Receive HQ 24-bit Stereo WAV files of each beat in the bundle. (-6 db of headroom incl.)
This agreement allows unlimited sales and streams for all 54 beats!
Release and monetize across all available platforms and streaming services - Spotify, TIDAL, iTunes, Resso, etc.
Under this agreement, you are allowed unlimited live performances using the beats. You may receive compensation for these live performances.
All beat files will come completely untagged.
No money splits! Once you purchase this bundle, you will not be required to report or split any royalties that come from the Master Sound Recording. You keep 100% - 
Learn how copyrights and royalties work within the beat licensing industry. I'm including the "BEAT LICENSING | Simplified For Artists" PDF guide. Make sure you know the business of music if you are releasing commercially!
Yo! Thanks for considering my music for your recording ventures. It truly means a lot 
.
You might be asking yourself why I’d offer so many beats at such an affordable cost. That’s all good! The answer is pretty simple:
I want to help ease some of the pressure you might be under while navigating this notoriously difficult profession.
I’ll walk you through the ways I think I can help you here…
Let’s face it – a large portion of that stress and uncertainty comes right from financial issues. Not being able to afford the resources you need in order to move forward.
Being a recording artist requires A LOT of upfront expenses before you can start seeing a return. That’s just the nature of the game and there really isn’t a way around it.
From studio time to mixing and mastering. Professional photo shoots and wardrobe for your image, marketing and promotion (this one alone can run up hundreds of dollars very quickly), and finally – investing in your favorite beats and music production.
That’s where I can come in with this dope offer and help you out a bit 
I know that you could very well be one of the next huge stars at the peak of entertainment, and I want to assist in giving you a little push towards that summit!
I’m giving you 54 beats right now for $79. That’s 3 GBs of music and over 3 hours of inspiration!
That’s another pressure point that I can help relieve by offering these huge savings…
…lack of inspiration.
Sometimes writer’s block smacks us hard and holds us down on the ground. Weeks could go buy and the fountain of creativity just seems to stop flowing.
What’s a pretty good way of turning that writer’s block into inspiration and motivation??
OH! I KNOW! 
This nice big bundle of 40 blazing hot Hip Hop and R&B bangers!
From soulful and sentimental to classic and old school, dark and underground to sexy and party time and more! You’ll be sure to have some good vibrations and lyrical masterminding while you go through and listen to these beats.
Even if you only end up using just 1 beat out of this package, you’d still be getting the license for less than the original price of a commercial license – normally $157.
And in case you missed it – you keep 100% of the royalties from the Master Sound Recording of the new song.
Not sure what that means? No problem! I’ve included my PDF guide “BEAT LICENSING & ROYALTY COLLECTION | Simplified For Artists” absolutely FREE.
I’ll give you a short version right now though. So basically every song you release has 2 copyrights: The Master Sound Recording and the Underlying Composition.
Each one of those generates different types of royalties and require different means of collection.
When you release music through a distributor like DistroKid, United Masters or TuneCore, you have a digital wallet in your account and you start to see revenue come in from the streams your tracks are accumulating.
That money is coming only from the Master Sound Recording side of the copyrights. Deposited straight into that digital wallet.
You need a P.R.O. and publishing administrator in order to collect from the Underlying Composition side. (This will be explained in detail in the free PDF guide. For now, it’s irrelevant.)
Okay so here is my point…
When you buy beat licenses from producers online, you are generally required to report and split those Master Sound Recording royalties 50/50 with the producer as the contracts usually state.
I’m here to happily tell you that I DO NOT ask for any splits of that money as part of your agreement with me if you purchase this 54 Beat Bundle for just $79.
That’s your money. I don’t want it.
All I want is to see your creative flow whip through the cosmos at light speed! I want to see you succeed, and I hope this offer can give you the momentum, motivation and inspiration you need.
So what do you think?
If you’re serious about your profession and you want a good-hearted producer that makes insanely vibe-heavy beats, you really shouldn’t pass this offer up. I know I wouldn’t!
I look forward to hearing the songs you craft with these 54 bangin beats.
Let’s get to work!
– Cody Charles Mineur (d.b.a Charlie Hayz)
Audio and sound waves take up physical space. Louder audio = more space. When we turn the volume of a track down, we create a vacancy in that space and this is what we call headroom. Let’s go into detail:
There are generally 3 phases in getting a song ready for release.
Each phase uses different volume input/output settings. For recording (also known as tracking), you want to leave from -15 to -18 decibels of headroom. This is actually pretty quiet, but it’s necessary to avoid unwanted noise and anomalies in the audio. Drums can be tracked a bit louder.
Once the tracks are recorded, you move into the Mixing process. This is where “gain staging” comes into play, which is essentially just setting the volume of each individual instrument at the appropriate levels. Keeping in mind that there is still mastering to be done, you want to leave at least -6 decibels of headroom above the loudest peaks. In most cases, the loudest audio in the track is going to be the kick drum and the snare so when we stage the gain/volume, we know that we should set those drum sounds no higher than -6 db. That way when the final mix is rendered, there will be 6 decibels of empty “headroom” ABOVE the loudest peaks.
Why is it important for mastering?
The mastering process consists of a “chain” of plugins all working in a specific order to enhance the qualities and cut the anomalies of a song. Each plugin requires some empty space in the audio (the headroom) to properly function. -6 db is usually plenty. A mastered song is going to be as loud as it possibly can without distortion, and it sits at -0.1 to -0.3 db. This is how loud all of your favorite songs are released. That’s less than 1 decibel of headroom but it’s okay because this is the last phase. Now imagine we staged the gain in the previous mixing phase to -0.1. That would leave virtually no empty space for the plugins to do their job and would make it impossible to get a good master. The engineer would also just reject the file altogether and ask for a new one with headroom.
So, when you purchase beats online and record your vocals over them, there should always be some headroom when rendering the final mix so that you can get the cleanest possible master that’s ready to compete with the industry.
