I had the chance to spend the last few weeks building inside Flow Music, experimenting with Spaces, testing plugin workflows, and thinking about how AI can become something producers actually use, not just something that generates finished songs. The biggest takeaway for me is this: The real opportunity is in giving producers more control. Not replacing the producer. Not automating the whole process. Giving us new ways to create, manipulate, experiment, and build around our own ideas. I built something during the cohort that I’m really proud of, and it pushed me to think even more seriously about where music production is headed. For everybody in this community: this is exactly why I keep saying we need to understand these tools now. The next generation of producers is going to work differently, and I want us ahead of that curve not catching up later. Check out FLIP Studio By Arkatech Beatz - Sample Generator and Sample Flip Station: https://www.flowmusic.app/space/ba2e6e26-c0d4-4215-b944-31f0b2fb37b9

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Quick update on the publishing series. Monday we asked the big question: are you collecting everything your music is owed? Since then, we've gone deeper. ▶ PART 2: UNDERSTANDING THE ROYALTY COLLECTION CHAIN How the money actually moves. Performance, mechanicals, international, SoundExchange and neighboring rights, sync and UGC, and who collects each one. ▶ PART 3: WHAT'S ACTUALLY IN YOUR CATALOG? An 8-step framework for organizing and getting more out of your catalog, plus a checklist and a catalog tracker spreadsheet. ▶ COMING UP Part 4 (Thursday): Choosing the Right Publishing Administrator Part 5 (Friday): Protecting Your Publishing Income Going Forward Parts 2 through 5 live in the Classroom for Premium and VIP members. One thing to think about in the meantime: if you had to list every song you own today, with the splits and who collects on it, could you? Drop your answer below. Collin “Jugrnaut” D

Part 1 of 5 | Free for All Members I've been in the music business for over 25 years. During that time, my production partner and I have been fortunate enough to work with some incredible artists, including Big Pun, Nas, Raekwon, Prodigy of Mobb Deep, Jadakiss, Mýa, Max B, and many others. We've produced records that appeared on gold and platinum albums. We've worked with major labels, independent artists, and everyone in between. And like most producers who have been doing this for a while, we've accumulated a substantial music catalog. Today, we have more than 400 compositions registered with ASCAP. But recently, I started asking myself a question every producer with a catalog should be asking right now. Am I actually collecting all the royalties I'm entitled to? Not just the money showing up in my ASCAP statements. Not just the publishing royalties being deposited into my account. I'm talking about everything our music has generated over the past 25-plus years. And the more I started looking into it, the more I realized how much I needed to examine. ▶ HAVING YOUR MUSIC REGISTERED DOESN'T MEAN YOU'RE COLLECTING EVERYTHING For years, I operated under the assumption that having our compositions registered with ASCAP, working with a publishing administrator, and maintaining our catalog information meant we had the important pieces covered. And to be clear, we've collected royalties. Our music has generated publishing income for years. But collecting royalties and collecting everything you're entitled to are two very different things. A song can generate revenue through multiple channels, including public performance, mechanical reproductions, international usage, synchronization licensing, and certain uses of sound recordings. Those royalties don't necessarily flow through the same organizations. And depending on your agreements, ownership interests, and registrations, some revenue streams may require entirely separate collection arrangements. That's where things started getting interesting for me.