LIVE with Wendy Day #018 | Answering Your Questions Live

Hi guys, this is Wendy Day from Wrap Kolish and thanks for tuning in to my livestream. I'm so happy that you're here. Okay guys, I'm almost there. I'm coming, I promise I'm coming. I've got a lot of great information for you today. I'm so glad you're here. Okay guys, there's a counter there. I'm trying to beat that counter. As soon as it gets down to zero, I'll be there. Right now I'm filling up my cup with unsweet tea and extra lemon. Guys, thanks for tuning in to my live stream. We're almost ready to go. I'm so So glad you're here. I've got such amazing information to share with you tonight. I'm so excited. I'm so happy. Hi guys, how are you tonight? It's Wednesday, we love Wednesday. I spent the day in, um, meetings with rappers, which was kind of cool. I had a good day, I had good meetings. I met with, um, Marathon. I got to meet JoJo Pellegrino today. He flew down from, um, New York with Marathon, which was nice. Black Voice, what's up? Bobby Browder, how are you? I love you too, Black Voice. Thank you so much. I love you too, Bobby Browder. Welcome, it's your first time. Dark Brothers Entertainment, yay! Okay, so you guys were kind enough to email me questions this week. Thank you so much, um, so that I could answer them for you. So let's get right to it. This is from Sun Twisted, Ralph DeJean. Good evening. Good evening. I have a multi-part question for you. Can you or should you register a beat and the full song that's recorded to the beat, or just do one registration? You know, I'm going to answer these, um, part by part. So, um, yes, you should register— as a producer, you should register all of your beats Um, you should watch the video on copyrights because I talk about how to register them in bulk instead of, um, registering them beat by beat because you're going to spend $55 per, um, per registration. So it's better to register a body of work of the beats than just one beat at a time. You'll go broke. Um, but you should also, if you have a song that's been recorded to you should also copyright that song as a whole. Question number 2— it's a 2-part question— if you register the full song and an unauthorized person posts a song using the beat on YouTube, does the producer alone get the monetization on YouTube, or will it be split with the artist as well? It will be split with the artist as well. Um, the monetization— once the song is completed, it's owned by both people, the producer and the artist. You each own it, um, most likely 50/50, whatever you agree to contractually, but for the most part it's 50/50. And if someone posts your video to their video channel, um, you still get monetized and the money comes to whoever monetized the video on their YouTube channel. It's usually the artist who monetizes it. Um, but you're saying if an unauthorized person posts the song— you didn't say post the video. So let's say you have a song and, um, Lil Yachty is rapping on it. Why did I pick him? Anyway, let's say Lil Yachty is rapping on your beat, and I like your beat, so I take the beat and I rap over it, which is not a pretty sight. Um, but let's say I rap over it and I put it up on YouTube If you have copyrighted that song, then you have the right to send me a takedown notice telling me to stop using your beat. Um, if I post the song that you and Yachty did to my YouTube page, as long as it's been monetized, um, through your account, then you will get paid. Whoever monetized that song through their account gets paid, no matter whose channel it's paid— it's posted on. I hope that was, um, what you were asking. Um, JoJo Pellegrino is a rapper from New York. He's a white rapper from New York. I first heard of him when he did a song with Corrupt in 2000 or 2001. Marathon is an artist from North Jersey— I think he's from Newark— who is interested in getting into the music business. DJ Medi Already from Chicago, my favorite city. Yay, yay! Sauce Boss TV, how are you? Halle Hall, welcome back, how are you? Sincere J, what up? Bobby Browder, I'd sent you an email a while back about a stage name controversy with the name NYB USPTO examiner— oh, excuse me, NYB. I remember when you sent me that email. The trademark folks approved your trademark on January 10th, and it will be published in the Gazette February 28th, and it's official. Congratulations. I didn't realize you had to publish it in a newspaper. I've never had to do that with any of my trademarks. They've just accepted them and sent me the paperwork. Um, but that's wonderful. Tone Ross, how are you? I'm good, thank you. Let's check another question here, shall we? I seem to have a few. This is from, um, Kubri Music. Hi Wendy Day, I've been tuning into your YouTube channel and greatly appreciate all the insightful advice and information provided. Yay! The last half of 2016 I was studying music and entertainment business at UCLA Extension and mentioned— and they mentioned you as an important resource for artists in my Entrepreneurship for the Indie Artist taught by Nashawn Craig. Oh, that's good, that's nice. Um, now I'm back in Mexico City sharing what I've learned about the biz with fellow emerging artists out here in Latin America. A quick question for today's broadcast: I have a business plan drafted now. Let's say we have people who are interested in investing. What should those investors expect in return? A guarantee of a percentage of profits? Is it like a loan that collects interest? Great question. Um, the answer to that is yes. Whatever, whatever you negotiate is what's fair and acceptable, right? I've seen it two ways. Everybody who I have worked with, for the most part, has an investor. Because you can't do this without a budget to market and promote. It's just not realistic. So everyone that has come through my office has had a budget to market and promote, and almost all, 99.9% of those people had, um, an investor. They had people who put up the money to help them to get to the next level. And I've seen it both ways. I've seen where they have put up the money and they expect their money back within a certain period of time. And that period of time could be anywhere from like 18 months to 2 years. And they expect a certain percentage, um, of, of rate of return, meaning they expect to receive, um, 10% back on their money, or 15%, or 20%. I don't think I've ever seen it higher than 20%. I think 20% is the highest that I've seen for an annual return um, on money that somebody lent. But the more popular way that I've seen it is for the person putting up the money to take a percent of ownership in the record label, in the company. And that percentage is usually somewhere between 25% and 50%. I've never seen it higher than 50%, and I've never seen it lower than 25%, but it's, it's been like all over the place in between those two amounts. Um, so it's really up to you to negotiate the best deal you can. If everyone that you're showing your business plan to wants a percentage of the company, then you may need to consider doing that. If everyone, um, is— that you're talking to only wants a return on their investment and their principal back, whatever they lent you, um, in a certain period of time, then that's what you need to do. So, um, I guess it really depends on who you're talking to and what you can negotiate. Uh, somebody that has more leverage is going to be able to work out a better deal, which would be the loan. And somebody with less leverage that doesn't really have a proven track record might have to put up a percentage of the company in exchange for the loan. I guess it really just Um, I guess it really just depends on what you can, uh, uh, uh, negotiate. You don't get what's fair, you get what you negotiate. Hey Miracle, you're at the barber shop getting a lineup. Um, Lyric just asked me, and look Lyric, I was just about to answer the question that you just asked me in the feed. How cool is that? So I'm gonna read it from here because I think it's probably the same question. Wait, let me make sure. Yes, um, and I'm gonna ask it both ways. Um, Lyric Luciano is asking, how do you properly brand yourself? And with branding yourself, is it the clothes, the sound, and the logo that make people buy into your brand, like Tupac, for example, when he came out? What makes people— the answer is yes to all of that. Um, everything that you do is your brand. Your logo is part of your brand. How you look is part of your brand. Um, what you're known for— like, I'm known for doing these educational things, that's part of my brand. Um, I'm known for being helpful, that's part of my brand. I'm known for breaking artists and helping to build superstars, that's part of my brand. So it's what you do It's who you are, it's your logo, it's everything about you. And in your case, as an artist, it's your music too. I don't make music, so for me it's more about my writing, um, for my— for my— and these videos than it is for music. But for you, it would be for music, right? So when somebody likes your music, they're probably going to dig around to see who you are as a person. They may love your music and find out that they don't really like you as a person Or they might think that your music's okay, but when they see who you are as a person and what you stand for, it might kind of push them over the edge to really liking your music. Or, or in a perfect scenario, um, supporting you as an artist, going to your shows, buying your music, listening to you on streaming devices— things that bring income into your business. But yes, all of that is your brand, and you don't ever want to screw up your brand. You always want to make sure that you're putting out a consistent message, um, and that you're known for something. You know, just like I said to you at the beginning of this, I'm known for helping artists. You know, these videos have kind of, um, sealed it in cement that I am here to help artists. I don't charge you for it. I love what I do. I love that you guys are getting knowledge. You email me questions, I answer them. I'm here religiously at 7 o'clock every Wednesday night. I'm very— I think I was late one time out of 18 weeks, and that was like 5 minutes late, um, because I got stuck in traffic. But basically, like, I've proven that I'm dedicated to this. So my brand is that I like to help artists. It's, it's what pleases me. So your brand would be the type of music that you make, how you look, how you, um, the content that you're putting out behind the scenes, what you do in your spare time, you know. Are you street dude? Are you into are you lyrical, you know, are you, you know, whatever type of music you make, that all becomes part of your brand. And people begin to know you for that brand, and they begin to tell you apart by your brand. Okay, who is Jody G? The CGB has asked me, hey Wendy, it's Jody Lowe again. I really appreciate the day you took your time to give me all that advice. I finally came up with an idea that has at least 100 people downloading my music every day. I got attention from a lot of marketing companies, bloggers, and promo companies. Now I have an option to spend it on several different promotions across the country. All of them come— all of them claim that they work with major artists, but I could just as easily tell them I'm 21 Savage. So how do they know? Okay, I think what you're asking me is how you should market and promote yourself And if you're getting people to already, um, download your music, you're halfway there. And yes, I think it's a good idea to have, um, people that are skilled help you. I don't know that having the people that are reaching out to you from being on a download site is a good way to tell who's good and who's not, um, because they're all people looking for money. They're approaching you because they think you have money and they want you to hire them. Is that the best person to hire to market or promote your music? Probably not. It's probably a better idea to do some research, find out who's really good out here at that and who can help you the most, and then find out if they'll take on your project, if you can hire them. That just seems to me to be a better way to potentially win than from entertaining people who have a lot of time to stalk you on the internet to try to get you to, um, to hire them. Emil J, how are you? Oh, it's Emily Gerard, how are you? I thought it was Emil, excuse me, I can't read tonight. Maria Garza, how are you? Thanks for coming back, it's always great to see you. Jay Bafin is saying, I saw a video of you talking about working with Tupac, helping him with his label. I was wondering how to get in contact with you to talk some things over. Email me, my email address is below this video. Boo-boo, stop! My dog's going ham. Hi, Darius Redding, we met at the Ozone Awards. Wow, that was in 2008, was the last Ozone Awards. So that was almost a decade ago, man. Time flies. Fat Boy Bands checking in, how are you? Beats by Set is asking, what can a producer such as myself do to help break an artist? Um, I'm gonna hope that you're talking about an artist who has, um, funding, because it's going to take some funding to break the artist. But you can share the artist with your circle of people. Um, you can post the video, you could post the song, you could ask for some promotional material and give it out in your area, provided that's part of the artist's target market. Remember, when artists work a project, they work it usually in their own region. And with the internet, I, I don't know if it's somebody that you work with in your own area Or maybe you're located in Chicago and they're in Miami, um, and you promoting them in Chicago. They might not be ready for that yet, but you should definitely offer. That would be awesome. Gloria is asking me, did I get Eric B. and Rakim a deal in 1987? I did not. I wasn't in the music business in 1987. Um, you can Google stuff like that. You don't need to ask me um, that kind of stuff here. You can look at my Wikipedia page, you can look at my bio, which is at wendyday.com, and it tells you the deals that I've done. My first deal was Master P in '95. Beats by Ced is hoping that I do more videos for producers. Yes, um, I do have more videos coming. Um, I've got 2 more with Deborah Manus Gardner. Did you guys like the videos, the interviews? With Deborah Manus Gardner. Um, next week I have one coming about sample clearance. She's going to break down exactly what that is. And then the following week, I think the following Friday, so not, um, not this Friday, but either next Friday or the Friday after— I think it's 2 weeks— um, I have a video coming about how producers make money. And that was her idea. Like, while I was interviewing her about, um, music supervisors and, um, and publishing and sample clearance. Um, I told her, and you'll see, you'll actually see in the video, we had the conversation live, you know, right as I was interviewing her. I told her that I was a little bit frustrated because I wish I could do more videos for producers, but there isn't a whole lot of business stuff that I can help you guys with. It's a matter of relationships and how good your beats are, really. And, um, There's only, you know, a couple ways to say that to you. And she suggested that we cover how producers make money, so I have that video coming. I'm pretty excited about it. Okay, Bobby, thank you for explaining that the trademark folks don't have their own magazine, they publish it. Yes, they absolutely do. And Darius is saying, I tried to give you a CD at Ozone in Miami. I know I didn't take it. Um, I was nice about it. You said you— it won't do me any good, but you'll take it if it makes me feel better. And I had a bag of CDs on me. I always had a bag of CDs on me. It was incredible. Um, but just giving your music to somebody in the music industry doesn't help you. You need to have a buzz and you need to have a fan base. And that was 10 or 11 years ago, and it was very much that way. And, um, I hope I was nice about it. It's funny, I can sit on a panel and I can do a panel on why you shouldn't give your music to people in the music industry, and after the panel, like, 100 people will come up to me and hand me their, their CD. Oh, I was nice about it. Good. I'm glad. I try to be respectful because I know that really you guys just want to be heard. And you want somebody to— um, hey Slim— and you want somebody to listen to your music, but what I think of your music really won't matter, like I'm not your market. Truth is, I listen to NPR more than I listen to anything. Lyric Luciano is asking me one last question: if I did go with the lyrical brand, will it succeed? Because all I hear on the radio and TV is people that do turn-up music. It looks like they are winning more. Um, yeah, you know, I, I, that's a really hard one, you know. And, and yes, people listen to music because they want to be entertained, and a lot of people listen to music because they want to dance in the club. You know, music has always been that, it's been entertainment. So it, you know, does it help you to be lyrical? Well, there's people like me that really enjoy lyrical music. It's a smaller segment of the marketplace, but if you could take your lyricism and put it over some really fat beats the way J. Cole does, the way Chance the Rapper does, the way Kendrick Lamar does, you know, these guys are all infinitely successful and they're lyrical. Um, Big Sean. So you can be lyrical and successful. Jay-Z. Is lyrical and successful. So there are a lot of artists that just know how to put words and music together. Can you just be lyrical and win? It's really hard. There isn't a large market for somebody who is, um, just super lyrical. It's, it's music, not necessarily something that people want to decipher after a long day of work and they're trying to relax and blow off steam. But the fans are out there. I mean, you just have to find the ones that like what you're doing, right? Dalla Black, thank you so much. You can't wait for more from DMG. I thought that was really helpful too, and thank you. Frederick Ellis, thank you. Emily, thank you. Bobby Browdy, you're very welcome. You're at Texas Southern. Yay! This is like another class but no midterms and no tests, right? That's good, that's good. That's my goal. I just want you guys— and, and just understand that everything that I'm saying to you is my opinion. It's based on what I've done over the past 25 years. There are other people out here that have been successful doing things differently, so listen to them too. Like, don't just take my word for it. Just make sure that whoever you listen to has actually done this and succeeded. Don't listen to people that say that they're doing this or think that they're doing this and they're not. It's really got to be somebody that's had some success or somebody that's failed miserably. You can get a lot of information from somebody that's tried it and failed. At least you learn what not to do, right? I've learned a lot from failures. Info here is asking me to talk about merchandise. Absolutely. I've got an entire video on merchandise. Um, but what I'll say about it very quickly, and, and if you go to, um, rapjewels.com, it's easier to find the videos than on my YouTube page. I know the YouTube page is kind of like, it's just got too much shit on it. So on at rapjewels.com, what I did was I posted the videos in order. It's much easier to find stuff. You can search for, for videos that you're looking for. But I have a whole video of merchandise. Merchandise is a really great way for you guys to, um, to make money. You can put it up on your website, and if you use a company like, um, Printful, then you can— they drop ship, they print it on demand, send you your cut, and then they ship the product out to whoever ordered it. And it's just a really great way to be able to have merchandise without having to buy a lot of product and store it in your house and send it out when somebody asks for it. You can You can also press stuff up independently and take it out on the road and sell it. And you can have set up a merch table at your shows and have somebody run your merch table and sell product. And they can hook up the Square into their iPhone and scan credit cards from people that want to purchase it with Visa or MasterCard. Haha, Sun Twisted said, I wanted to cry when you said save the info for another video. You know, they were getting long. Um, I interviewed her for a little over 2 hours, so I didn't want to just have one 2-hour-long video. I know you guys would have watched it though. I know you would have, you're the diehards. Um, but I wanted to make sure that Um, by the end, people weren't like, you know, like overwhelmed by the information, so I broke it up into 4 different topics. And, um, they're going to be posted, and you'll be happy when they're posted. You'll be very happy to be like, Christmas! Yes, Roshan Q. Yeah, I, I don't listen to music. I just, I just like, who has the time, you know? I probably get by email, I probably get over 100 people a week asking me to listen to their music. And then in person, I get like hundreds of people handing me their music, asking me to listen. Then on social media, I get hundreds of people. Like, I could spend all of my time, all day, every day, just listening to music, and I would never get through it. Jamal Bracey, hey! It's your first time on live chat here. I have a question from one of your recent videos. In the video, it's mentioned about metadata on your songs so people know how to get in touch. I'm familiar with metadata having, having song info but not contact, but to contact, song in but to contact. What should we put on there exactly, and when and where does it provide that to be done in the data? Okay, I'm a little over my head here because I don't do the metadata. I actually have Tony do it because I'm not good at it. But there are places where you put the name of the artist, you put the name of the song. Um, I don't number it. I know a lot of you guys will put like 01, um, whatever the song is, 02, whatever the song is. But the problem with doing that is in most DJs' laptops, there are 100 different songs that start with 01 and 02. So your song just kind of goes right in. It makes it a little harder for them to search for it. Um, I prefer not making them, you know, go into their search bar and type it in and try to find it. Um, but in there I do the metadata on my podcast. So when I go in there, it'll ask me for album, album title, artist name, and then it'll say info. And I always put in, you know, Wendy Day and my email address for you guys, especially for producers, I would put in, um, your name, the name of the track. I would put in your email address, and you might even put in your phone number if you're not somebody who changes your, um, numbers a lot. Does that help? Faye Music, how are you? Tamara Bubble, you're here! How are you, dear? Hope all is well. There's somebody ringing my doorbell and the dog is going nuts and I'm ignoring them. Dramatic Gamble, how are you? Darris Redding, how are you? Wow, you knew about me from Murder Dog. That was a long time ago. Yeah, I used to write for Murder Dog. I used to write for Ozone, um, and I wrote for for AllHipHop. I mean, a bunch of publications, but those three were the ones that I did the longest— AllHipHop, Ozone, and Murder Dog. And then I had to take a couple years off because it just burned me out to be writing all the time. Thank you, Beats by Sid. Um, I am around Atlanta a lot. I try to go out as much as I can. I don't enjoy it though. You're welcome, Dala Black. Okay, let me go to another question. This is Bubble, Tamara Bubble. For traveling artists, once you start doing promo tours, gigging bands on the road, or even major artists, up until the point where you have your own studio on the road or a personal engineer, what's the best way for indie artists to find quality engineers or studios in any town? Um, or is it best just to buy a mic Mac recording software and do it yourself and then email audio to your regular engineer. Also, if you recommend any great mix engineers and ballpark prices, although I'm willing to pay more for quality, I just want to know what to expect. Um, and thank you, um, Bubble, because you're saying you watched all my videos and you send a shit ton of artists to me, and thank you so much, I appreciate that. Um, And thank you for, um, the comment on the letter to Wale. Um, he's going through a tough time. He's always going through a tough time, and I feel for him because this industry can like chew you up. You guys know, you, you hear it. Um, okay, so once you're touring, how do you record? Um, yeah, you have two choices. You can bring your own equipment and you can record, um, on the road. You can record in a hotel room. This makes a little more difficult for vocal booths, but you can record on the road, or you can record, um, um, um, um, in a studio. And that's what I prefer when my artists are on the road. I like them to record in other studios when they're, when they're on the road because it gives them— first of all, it gives them a different access to different types of people, and it makes them part of the community. So they may be in a recording studio in I don't know, Tampa, Florida, and they might run into other artists that are in Tampa, Florida, and opportunities can come from that. This is especially true for larger cities, right? So, um, the way that you find great engineers on the road, or even a good recording studio, is to ask people in the industry in that city. You might have to reach out to a DJ at the radio station You might have to reach out to a local artist. You might have to reach out to the street team person in that area. But these are all people that, as you're touring, you're going to have relationships with them anyway. You're going to get to know who the key people are in each city. Like, um, even when, when Tony and I are traveling, if we go to Birmingham, Alabama, for example, for something, we always reach out to Dirty Vegas. Like, we've got the relationship with him in that city. Um, we reach out in Montgomery, reach out to Frank. Like, there are people— Frank White, DJ— um, there are people that you're going to build relationships with in every city. And when you get home, you're going to keep up those relationships, even if you're just touching base to see how they are, how they're doing. Um, you definitely want to, um, ask them, you know, okay, who in this— who— what's the best studio in the city to record? Who's the best engineer? That's really how you're going to find out. There are times where we've recorded and the sound hasn't been great. It's never been a problem. It's— it's— there's never been a situation where we've had to re-record, but there have been situations where the engineer at home has had to, you know, remix a song to make it a little bit better, especially, you know, somebody that you're not used to. But yeah, you can definitely bounce the, the session to your engineer at home and have them put the final mix on it. But I really like when my artists record in other cities and towns because it gives them a feel for a different vibe and a different sound that somebody else might have in an area. You know, some areas are more heavy bass than others. I just think it's good for you as an artist to get used to working with different people. And I also think it's a great opportunity when you're a newer artist to really interact with other artists from other areas and, you know, work together. Dala Black is asking me about the playlist on YouTube. Yes, I, I use the playlist and I have separated the videos into categories, but there's just so many of them. You know, I would have to go even deeper into separation. When I do that, it kind of puts them all over the place. It was just easier for me to set up WrapJewels.com and put them in order. And they're also by category on WrapJewels as well. Thank you, Joseph Albertson. You're welcome, Info Here. Gloria Avant is asking me, how many songs should a composer or songwriter present to a publisher like Sony ATV to get a publishing deal? Um, the real answer to that is as many as it takes. They're not looking necessarily for new writers, you know that, right? They're looking for, um, songwriters that have music already in the marketplace that's making money. So definitely send them whatever you've got in the marketplace so that they can see, you know, what you've got out there that's going to make money. And then the songs that you feel are more like hit record type songs, and if you've got 5 of those, send 5. If you've got 10 of those, you know, send 10. Speak to them first though and ask them the best way to submit the music. Build a little bit of a relationship with them. Um, it just makes sense. Tamara Bubble is saying put your information in the comments section in the metadata. Um, yes, that's what I do with my podcasts. I put— there's the name, there's the song title, which is the name of my podcast, you know, whatever that episode is. And then in the comments, I always put, you know, my name, email. In your case, it would be your name, your email address, and your phone number. Hey DJ Styles, how are you? Um, Dollar Black, the reason that you're adding the information into your metadata is so that somebody can find you. Like if you're emailing, um, a rapper, um, beats, so are hundreds, and I mean hundreds, of other producers. And when they pull a beat out of their email and they pull it up and they try to record to it, if, you know, to see if they like it, they're not going to remember what email they pulled the beat out of. And then we have to go through and search through every email that the artist had in their email, um, from— for that session in order to find who the producer is, and it's a nightmare. There have been songs that we've recorded that we don't use because we can't find the producer. We don't know where the artist got the beat from, and it could be a great song. It's just I'm not willing to put a beat out there without crediting the producer and, you know, having— negotiating some sort of deal with the producer. You copyright your songs. Um, this is Sean Johnson. It might be Shawnee Johnson. Um, you copyright your songs under your government name. Yes, Gloria Avon. I don't recommend any producer management company. You're going to need to do the, um You're gonna need to do research on that yourself. No, I don't manage producers. I don't manage artists. I build record labels, independent record labels. Gloria, I don't recommend a lawyer in Atlanta either. The lawyers that I use personally are in New York, but I use lawyers for different things than you guys would here in you're going to have to do some research and find out who the lawyers are in Atlanta. I'm not trying to be dismissive of your questions. It's just you're asking me to, like, refer you directly to people, and that's not what I'm here for. I'm here to answer questions, and if you hit me privately and say, hey, I've heard of this lawyer, that lawyer, what do you think? I'm happy to give you my opinion. But I don't want to refer you to somebody that could turn around and jerk the shit out of you. It's— it— that would break my heart. Joseph Albertson, you're gonna have to do some research on this. You're building an online radio station. You definitely need to reach out to BMI, ASCAP, and SESAC and SoundExchange. To find out exactly what you need to do. Um, I don't know the answer to that. I've never built a radio station, but I'll bet you could Google how to start a radio station online and get a shit ton of answers to that. I think ASCAP and BMI are only for terrestrial radio stations, so I think it's just SoundExchange that you would need to reach out to. But I've never built one, so I'm, I'm out of my expertise on that. I'm sorry. Carlos is saying, um, DJ Styles is saying, concerning the metadata, you also have programs like PreSonus Studio One, which you can add everything including the barcode and ISRC code. Score, DJ Styles, that's awesome! It is called PreSonus Studio, P-R-E-S-O-N-U-S sonus Studio One. That's awesome. And Twisted Sun, or Sun Twisted, is saying MP3 tags can be edited. Is there any way you know of to make them permanent? The Real See-Through TV, um, no, I don't know of any way to make them permanent. I'm sure that there is a way. Because I've seen stuff that could not be changed. Um, ask an engineer that question, or actually maybe in the feed somebody will answer that because you guys have been great about answering each other. Fly Chi is saying, um, great tip for people who have Gmail: you can favorite or star the email for the beats you like to save them and to reconnect with the producer later. Absolutely, that's Um, that's awesome. Thank you, Gloria Avant, I appreciate you. Sean Johnson, why is copywriting under my name better than using my publishing company? Because it's a person that wrote the song, not a company that wrote the song, and you can only copyright under a name. You can't copyright under a publishing company. You can copyright under a name and then say that it's owned by a publishing company because the publishing company bought the rights to it, but publishing companies don't actually write songs. Jody Lowe, how are you? I'm so glad you're here. You heard me answer your question, right? I'm so glad you're here. Dearest Reading is saying, what's the difference between starting your own publishing company or registering with one already? Your own publishing company means that you own, um, 100% of your publishing. If there is another publishing company and you're signed to it, it means they're going to own a percentage of your publishing. It's called a co-publishing deal. The only time you might be affiliated with another company is in a deal, an administration deal, where they go and collect the money for you. So you might own 100% of your publishing, but you might have Warner Chappell do an admin deal so that they go and collect all of your money. Um, there is a publishing, um, video coming in the next week or two that's going to answer all of your questions about— not all of your questions about publishing because there's a lot but it's going to answer a lot of questions about publishing. Twisted Sun, or Sun Twisted, is saying Audacity also allows you to add tags like Studio One does, and it's free. Um, you don't know if it's permanent though. I don't think it's permanent. I use Audacity for my, um podcasts, which by the way are at rapanomics.com. They're also on iTunes. They're called, um, Raponomics. Um, and it allows me to add the tags, but I don't know if somebody can go in and change them or not. I, I've never tried. I, I think that they can. I know I can go in and change them in Audacity, so I'm guessing somebody else could bring up my podcast in Audacity and change the metadata as well. I don't know the benefit they would get from doing that, but they could. Okay, is this Kyle? I don't know how to say your name. K-C-A-L-Y-E. Kaylee or Kyle? I'm Miguel. I'm Miguel, a college student. Miguel, that's how you say it. I'm Miguel, a college student, recording industry major. Looking for an internship, is there anything specific a publishing company would be looking for on a resume? Um, as an intern, they just want to know that you're hardworking. They want to know that you're eager to learn and that you're doing this because you love it. Um, so I would make sure in some form or fashion that I mentioned those things in my resume. Sean Johnson is saying, what about the sound recording copyright? Um, the sound recording is— oh, you're talking about the, the— okay, that's not a copyright. Is that a copyright? That is a copyright. You're talking about for the masters. That's a recording. That's the, the little, um, R in the circle, correct, for the copyright? The person who owns the masters does that. So if you're signed to a record label, the record label is going to sign up for the SR copyright. You don't have to worry about that. If you own your own record label and you're the same person, then it's the same. Either copyright is good for that. And again, this is in the copyright video that I posted, um, a couple months back. If you'll just go back and check out the copyright video It answers all of the questions that you're asking are in that video. DJ Styles is saying once you add the date, it should stay permanent unless you have someone trying to intentionally want to change it. You should be good after you add your info. Um, and I don't even see the point of them changing it because it would only change it on their copy. You know, like you can't go into the metadata at Libsyn where I store my podcast to change the information. You can only change it on whatever your version of that, um, copy is. It just doesn't make sense that somebody would change one version of an MP3, right? You're welcome, Miguel. I'm sorry I couldn't be more helpful. Gloria's saying, out of all of the label deals you got, who would you set— who, who would you set the best example? Seawall, Cash Money, Suave— I didn't do Suave House. Um, No Limit. Um, let's see, who did— who set the best example? Probably David Banner. Um, because he made sure that, um— oh, you're asking about the label deals, not the artist deals. Wow. Who set the best example? I haven't done that deal yet for who— whoever set the best example. Um, Cash Money didn't pay their artists properly. No Limit didn't pay their artists properly. Um, Cash Money imploded because they were fighting with each other over money. Hmm. Money seems to be a common theme in this answer. Um, I haven't done the deal yet for the label that has set the best example. I think that one's coming. So guys, that's all the questions you have for me tonight. You're letting me off easy tonight. Wow. Okay, well, make sure that you email me questions for next week. Um, you can send them to thisiswendyday@gmail.com. And I will see you next Wednesday night to answer your questions. Okay, guys.