-matched to your mix, used as a sanity check for tonal balance, bass weight, vocal presence, stereo width.
Like a tuning fork — your mix has to land in the same tonal neighborhood.
See: Module 8 · Module 11
Beat-Making & Production
The producer's vocabulary — drum programming, sampling, synthesis, arrangement.
Loop
A short musical section (typically 2-8 bars) that repeats. The atomic unit of beat-making — pros build the loop until it grooves, then arrange loops into songs.
Like a tile pattern — one repeats to make the whole floor.
See: Module BM-1
BPM tempo
Beats Per Minute. The speed of a track. Hip-hop ~85-95, trap ~140-160 (felt as half-time 70-80), house ~120-128, drum & bass ~165-180.
Like the pulse rate of the music.
See: Module BM-1 · Module BM-2
Swing
Pushing off-beat notes (the "and"s) slightly later, creating a lopsided groove. 50% = perfectly straight. 54-58% = modern hip-hop. 67% = full triplet shuffle.
The difference between marching and walking with hips.
See: Module BM-2
Velocity
In MIDI, how hard a note was "hit" (0-127). Drives volume and often timbre. Varying velocities is the #1 way to make programmed drums feel alive.
Like the difference between tapping a piano key and slamming it.
See: Module BM-2
Quantization
Snapping recorded MIDI notes to the nearest grid position. Useful for cleanup; overdoing it kills groove. Most pros quantize 80-90%, leaving some human imperfection.
Like spell-check — useful, but auto-correcting every word ruins your voice.
See: Module BM-2
Humanization
Slightly randomizing timing and velocity so a programmed pattern feels human rather than robotic. Most modern DAWs have a humanize button; pros do it by hand.
Like adding tiny imperfections to a 3D model so it doesn't look CGI.
See: Module BM-2
The unquantifiable "feel" of drums and bass locked together. A pattern that sits in the pocket grooves; one that doesn't feels stiff. The signature of great drum programmers.
Like two dancers moving as one — you feel it before you see it.
See: Module BM-2 · Module BM-4
808
The Roland TR-808 drum machine's kick — a sustained, pitched, sub-heavy tone that doubles as both kick and bassline in trap, drill, hip-hop, and modern pop.
A kick drum and a bass guitar fused into one instrument.
See: Module BM-4
Sub-Bass
The lowest frequency content (20-60 Hz). Felt more than heard. On phone speakers it's nearly inaudible; on club systems it's the chest-thumping rumble.
Like the foundation of a building — you can't see it but it holds everything up.
See: Module BM-4 · Module BM-8
Sample Chopping
Cutting an existing audio file (vocal, soul record, etc.) into small pieces and re-triggering them on a sampler/pad. The Dilla / RZA / Kanye approach to producing.
Like cutting words from a poem and rearranging them into something new.
See: Module BM-3
Warping
Real-time time-stretching that lets you drag any audio file (recorded at any tempo) into a project and have it auto-match the project tempo without changing pitch.
Like a universal tempo translator for samples.
See: DAW Quickstart (Ableton) · Module BM-3
Stems
Each track or group of tracks bounced as a separate audio file. Used for handing off to vocalists, mastering engineers, remixers. Standard format the industry expects.
Like the separate ingredient bags of a recipe — anyone can re-cook.
See: Module BM-9
Topline
The vocal melody and lyrics that sit on top of an instrumental beat. Often written by a "topliner" who's separate from the producer who made the beat.
The producer makes the stage; the topliner writes the play.
See: Module BM-9
ADSR Envelope
Attack, Decay, Sustain, Release. The four-stage shape every synth uses to control how a note's volume changes over time. Same controls work on filter and pitch envelopes too.
The "shape" of how a sound rises, settles, holds, and fades.
See: Module BM-6
Subtractive Synthesis
The universal synthesis flow: oscillator (raw waveform) → filter (subtracts frequencies) → amplifier (shapes volume). The foundation behind every synth.
Like sculpting — start with a block (oscillator), carve away (filter), shape the form (amp).
See: Module BM-6
Sampler
A virtual instrument that loads any audio file and lets you play it back at different pitches via MIDI keyboard or pads. Ableton's Simpler, Logic's Quick Sampler, FL's Slicex.
A Polaroid camera for sound — capture any moment, replay it at any pitch.
See: Module BM-3 · Module BM-6
Drum Rack
Ableton's signature drum-programming tool: a 4×4 grid where each pad holds a different sample with its own pitch, volume, and effects. Standard for beat-making.
Like an MPC's pad grid, in software.
See: DAW Quickstart (Ableton) · Module BM-2
Drop
The moment in modern beat-driven music when the full beat hits — everything you've held back finally arrives at once. The chorus in pop, the drop in EDM, the beat-switch in trap.
The punchline of a joke — the whole setup exists to make this moment land.
See: Module BM-7
Riser sweep
A synthesized sweep of pitch upward, building tension over 4-8 bars before a section change. Standard transition tool in EDM, pop, hip-hop.
Like the elevator climbing to the top of the rollercoaster — anticipation rising.
See: Module BM-7
Warp Modes
Different algorithms for time-stretching audio. Re-Pitch = changes pitch when tempo changes (vinyl-like). Beats = preserves transients (drums). Tones = preserves harmonic content (melodic).
Different recipes for stretching dough — pizza vs. bread vs. pastry.
See: DAW Quickstart (Ableton) · Module BM-3
Music Theory for Producers
The producer-relevant subset of music theory — what shows up in beats, songs, and arrangements.
Mode
A scale's emotional flavor. Natural minor = sad, atmospheric (most hip-hop). Dorian = jazz/neo-soul. Phrygian = dark, exotic. Major = bright, pop.
Like the lighting in a room — same furniture (notes), different mood.
See: Module BM-5
Triad
A three-note chord (root + 3rd + 5th). The most basic chord shape. Major or minor depending on the third interval.
The simplest stable chord — three voices in harmony.
See: Module BM-5
7th Chord
A four-note chord adding the 7th interval to a triad. Cmaj7, Am7, G7. Adds warmth and "jazz/neo-soul" character. Used heavily in lo-fi, R&B, modern pop.
A triad with a fourth voice that adds color.
See: Module BM-5
9th Chord
Adds the 9th interval (an octave above the 2nd) to a 7th chord. Am9, Cmaj9. The "Pharrell production" sound — dreamy, wide, modern pop signature.
Like upgrading from a quartet to a quintet — more harmonic richness.
See: Module BM-5
Voicing
How the notes of a chord are arranged across octaves. Wide voicing = spacious. Close voicing = intimate. Same notes, very different feel.
Like seating arrangements at dinner — same guests, different conversations.
See: Module BM-5
Inversion
A chord with a note other than the root in the bass. Written as C/E (C major with E in the bass). Creates smooth bass movement between chords.
Same chord, different "front person."
See: Module BM-5
Roman Numerals
A way to label chord progressions independent of key. i-VI-III-VII in A minor = Am-F-C-G. Same progression in any key. The producer's universal chord-chart language.
Like saying "first chair, third chair" instead of naming each musician — works in any orchestra.
See: Module BM-5
Industry & Workflow
The business-side terms every producer/engineer needs to know.
Sample Clearance
The legal license needed to commercially release music using a pre-existing recording. Requires permission from both the master rights holder (label) and the songwriter(s).
Like getting permission to quote a book in your book — the author has to say yes.
See: Module BM-3
Interpolation
Re-recording a sampled melody with new musicians instead of using the original recording. Only the songwriting royalty applies, not the master clearance — much cheaper.
Like covering a song instead of using the original recording — same melody, your performance.
See: Module BM-3
Sync Placement
Licensing your music for use in TV, film, ads, video games. One-time fee plus residuals. Sync libraries: Musicbed, Marmoset, APM.
Renting your song for a project — they pay for the right to use it.
See: Module BM-9
Split Sheet
A signed agreement between collaborators specifying what percentage of songwriting and master royalties each person gets. Sign before recording. Without it, hits become legal disasters.
Like a prenup for a song.
See: Module BM-9
Distributor
A service that uploads your master to streaming platforms (Spotify, Apple Music, etc.) on your behalf. DistroKid, TuneCore, CD Baby, AWAL. Keeps a portion of royalties or charges a flat fee.
Like a publisher that handles getting your book onto every retailer's shelf.
See: Module 11
Producer Tag
A short voice clip ("Mike Dean made this") at the start of a beat that brands the producer. Marketing tool for selling beats and getting placements.
Like a film studio's logo at the start of a movie.
See: Module BM-9
Beat Marketplaces
Online platforms where producers sell beats to vocalists. BeatStars, Airbit, Soundee, Twiitch. Non-exclusive licenses ($30-100) and exclusive licenses ($300-2000+).
Like a stock-photo site, but for beats.
See: Module BM-9
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