Nov. 13, 2025

Should You Record Your First Single for Free or Go Pro?

Show Notes
Transcript

In this episode of the Music Business Newsletter with Matthew Rix, I read an email from Sarah, a 22-year-old college student in Nashville who’s finally ready to record her first single but has no idea what a realistic budget looks like.
Sarah’s studying in Music City, where opportunities are everywhere, but so are the price tags. Some recording students at her college have offered to record her single for free, but the only available studio time is at night. Meanwhile, professional Nashville producers have quoted her $5,000 for one song and she’s not sure if that’s normal or just “Nashville math.”
She makes country music but comes from a punk and Christian background, and she’s realizing that recording real instruments and session players might be pricier than she thought. She wants to do it right but also not blow her savings before graduation.
In this video, I break down:
-What a realistic budget looks like for your first single
-When to take a free recording opportunity (and when not to)
-Why country songs cost more to produce — and how to keep it affordable
-How to find good players and producers without getting ripped off
If you’re about to record your first song and have no idea what to expect, this episode will save you time, money, and headaches.
Do you have a music industry question or a story to share?
Go to https://MatthewRix.com and send it in.
The more details you share, the more I can help and your story might help another artist just like you.

#MusicIndustry #IndependentArtist #RecordingTips #MattrixMinute #MatthewRix #ArtistAdvice #MusicProduction #CountryMusic #FirstSingle #NashvilleMusic #MusicBudget #StudioRecording

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Hey, this is Matthew Ricks for the Music Business newsletter,

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and today's email comes from a twenty two year old

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college student right here in the music city of Nashville

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who's ready to record her first single, and she's got

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recording students offering to do it for free in the

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middle of the night, and then somewhat professional producers quoting

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her five grand for one track. So we're gonna see

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what's realistic and we can see how we can help her.

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But before we dive into that email, I asked that

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you go ahead and click subscribe and like this video.

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If you have a comment you agree or disagree, leave

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me a comment and let me know. And if you

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have a question on the music industry that you'd like

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for me to answer, just go to Matthewicks dot com

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click submit your question, give me as many details as possible,

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and we'll answer it here on the channel. So the

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email says, Hey, Matthew, my name is Sarah and I'm

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twenty two years old. I'm in my final year of

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college here in Nashville, Tennessee. Well, welcome to.

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The music city.

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She's probably got time. I'm to send this email because

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Nashville right now is experiencing a blizzard. We got flurries

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today and people were posting it online and places were

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shutting down early because of the flurries. So, Sarah here,

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I don't know where you're originally from, but you know

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you've probably got time to think about your next single

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or your first single because the town is shut down

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because of snow flurries. But her email says, so here's

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my situation. I'm finally ready to record and release my

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first single, congratulations, and I have absolutely no clue what's

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a realistic amount of money to spend on it. Well,

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hopefully we can help you here.

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She says.

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I've heard everything from you can do it for free. Yes,

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you can do that, and you need to invest a

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few thousand dollars. I just don't know what's true. Well,

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both of them are true. I mean you could do

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it for free. There is millions of tracks on Spotify

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and Apple Music and YouTube of people getting free production.

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And I'm not gonna say all, but a good amount

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sounds like it was free, and you could invest a

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couple of thousand dollars as well. Her email goes on

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a few of the recording students here at my college

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who are majoring in studio production have offered to record

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my song for free. Let's continue before I say anything,

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she says, which sounds amazing, But they only get studio

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time in the middle of the night, and I can't

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do that with my job and my homework. Well, she continues,

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and I'm a little skeptical about the quality and experience level.

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I would be more concerned about going to a studio

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in the middle of the night because it's the middle

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of the night. I understand studio students, production students in colleges,

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they pretty much can get it whenever something's available, and

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typically it's not available in normal business hours. How can you,

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as an artist perform your best at three o'clock in

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the morning on a Thursday. To be a little skeptical

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about the quality, yeah, I mean there's it.

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Once again.

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There's a ton of stuff on streaming services that is free,

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probably you know, student ran production, and a lot of

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it's not great. And the experience level, I mean, you're

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starting off. You got a producer who's starting off, might

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not be bad. I would be more concerned about the

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middle of the.

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Night, she says.

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On the other hand, I've reached out to a few

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producers in Nashville, and I've been quoted around five thousand

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dollars for one single, So we either have student run

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production or five thousand dollars for one single. She goes

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on to say, which is kind of terrifying. I don't

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know if that's normal or if I'm just being quoted

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the Nashville price. Well, there's it is normal for some

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and you are also being quoted in Nashville, Rice as well,

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young college student producer. I don't know how many producers

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you contacted, you might have produced. You might have contacted

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one maybe doesn't want the work, maybe doesn't need the work,

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but if you're going to pay him the right amount,

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then he can get excited about it. Five thousand dollars

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for one single, for your first single is kind of expensive.

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It better be good. I will say this.

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I have found over the years, people will go and

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spend pretty good money, you know, like this will be

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your first single or back in the days, to be

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the first album, and people spend really good money on

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like a well known producer, and he's just mailing it in.

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He doesn't care, he's collecting a paycheck. He'll squeeze you

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in when he can Not all producers are like that.

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A lot of them take pride, but a lot of

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them also are just like, you know, they got this,

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you know, I know, I'm a Back in the day,

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there was one This is twenty two thousand and eight,

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two thousand and nine, I was working with a producer

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who was getting paid twenty five thousand dollars a track

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for one track, and he just kind of did a

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favor for an artist that we signed low budget, and

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it took forever. I think we paid him ten grand,

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eight grand all in for like ten songs, and because

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he liked the band and he knew that the label

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was not going to put a lot of money behind it,

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and so he kind of did a favor because he

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liked the band. But it took forever to get the

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master the mixes back. Took forever to get the mixes

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back because he's got a mortgage, he had kids, he

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had wives. It wasn't no shade. It was just like,

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he's got to get paid from these other people. So

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when you do work with a bigger name, sometimes you

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do have to worry about their plate might be too full,

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or you know, producers you are loyal to, like a

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record label or a group, and if they come knocking,

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they're going to kind of shelve you. They'll still record you,

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but they're gonna go and keep that relationship going because

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that one keeps bringing them work throughout the entire year,

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where you're just doing a one off. Here, she continues

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in the email, she says, for context, I make country music.

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She goes, but I know that you come from more

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of a punk and Christian music background. Yeah, but I mean,

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producers are producers.

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Music's music. The business is the business.

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All really the different genres do is separate you from

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how you're gonna market or who you're gonna play someone

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tour with or you know, Christian.

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Music still loves radio.

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Make you make or break on Christian radio, and but

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you're not gonna do that with a punk band. With

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a punk band, you make or break by touring and

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having other people in the community talk you. Which I

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know it's funny that. I mean, I actually started just

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doing regular pop and rock fifteen twenty years ago, and

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then I went to punk, and then I went to Christian.

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Then I went back to punks, and I went to

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Christian and now I'm just my I'm just me. I

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just you know, whatever, whatever I want to work with.

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But the music business is the music business, Sarah, She says,

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So this whole world of country music, live band, session

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players and full production might be new to you, but

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it is also new to me.

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She goes, it's not new to me.

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Anyways, She says, I'm realizing country can be expensive to

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record because you need real musicians.

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Yeah, but not five grand for a song.

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Okay, Let's say you need a fiddle player to come

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in and do one song. If you get a good one,

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he should be one hundred and fifty two hundred bucks

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to come in for an hour. So yeah, it is

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more expensive than hip hop. Hip hop, you got to

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pay for a producer, you gotta pay for beats, you

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got to pay for samples, you got to do all that.

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She says, So here you have to pay for real musicians,

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not just a laptop and plugins. But I don't want

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to throw money at something I don't understand yet. Well,

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let's help you. Five grand is a lot. Five grand

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is and it sounds like you're going at alone. I

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don't see anything about a parent or a boyfriend or anything.

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So I'll tell you five grand is a lot.

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She goes.

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So my questions are, what's the real what's a realistic

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budget for recording my first single country in Nashville? Fifteen

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two grand? That should be all in as well. And

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by the way, do not do not work with the

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producer who charges you by the hour. Any of you guys,

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do not work with producers who charge you by the hour.

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You want a flat rate for the song, you don't

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want it.

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You don't want an hourly.

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Because they can keep the meter running and then they

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can they can charge you ten grand and you got

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to pay it, or they're not going to release a

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song to you.

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She says.

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Should I take the free studio offer and just treat

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it like a learning experience or save up for a

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pro studio session.

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I say you do both.

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I say you try to get a studio session sometime

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that's not in the middle of the night, and if

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you can't do anything besides the middle of the night

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because studio availability, just to protect yourself, just protect the producer.

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Bring a friend with you, Bring a responsible friend who's

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going to be in the studio with you the entire time,

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and in the middle of the night, if anybody starts drinking,

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leave because I'm not going to do the best work anyways.

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If they're drunk, which I don't think you can k

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You're not supposed to drink at university studios or do

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anything else. But if they do leave and then you

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could do that see if you like it, and then

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find a producer fifteen hundred two thousand bucks and you

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might be able to get two songs out of it.

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Five thousand is too expensive.

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I think you're gonna get a producer who either he's

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really old school and it's not gonna be great, or

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you're gonna get somebody who's incredibly busy and they're not

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gonna give you the time and attention you need. A

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free student producer, you're gonna be running into Yeah, like

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you said, the experience might not be great, the quality

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might not be great. If you get someone in the

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fifteen hundred two thousand range easy to work with, I

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would still if you're a single woman by yourself, I

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want to be traveling any studio.

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I don't care if it's two o'clock in the afternoon.

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I always bring somebody with you.

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Pay the producer fifty percent up front, pay the other

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half when the song is ready to go. And go

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from there, she continues, And for country music specifically, how

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do I find good players who won't break the bank

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but still make the song sound legit. Well, if you're

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talking about in the studio here, you don't find you

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don't find the players. The producer should have a rollerdex

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of players. I don't know of a lot of producers

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who let the artists like, oh yeah, you know, this

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bass player's legit. I want tomd my song unless you're

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you know, unless you're big enough where your calling the

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shots or everything. But a good producer should be able

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to have the band in the studio. And a really

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good producer will let we'll have you come in, you'll

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cut vocal demo demos, and then you'll leave and you

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might disappear for a couple of days or a week

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or two. He'll bring in the studio musicians, they'll lay

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down all their tracks, and then you come and record

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your your final vocals. Once they've done the band. You

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shouldn't have to find the players for your song. Maybe

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with the student producer you'll need to. But if we're

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talking like you're paying money, they should be providing that

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and that should all be.

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Put into that rate as well. Now, if you do have.

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Somebody at your university, which I know at university, go

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to and you can swing a stick and hit musicians there.

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You might be able to get some guys who'll come

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in and play for fifty bucks or whatever, and they'll

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just love the experience and they're really good too. That

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is the advantage you have about being in university, as

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they like to call it.

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She says.

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I know you're based in Nashville too, so if I've

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ever randomly run into you around town, we'll have to

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have a shot of whiskey together. For all the help

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you've given us up and coming artists, Well, that is

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very kind.

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I do not drink.

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I am sober, but the Green Team, Macha, it'll be

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on me if we run into each other. But thanks

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Sarah for this email. I would just kind of put

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a bow on this whole thing. I would just tell you,

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don't pay five grand for a single, try not to

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go to the studio in the middle of the night,

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but if you have to, because that's the only thing available,

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bring a friend who's going to stay awake the whole time.

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Anybody starts drinking or anything else, leave find yourself a

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producer in town. And I mean you might not even

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stay in Nashville. Don't go to Williamson County, Brentwood, Franklin.

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Like go to Murphy's burrough SMYRNA. Find find a guy

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out that way, which is a suburb of Nashville. Find

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some guy for fifteen hundred two thousand bucks, Listen to

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his other tracks, ask for a playlist of his stuff.

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See if you vibe with it.

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The other thing with working with a producer is they're

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gonna probably want to change your song. So when they

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want to change your song. Now you get into publishing,

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make sure you protect your publishing. If a guy just

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adds one line to a course, he shouldn't get fifty

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percent publishing from you because they like the producers like

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to throw that one in there, the more unethical ones.

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But Sarah, thank you for this email. And if you

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would like me to answer a question on the music industry,

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all you gotta do is go to Matthew Riggs dot

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com click submit your question, give me as many details

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as possible, and we will answer it here on the channel.

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And until next time, I will talk to you later