So anyways, from there, I met one of the ANRs, and he's like, hey, dude, you have a manager? And I'm like, no. And he's like, so he's like, I would love to manage you. You know, I love your music. And then I end up actually moving to LA, and I had two managers, and the first thing they told me is, dude, you got to get offline like that online producing shit. Like, dude, you don't be known as an online producer.
And I took that to heart. Like, damn, I don't want to be known as an online producer now. I'm like, what the fuck is an online producer? Like, dude, I. If I would have stuck online being one of them, I would have. My website would have been insane. I would have been number one on Google. I would. I mean, I'd be through the roof, you know what I mean? Like, that was the dumbest decision I ever made, was take my website down and not do the online stuff.
Welcome to Nerdpreneur, where we have fun conversations with people making money with their nerdy passion. I'm joined, as always, by my co host, Frank.
Hello.
And today we have a very special guest. He is a Grammy nominated, multi platinum selling record producer who's worked with artists such as Nelly, St. Lunatics, Chingy t Pain, and the Lonely island. So if you ever heard I'm on a boat, that was his beat and him there. He's also worked with rapper tech9 many times, but more recently, I just saw you guys did a little collab with roll call that was a banger. It's just already racked up almost a million views on YouTube in the last month.
His name is a Wyshmaster, but we're going to call him Wysh. Welcome to Nerdpreneur.
How's it doing? How you doing?
Doing awesome. Thanks for coming on the show. So, Wysh, for everybody who may not know you yet. What is your nerdy passion?
It's kind of general. I'm going to say music is my nerdy passion, but it's some of the things in music, the engineering, that's, you know, some of the stuff that people don't want to hear about. Also, marketing. So, marketing and definitely, like, music. That part of the element that people want to hear about is the synthesizers and the EQs and all that kind of cool stuff. Well, I think it's cool.
Well, you're like a beat maker, and you mentioned also the business side, marketing side. From doing some of my research, you were one of the first people who kind of started selling beats and things online, leasing them out. Was that, is that true? You were?
Yeah, yeah. I'm one of the originators of the online leasing. Yep.
Yeah, that's, that's crazy. I totally want to get into, like, the business side of how that came to be and how you got into that, but I figure maybe we can start with just. Can you tell us a little bit about how you found your passion for music and making beats, and all of that?
Definitely. I've always been into music. I got it from my parents. My dad was more into, like, rock and roll, like Rolling Stones, Beatles, Jimi Hendrix. And then my mom was more into, like, Motown, so, like, Temptations. She loved Whitney Houston, so I got, like, that mixture of music. And then I was from, I'm originally from Chicago, so house is really big there, too. Also, we had a cool little rap scene. You guys are like Twista, Do or Die.
I was, I was really into twisted.
Yeah. Crystal conflicts. Yeah. So, I was really into that stuff. And then I... But I didn't know what I wanted to do. I knew I wanted to do something in music. So, I decided, you know, I was watching, I forgot what the show was, but it's basically a DJ, and he's playing records. I'm like, "Man, that's, that looks cool. I want to be a DJ." So, I started DJing. Well, I shouldn't say I started DJing. DJ in my basement by myself.
And then I would just, you know, buy records, and I kind of learned, like, how to match them, you know, it wasn't like how it is now. You just push a button and it, like, kind of sinks to the tempo and everything. I used to have to, like, slow it on the record.
And so you're analog to start, right?
Yeah. And it was records. I should even say that people don't even use records anymore, um, actually, or vinyl. So I started doing that, and then I got more into it. Started, you know, networking with some people. I was taking a college course at the time. It was called music technology because I was trying to find something music, and it was basically about, like, the analog board and patch bays and all that cool stuff, the nerd stuff, right.
So I started getting into it, and I met a DJ that was actually. He was known in Chicago on one of the radio stations, and I just, like, started talking. I'm like, "Hey, man, I want to DJ, too." I know. You know, you're really big. So he kind of took me under his wing and brought me out to, like, some gigs. So I did some, like, house parties. I did. I did this really big club, and I started playing like this. I forgot what it was back then with a song. I think it was the dip man.
I don't want to dip you. Dip me. Anyway, so I saw the reaction of all the people on the dance floor, and I was like, "You know what?" This is cool, but I want to create the music that they're actually responding to instead of just playing them, you know, the music randomly. So, I decided that day, I want to be a music producer.
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It helps the show more than you know. And the bigger the show gets, the bigger our guests are going to be. Thanks again for listening. And here's today's episode with Wyshmaster.
And then I was like, "All right, making beats. But how do I, like, really get good at this?" So I started listening to, like, those producers, and I started, you know, I was like, "All right, I'm gonna make some stuff like Dre and Timberland and do some, like, Three Six Mafia beats." I was doing a security job at the time, and it was super boring. I really just sat at a computer all day and made sure nobody walked out the door with a computer.
And computers were like, this big, you know, so I'm like, "All right, I think I could see no one's gonna put that on their jacket, right?" So, I started searching online a lot, and I found this website where producers were putting up their beats. It was called MP3.com, which is like, it was like the first sound click. I don't know if you guys ever used sound click, but, yeah, so I decided I'm gonna start just. I put everything up.
I was like, there's like, I had to get, like 20 or 30 beats, and I just put them all up on there. And I started seeing people's reaction. And then MP3 used to pay people for how many streams they used to get. So, you know, let's say you got a thousand streams. They'd send you, like, a check for $10. It was like, every few months. And I got to a point, like, I made, like, a $40 check. And I was like, damn, I'm. I'm doing it right now, man. I made $40.
And I didn't know about IPs and all that stuff back then. So I literally sat in, like, my parents' basement, like, playing my shit over and over again for hours, not, you know, thinking like, oh, I'm gonna get paid on this. Not knowing that only one click, you know, counted. So that was fun. We've all done it. Oh, yeah, yeah. Read your IP address once. So, only one of those counted. Yeah, after a while, they stopped paying people. So, I was like, all right,
what am I gonna do now? So, I. They had, like, an internal email system, you know, or messaging system. So, I went in there and I was like, I had, like, hundreds and hundreds of people that hit me up that I never even responded to. And like, hey, how much do you want for this beat? Or, I love this track, man. You're, like, the best. You know, you sound like Doctor Dre. And I got this. This message, and it said, you know, how much do you want for this beat? You know? And he said,
whatever the title was. And I'm like, hmm. I looked at my phone bill, it was like, $50. I'm like, all right, $50. So I sold my first beat for, like, $50. It was exclusive, which is pretty cheap for an exclusive.
Pretty cheap for exclusive. Yeah, but first one, right?
Yeah, exactly. I didn't know what I was doing, so I started selling exclusives. And, like, I got to the point where I was, like, super known online. I was selling beats for, like, up to, like, three grand per beat, just by independent, you know, artists even, like, overseas and stuff. And then around then, the economy kind of got bad, and I remember, and, like, just sales were starting to go down, and people like, I'd say $300. And, you know, people get pissed, like, man,
you're not Timbaland. $300, I'm not paying. I'm like, well, Timbaland charges like, 20 grand, but, yeah, to each their own. So that's when I came up with the idea for it. I was like, "All right, why don't I just sell the same beat over and over again, give them the licensing rights, make it a cheaper price?" And so I took on that mold, and that's when I really blew up and I started reaching, like,
different countries. I mean, companies, and just hit me up and like, "Hey, I'd like to do this project." So I got called by a guy, John Vinyaki, who worked for Midway Games. I don't know if you guys know the video game, Midway Games?
Yeah, I was going to ask about that because, I mean, if you're real.
Nerds, you know what that is.
We know Midway Games.
Yeah. Anyways, he called me up and he's like, "Hey, man, I'm working on something. It's new to the video game world. It's called NBA Ballers. It's a basketball game. But instead of just playing basketball, you're like, you're living the life of a baller. Like, you get to upgrade, you get chains, and you get mansions and all this cool stuff." He's like, "We would love it for you to work on it." So he invited me to the office, which happened to be in Chicago, which is really cool.
So I went there, and I was just blown away. And I love gaming, too, so it was already close. Like, man, this is awesome. So, I walked in there, like, doing all these scenes and showed me from the game and like, yeah, so they want you to create a lot of music for this game. So, I ended up doing most of that soundtrack, and they actually put a CD in the first, like, I think, million or 2 million copies, too. So, I actually got platinum.
I don't have my plaque yet, but I got a plaque for that because they put a CD in there, but I ended up doing 25 beats and, like, five songs, and I. My first check was, like, $25,000. So that was, like, my first, like, big check where I'm like, all right, I'm making it. I'm gonna quit my job. So I quit my job, and I just started selling beats online full time, and I was just killing it.
And then I got noticed by this production group out in St. Louis who happened to be the producers for Nelly, and they said, hey, we love your music. We'd love to work with you. So I ended up signing with them. I moved to St. Louis. I was working with Nelly, like, every day. Pretty. Pretty much every day for, like, three years.
You weren't an overnight success, is what I'm hearing. It didn't kind of happen in the same way.
A lot of work, I was. You know, there's... I have a lot of years of being broke and, like, having to sacrifice, you know what I mean? And that's what I tell everybody. Like, you have to sacrifice to make it in music. Like, you're going to have to, you know, now you don't have to give up your kids or anything, but some people do. But you do. You do have to sometimes do something you don't want to do, like, maybe move somewhere.
You know what I mean? But I always also tell people, they're like, "Well, how do you make it?" Like, how do you? You know, they think it's like, "Oh, I have to sign a record label, or I have to meet this person." Everything I've gotten is from me putting my beats online. There's nothing else. It's not me saying, "Hey, I networked with this person, and he ended up knowing every single artist in the world." It was
just me putting myself out there. Back then, I didn't know it was marketing, but I was basically marketing myself by word of mouth, you know what I mean? And then people came to me. Same thing. I actually got away from the online thing for probably, like, I want to say, eight to ten years because I got an education, actually. See, I have a long story, but I wrote it. The first beat-making program for a college, so I taught people how to make beats in St. Louis out of this college.
It was with Nellie, it was a partnership. Anyways. Oh, I got away from doing the online thing, but when I came back, you know, I thought it was just. I could just use my name. I can kill it. And that's when I had to learn marketing. You know, I mean, they'd like the advertising and email copy and all that cool stuff, so. But everything, like I said, it came from me putting my beats out there. Even the college opportunity was because I worked so hard that people respected that.
I don't have a college degree. I did a year of college and did music instead.
So, one of the things I wanted to get in for a point of reference was: how long was it from when you first made that $50 to pay off the phone bill, to when you made that deal with Midway Games?
I'd say, probably from that point, it'd have to be like maybe a year, maybe a year and a half, maybe two years. So.
Wow, that's... that seems pretty fast.
Yeah.
Is that fast in the industry?
It is, but it was back, so I'm not going to say it's harder now. I mean, I guess it is kind of harder because everybody's doing it, but back then it was like, there was, yeah, it's oversaturated. There's not any back then. I mean, there was a lot of producers, but not nearly as much as now. The online thing wasn't as big, so it was easier for me to move up because I had already kind of moved myself to the top. So then I kind of stayed up there.
I'm a workaholic, so, like, I can create 15-20 beats in one day. So, like, I'll, I would, I would literally just upload, like ten beats, you know, every day or every other couple of days. So people are like, damn, he's just. Even Nellie. When I was in the studio with him, he would say, all right, Wysh, come back tomorrow with some more beats. He knows I'd come back with like ten more beats.
You know what I mean? So he's like, all right, let's just keep working because I did I don't know how many songs with that dude, but a ton, because I just kept making stuff and that's like, that's how I nerd out is. I just make beats and I just love them, just the sounds and putting drums together and different genres. I really get into it. I even, like, sing, like, if I'm working with a certain beat or an artist, I'll, like, sing like them or rap like them just to get into the groove of it,
you know what I mean? It just helps me kind of create that beat. I look like an idiot doing it, but, like, I remember at the college, they made my office see through so people can see me. Like, so I had my studio in there.
Like a fishbowl?
Yeah, like a. Yeah, exactly. I was, I was in a fishbowl. But because I get so into it, I didn't care. There were people around, so I would sit there and start singing. Like, you know, I sound like an idiot, but people in the window, you know, on tours looking at the score probably like, what the hell? So I was just, yeah. So everybody like, damn, there goes Wysh making something.
So much of what you mentioned was around putting. Putting yourself out there, right? Like, it sounds like you weren't too afraid to, you know, make a bunch of beats or maybe, you know, make mistakes, because if you're making, say, ten beats and they're not all going to be perfect. Right. For Nellie or whoever. Right.
You're just kind of, you're putting out a lot of stuff, and that not only obviously increased your skills, but also, you know, gave you the ability to have some selection for them to pick out what resonated with.
Exactly.
But I'm here, like, if you were to give advice to somebody who was, like, because we talk to people all the time that are, like, just afraid to put themselves out there or they're worried about the judgment behind, and it doesn't necessarily have to be music. It could just be their content or being seen on the Internet. Do you have advice for people who are like that around? Like, you know, I may not be good enough yet to put myself out there or to try and do that.
Yeah. So, this is gonna sound, like, dumb, but it's like, just do it. Like, this is someone who's dealt with anxiety his whole life, too. So, I don't. I'm not like, this person that was outgoing. Like, getting in the studio and running around. Like, I let my music speak for itself. I literally sit there. I might bump my head a little bit, but I was never that. Like, sometimes producers get in there and they, like, get in there and they hype up and like, hey, man,
you don't understand this. Like, this is the beat for you. Like, you need to get on this shit. Like, put T-Pain on there and do this. I was just like, put the beats on. I just sit in the corner like this and just kind of listen. Cause like I said, I dealt with anxiety my whole life, and I did have those feelings of, "Man, I'm not good enough to be in the studio," or, "Damn, this beat sucks." Or if they, like, an artist would skip through after, like, 10 seconds,
I'd be devastated. And now today, I've learned so much that it doesn't matter. You don't know what. What they're looking for. You don't know what mode they're in. It doesn't mean that they hated your beat if they didn't. Just might have, you know, what if Nelly just broke up with his girlfriend or something and I just gave him, like, a love beat? He'd be like, "Dude, I don't want to hear this right now." You know what I'm saying? Like, give me something where I want to, like,
murder somebody. On a beat, you know? So I had to. But I had to learn that just by experience, you know? But anybody who's, like, trying to get into it is like, just. Just put it out there, you know what I mean? And just see what happens. You're always going to get something, you know, some kind of response. Especially because we have social media, you're going to get negativity from somebody because people are jealous
or you're doing something they're not. And you can't take everything, you know, to heart. You have to take everything with a grain of salt because, like I said, there's going to be mixed feedback. But what do you gain by letting your music just sit on a hard drive and never get released to the world? It's just going to sit there. You're going to have regrets later in life, you know? And I did that. I had my, like, pile of good beats that I never wanted. I'm like,
I'm not going to put these online. I want this. I'm saving this for, you know, Young Jeezy or whoever was back then, you know, this is not me. I don't want to give this one up because sometimes we look at our creations as, like, babies. Like, I don't want to give up this baby. This baby's made for this one, you know? So, three years ago, Pie and I had those same beats. Now, they're like, dated. They don't even have, like, that type of beat.
It doesn't even work anymore. So, it's like, I was like, "Damn, if I would have put that out there, who knows what could happen? The next big artist could have jumped on there."
Yeah, and what you might learn, especially from feedback. So, I make video content, and I take photos for my day job, do product photography and whatnot. And when I look back at the old stuff, sometimes I held it, like you said, like, it's my baby. You know, I guard that, and then I get feedback, and I'm just like, wow. They pointed out something that I really am glad they
pointed out so I can improve. And nowadays, there are things that I look back and I'm like, that's where I learned this lesson. And if I had held that to myself, like you're saying, I wouldn't have known.
Well, and sometimes you might do something that you think is shitty, and that ends up being the bigger project than the one that you thought was the best one. I've made beats that took me five minutes, and I'm like, it might be a loop or something. And I'm like, all right. And I bring it to the studio and play it for an artist. I'm like, oh, man, I'm just playing this just to see, you know. And then all of a sudden they're like, hey, keep, let's copy and paste that. That's the one.
And then they end up making a hit to it and you're like, well, what about this one? That took me like 8 hours. That's cool. We'll come back to it. You know, that happens all the time because I'm, you know, sometimes you think that your crap is actually not a funny story. And I won't tell the whole story right now, but The Lonely Island's "I'm on a Boat" beat was one of my throwaway tracks. It was actually one that I did not like at all. That was in a pile of, like, my doo-doo beats.
So, really well. And so, I'm now curious about that story.
So, you basically tell the store if you want.
Yeah, sure, sure. Like, so what happened with that?
I didn't know who they were. So I was in the studio with Nellie in St. Louis and I was like, just, I was like the producer in St. Louis. Like, everybody was coming to me like, oh, go to Wysh if you want beats. Like, that dude is crazy on fire and universal. I think Republic called up to Nellie's studio and it was an A and R. And he's like, hey, I'm in St. Louis. I'm actually going to East St. Louis to look at this artist. We need some producers, though.
Do you know dude has beats? Like, yeah, dude. My guy Wysh, man. He's like freaking really good. So he put me in touch with them and then the guys talking, he's like, yeah, man. So I'm working with this artist or I'm looking at this artist and we need some beats. And the first thing I thought is like, this dude is going to take my beats and make a mixtape. And I'm like, not. Nothing's going to happen because I'm thinking like, there's like, East St. Louis wasn't big back. Like,
there's no big artist there. So I'm like, I was a little like, nah. But I'm like, I don't want to miss the opportunity, though, still. So, it's not that I gave him, like, crappy beats. I just, like, these were my beats. I'm like, all right, these are cool. But if, like, they get stolen or put on a mixtape, I'm not going to, like, you know, cry. So I gave, I gave that, that CD to him. I never heard from him. So I'm like, all right, whatever, you know what I mean?
So I get probably called maybe five months, maybe six months later and it was him. And he's like, "Hey, man, I want one of your tracks. There's this group called The Lonely Island." They got this song, you know, they're doing. It's about a boat or something. And I'm like, that sounds stupid because I didn't, I didn't know they were. I didn't know. Yeah, I don't know. I'm like, I don't know. I didn't know they were these comedian guys, you know? And he's like,
how much do you want? I'm like, at the time, you know, I was getting like ten grand a track. So I'm like, I'm like, you know, I make some quick money. I'm like, five grand. He's like, cool, send your agreement. And I'm like, cool. He sent it to me. I signed off on it. I was like, cool, I made five grand. I'm like, this is probably never going to release anywhere.
And then it was probably another, like, five or six months later, I was at my house and my brother called me because, you know, my brother is really supportive. He was always supportive. My music, everything I did, I always told him about. And he's like, hey, didn't you do a song or something? You said you did something like, I'm on a boat, or some of this crew. I said, yeah, I did something. I just never heard anything. He's like, "Dude, it's on SNL right now.
And T-Pain's on it in the video, and they're on a freaking yacht." And I'm like, "Holy shit, my face turned red. And I never did the paperwork. I did simple paperwork, like, to sell the track, but I never did anything for, like, my publishing rights and royalties and all my back-end stuff." So I was like, "Oh, my God. Like, my face went red. I'm like, holy shit, this is like, I'm gonna get paid off this. Like, I'm owed money right now."
So I call my entertainment lawyer, and we end up going through that. But, yeah, long story short, that, yeah, that was not like one of my favorite beats or anything, but they ended up making a really cool track. And it's funny. That's just a stupid song, right?
It's that, that track, yeah. I mean, just like so many people in our generation, that track kind of blew up my young adulthood of just how fun it was.
It was like, Miami song. Like, everybody who had boats in Miami, I guess that was their, like, their anthem.
It's still. It's still an anthem of people on a boat. I see it all over the place.
But, but I wanted to talk to you about the business side of it, because maybe you can talk a little bit about where does the business of beat making really live? Like, is it just through making beats and selling them online, or is it around, you know, landing certain gigs or getting opportunities with bigger artists? Like, where is the business and where does it live for people?
That's a good question. So, yeah, so I I'm different than a lot of people because some people, you got the people that are, like, strictly online, you know, they might have got a couple placements here and there with some bigger artists, but they're mainly online. Then you get the people that just work in the industry. They don't touch the online shit. I happen to be both. Right? I started online, then I went to the industry, and I kind of stepped away from the online thing.
Then I came back to online thing and that and doing, you know, getting placements with bigger artists. So, yeah, my business is all of it. I go after everything, you know? I mean, now I spend more time on the online thing because it's a lot. It comes with a lot, you know, I mean, like I said, when you're doing customer service, you're marketing, you're running ads, you're doing sales. You know, that takes up so much of your time.
And what's cool, though, is because we, you know, we're online and we could send things, you know, I don't have to be in the studio with artists. I do love to be. I'm not just a beat maker. I'm also a music producer, and there's a difference. Music producers, that's someone who can guide somebody along with a song, like a Quincy Jones or someone like that. And, um, but, and so I don't get that luxury a lot, which, you know, I miss those days of just being in the studio with Nelly and freaking.
Just knocking out songs, putting in my, you know, my input. But, yeah, it. My business accompanies everything. Like, I'm pitching to this, working, you know, right now I'm working with a lot of artists from Strange Music, but I'm also, like, I just did, you know, I'm doing these launches, so I took the online leasing thing, and then I learned something called funnels, right? Have you guys heard of ClickFunnels and stuff like that?
Oh, yeah.
So, I learned that from Anno Domini and Gabe from Legion Beats. They had a program, you know. I got really close with those guys. Really cool guys, great marketers.
Totally.
And they taught me all about the following system. And then when I learned that, I just went, you know, I went from just, you know, I told you guys, I came back to selling beats. It was hard because I didn't know how to market. I thought, "Oh, I'll just tell everybody I'm a Grammy-nominated, multi-platinum producer, put that out there and put some beats online and people are just gonna jump on it." And it doesn't,
it didn't work like that. Like, it probably took me a year to make maybe a grand or two a month, you know, which is, like, not great for me. So, I was like, all right, I need to up this. You know, once I learned funnels and how to market using email and stuff, that's when I started making way more than a month. And then I got into, you know, I was the first person
to do artists feature packs. So basically, what that is, it's like, you know, instead of just doing a beat pack, now I reach out to bigger artists and I am able to license their verses or choruses on my beats for other artists to be able to use, which is pretty cool, you know. So now it's like you could have a feature with a Chris Calico or Twista or Crazy Bone and be able to put that out on all the, you know, on Spotify and all the different platforms.
That was actually how I heard about you, through Anno Domini. When they were, I think, they were affiliates selling your.
Yeah, exactly.
Chris Calico pack. And I was like, oh, that's, he's awesome. I'm going to totally get in there. And it wasn't the only one, but then I started listening to your beats and it's like, oh, man, these are awesome. And so many great, great quality beats in here.
So, I appreciate it.
But it was interesting to see because Anno Domini was my first kind of foray into, like, buying beats online and leasing because they were really effective at marketing. So I'm curious, like, what did you learn from them that really changed the game? And when you mentioned funnels and stuff, maybe you can expand a little bit more on what that means beyond just.
Say, ClickFunnels, you know, so I, so, and then I guess I'll just go in the funnel first. So what I learned in a funnel, basically, is like a one page, whether you want to get, like, a lead. Like a, let's say, a lead page. So leads are people, you know, you want to get them into your email address. So you, you know, they taught me, like, hey, give something for free. And I was like, dude, that's. I'm not giving my beats for, like, this is crazy, you know?
And I'm the guy who, you know, that people hate for saying, like, selling beats for $25 for a piece. You know what I mean? I'm saying I'm not giving this shit for free. And then I kind of learned through their system, and then, you know, and just like Russell Brunson and stuff, it's like you're given something for free, but in turn, you're getting a lead that might turn into a customer later on. Right? So I was like, okay. So I started thinking about it. I'm like, wait,
so it's like the mall. Like, you walk around the mall, you go to the food court, and they're like, hey, try this chicken. And you're like, you know, this is bourbon chicken. And you try, you're like, all right. And then you end up buying a whole, you know, two sides and a protein or whatever from them. And I'm like, okay. So it's kind of the same system. So I was like, all right. So I give away like five free beats. I give the person rights, but then I take them through a journey.
And so the thing I don't like about some people's marketing is that it's not personal. And I'm a very personal person. So I was like, all right, if I'm going to do this, I still have to make it. I want to tell people my journey. I want to meet them through email. Because I'm like, "All right, I'm going to take this approach like a music producer. If I meet you in a studio, what am I going to ask?"
So that's how. So basically, your lead page is going to, you know, they're going to sign up for the free beats, and then you're going to take them through an email sequence, and that's basically taking them through the process of who you are, getting to know them, and then letting them know about an irresistible offer. Right? So then, that comes in. So that's your offer page in a funnel. It's just one page, but basically, it's you holding someone's hand and walking them through the process
of buying whatever product it is. Right? So which is cool for us. It happens to be beats. And then what I had to wrap my head around is like, "All right, I'm giving away like 30 beats for like $25 or $30. You know what I mean? I'm like, wait a minute, I'm selling one for that. Now I have to sell a freaking... I'm like, man, is this going to tarnish my brand?" Or. And then I'm like, you know what? I gotta stop thinking like that. Like, this is, I'm helping people, right?
In all honesty, like, you're, it's called your evergreen funnel, basically. So that's like something you always have ongoing and you get, you know, people sign up for free beats and then you get like a resistible offer. And then that might go for a week, but that really doesn't make you the money in your business. That kind of, like, hopefully you come out even because you have to spend time and even advertising to get people to actually go and sign up for that stuff.
Right. So, I was like, "All right, well, I'm just gonna go through this and then give someone, like, even crazier, irresistible hour offers. And maybe I can think of some other cool shit like, okay, affiliate marketing." I learned about affiliate marketing. Affiliate marketing is basically you're helping sell somebody else's product, but in turn, you're getting a percentage of that. And I was like, "All right, what stuff do I like and what stuff do I believe in?
And is there stuff out there that I can even reach out to them and say, 'Hey, I'd love to affiliate?'" So, I did. I started reaching out to people and saying, "I love to sell your product. Do you have like some kind of affiliate thing?" So, I put those in my emails. Like, I would tell a story, something about me, and I'd say, "All right, this is what the tool I use to be able to get out of this or be able to get better at whatever I'm doing,"
and then I affiliate that. So, that's kind of a funnel thing, too. I don't know how deep you want me to get into this.
We might go a little deeper, but I want to put it from, like.
This might be confusing for some people.
Yeah, I'm going to, yeah, we're going to break it down.
Well, I wanted to give it from the perspective of the client, too, because, like, what's happening on the client side, at least from where I was, is that, you know, I'm an aspiring rapper, let's say. Right? Somebody who, you know, is your avatar, your ideal client. And I'm assuming that you have an idea of who it is you're speaking to when you're writing these emails. And you know, what am I looking for if I'm a new aspiring rapper?
I'm looking for great beats because you gotta freestyle and practice and figure out how. But I don't have tens of thousands of dollars. So, like, you're. I know you've probably gone through this exercise in some capacity, like, who is my avatar? Who is my ideal client?
Right, right.
And from there, like, that's why when I jump on your website and it says, give me your email, here's five free beats from this multi-platinum producer. I'm excited about that on the first opt-in. So I'm willing to give my email to get those free beats. They're awesome. I'll check them out. It's great. But now you can send me emails. And that's the real power in this, is you're creating the relationship with your ideal client. And so by being able to say, hey, I have your.
I have this great offer for you down the road where you can get. 'Cause the packages that I was purchasing, I was looking for high value of, like. 'Cause I don't know even what my sound is, right. So I'm like, let me just buy 100 beats or 50 beats or whatever it is for this price point.
And it was sometimes hard to say no because it wasn't just the upgrade, but it was also like, oh, I also get these extra bonuses, or I have these, like, unreleased beats, or I have these features from these people with hooks and stuff. So from the client perspective, it's like, oh, man, you're giving me all these things I really want. And the offers are irresistible. So, maybe you can talk a little bit about what makes an offer irresistible to your clients.
Yeah. So first. Yeah, first. It's what sucks, too. Some people think, like, the whole funnel system's like, oh, it's a scam. Like, oh, you're doing this just to get me on your email? But it's like, alright, if you think about it, I gave you free beats. You can unsubscribe and have those free beats no matter what. And then the offer is, I'm giving you, like, 30 beats for $30. And that's. That's a scam to you?
It was crazy.
Actually, actually, actually, actually, it's not doing me a lot of benefit. It's... You know what I mean? Like, I'd have to sell thousands and thousands of those for me to even be like, "All right, now I'm doing it." And that's not how it works. Evergreen funnels. You know, you can make some money off those, but there's really just... That's to build up your list and, you know, and be able to, down the road, build a relationship, too. Exactly. Build a relationship and get a...
And get a customer. Well, what was your... You were asking about the irresistible offer. Yeah, so, like, I had. It was hard for me to do that at first because I'm like, "This is so cheap." But I'm like, "You know what? Do, like, helping people." And, like, you'll even look at some other interviews I do. Like, I do. I did education. I did free coaching for producers and stuff like that. I do like to help people because it makes me better at my craft. You know what I mean? I didn't even know
that before I got an education. Like, I was scared to death. I'm like, "Man, I have to teach people to make beats," and then I did a whole program to teach people how to sell beats. And I'm like, man, I don't. I don't know how to do this. You know what I mean? And then when I got into it, I started doing it. I'm like, man, these kids are. Some adults, too, are making me better at what I'm doing because they're giving me feedback or they're showing me all the new shit that's going on.
And I'm sitting like. I'm like, man, this is like a gold mine. Like, helping people, it actually makes me better. I'm saying it actually makes cyclical. Yeah, exactly. So I was like, I don't care anymore. I'm like, I'm gonna do 30 beats and make it like $30, and I'll throw some bonuses in there. So, like, you know, my bonuses were like, all right, what does an artist need? Well, they need gear, right? So I did.
I talked to Guitar Center. I'm like, "Hey, man, if I send people your way, would you mind giving everybody a discount?" He's like, "No problem." So I did a Guitar Center discount. They would get up to, like, 20 or 30% off gear just by, you know, I'd just give his email, and they would email him and send him all the stuff. And, like, that was a free bonus I threw in there. I didn't. Free bonuses, like, unreleased beats that I've never put out there.
Like, that would be in there or something, you know. I forgot what else I put in there.
But what I noticed, too, is you're also saying to people on your site, like, hey, if you were to buy this normally, these trackouts for these, this many beats, it would be, you know, $10,000.12, like tens of thousands of dollars' worth. Yeah. And so that is something that people who are in, like understanding your avatar, understanding your person, who you're marketing to, what exactly they need, that's, I think, what made it so irresistible or makes it so irresistible for them.
So I know that's a kind of gateway in for people into your world, into buying beats from you. What is, what's sort of the next stage of that for relationship? Is it just you launch more new products or is it other?
Yeah, like, I'd like, I do contests and stuff. Like, I like to do a lot of free stuff. It's not just me always selling. I know I probably sound like that when I said it. I do a lot of, like, value. Like, I give value free stuff. I do contests where I do prizes and stuff and actually, you know, get them exposure to artists. So, like I said, I just, I missed that. When I first started, I didn't have any of this.
When I started making beats, I had a lot of fans and stuff and people that would like, you know, message me and say, you know, that they loved my music, but now it's like I'm actually going back and forth. I'm on social media with people. I missed that when I was working in the studio because, of course, yeah, I'm working with artists, but then after, you know, words, you're done. You don't know, like, the world's not really reaching out to you. Be like, oh, we love you, Wyshmaster.
Your beats are awesome. So I was like, I missed that having people like, you know, just a bunch of fans online. So, yeah, me coming back and, like, knowing this marketing stuff really helped me actually, like, just engage with people and like, and help people. And people email me all the time or message me and say, man, you changed my life. Like, I'm getting so many streams off this pack you just did. Or, you know, I just got a meeting with this record label or whoever because
of the track we did and stuff like that. So, it's really cool to be able to help, you know, artists be able to, you know, live their dreams and stuff and, yeah, one of the things.
That I love hearing whenever we interview people, and you've been saying it multiple times, is the joy you get from helping people, the value you provide. And one of the things I wanted to circle back to real quick that was in your funnel is your different levels of value that you provide. And I'm breaking this down for listeners to kind of like, see it in another way. So I'm very structured, my brain is very logistics-based.
And one of the things you said was when you first are getting people to sign on, you're starting off with a free offer. You start off with, "Hey, for your email, here's a free."
And you have to, that's the thing. It's like, what else am I gonna do? Hey, I wanna be your friend. Come freaking sign up. Like, you're gonna be like, dude, this guy's fucking creepy. You know?
Yeah, yeah.
What's in it for me?
Exactly.
And in that case, some people will think it's a scam, but then you start to provide value in other small ways. I forget your exact examples, but you said, you know, you might follow up. Your funnel has multiple emails that are evergreen. It's part of your evergreen funnel. And then eventually, as you warm people up and they've moved past that initial stage, so they're in that early stage, they haven't made a monetary commitment yet.
But then you keep providing that value, probably without an ask, I'm going to assume a little bit.
Yeah, yeah. That's what I'm saying. I have emails even talking about, like, this is what publishing is because a lot of artists don't know. They don't know how they get paid on the back end. So, I'll do a whole email and I'll do like a blog or something. I'll say, "Hey, go check out this article," stuff like that.
You were talking about how you would talk to them as if you were in the studio with them.
Right, right, exactly.
And people would love that. Not only the connection, but also the value, the education you're providing, and then you're not really providing. You're not asking there until later on. You say, "Hey, by the way, here's another opportunity for value. For a small monetary amount, you're going to get even more tracks and it's still a huge savings to them." And you're just kind of gradually moving them up. I feel like it's a terrace in a way. I know we use funnel
as the visual all the time. You're kind of, there's this terrace where they enter on this free level and then you move them up. It's not free anymore, but it's still a really fricking good value. And you're constantly adding this value. And all the while, the underlying thread, the common thread through this tapestry, is your desire to provide value to people and help people.
And it happens to be that you're also doing business, you're also creating a following, you're also engaging with people, and all the while, you're helping and feeding your business at the same time. Because those two things are very much symbiotic. They don't have to be. Sometimes people think money's evil, right? I'm sure in the music industry, I'm not terribly well-versed in the music industry itself, but I'm pretty darn sure people in the music industry think money equals evil.
Yeah, I mean, the music industry is just evil in general. I mean, okay.
Fair point.
But this is another thing, too, though. I'm not. I'm not working for a company, right? I'm working for myself. I believe in what I. What I'm selling. So it's not like I'm, I'm not like, hey, man, try this toothpaste. It's supposed to make your teeth white after 2 seconds and shit. And then they put it on, they fucking. Their teeth fall out, right? I'm selling my music. I believe in my music. Or I'm selling you, like, an artist feature. It's like, I have the rights to be
able to give that to you. You know what I mean? Like, you. You're putting this out. There's not. I'm not giving you something that, like, someone had to sell me on. I'm like, "Man, I'm selling myself." You know what I mean?
Well, exactly. You're not, you're not partnered up with a, say, record company who's then sort of selling your stuff for you. You own what you're doing and you're creating your music and then selling it directly, which is, I mean, it sounds like you've been doing this a long time, but so many people who are in the music industry, I think, are aspiring to get that record deal right or to say, go and do this thing.
But there's also now this whole movement in music now where people are independent and making it on their own, hustling on their own, building their audience and creating a relationship with them and building email lists so they can send people to their shows. To their music or send them to their next launch, essentially. And so, do you think that it is in some ways easier or is it harder nowadays to really find success as an artist and as a musician compared to what it used to be?
I think it's. I think it's easier to.
Hey, nerdpreneurs, you just reached the end of the public version of this episode. We spoke to Wysh for another 40 minutes on topics like his philosophy behind beat making, how much of music is skill versus a gift you're born with, how you get yourself a thousand true fans, and the worst business advice Wysh ever received. We also asked him a bunch more rapid-fire and random roll questions. And if you don't know what those are yet, welcome to the podcast. They're coming up next.
In order to get the extended interview with Wyshmaster, you'll need to join our awesome nerdpreneur board by going to patreon.com/nerdpreneur. I'll link it in the show notes and signing up to be a member. Board members not only get this episode, but every other extended interview and talking nerdy episode that we have ever done or will do in the future. That includes over 25 interviews and 30 talking nerdies. Now, let's finish off with random and rapid fire with Wyshmaster.
Yes. So we're going to go ahead and transition over to random rolls. Wysh, do you have that dice roller open?
Oh, I didn't know I did the dice. Well, that's.
That's the engagement.
Where do I find that?
It would be in the guest form we sent you, but I think Chris is about to pull it up for you.
All right, so I found the guest form. You roll it. Okay. I got the link right here. Okay, I got it. Awesome. Cool. All right, so I got 26.
26. All right. What's the last nerdy indulgence you made just for you?
The last nerdy indulgence I did was, uh, I guess this Lego right here. This would be it. This is. This was for me. You know, I'm a huge Super Mario fan, so I had to buy this Lego.
And that's great. That is the. The chomp. The chomper. Is that right? Yeah. The thing that comes out of the pipe?
Yeah, no, the chomper is the guy on the chain, I think.
Yeah, this is a... I can't think what it's called right now.
The red plant that pops out of a pipe and tries to eat Mario.
Nerds everywhere are screaming at it, listening.
Us, right now, their podcaster.
Um, all right, well, let us know in the comments what it is.
Yeah.
Right? People, correct us, please.
All right.
All right. Go ahead and roll. One more.
All right, 61.
Uh, have you ever done Dungeons and Dragons before? No.
All right, so last. The last time I heard about Dungeons and Dragons, somebody, like, killed their neighbor or something. I don't even know if that was a real story. I don't know if you remember that.
Oh, that was the D and D satanic panic, right? Yeah. There was a guy who.
Crazy. Yeah.
Well, that was a crazy story back in, like, I want to say late eighties, early nineties, where.
Yeah, there's a nineties where he killed his neighbor's dog or something, but.
He happened to play D and D, so they immediately were like, "Oh, my God. D and D causes people to be satanic and murderers." It was a whole thing. I'm gonna do a... I'm gonna plus one this one a little bit, just because I know you're more of a Lego fan. So I wanted to ask this question. What Lego set should they make or would you be dying for them to make?
Oh, that's a good one. They did Back to the Future, which was cool. I wouldn't imagine they did. So, I got the Ghostbusters car, the Ecto One, the wagon.
Damn.
I'm trying to think, oh, they should do a. I actually posted it; someone put a fake picture. They should do something like a music studio or FL Studio, which I use. It's called FL Studio. So, if they could do like a Lego of, like, that program or something, or like a producer set up or something like that, that would be awesome.
That, that sounds so niche.
That's like, that is really all of.
The producers out there, we've made the best Lego set.
Right. But that's really cool. I like to give my Legos a stuff. I like, like nostalgia stuff. That's like my main stuff. Like, I got R over here. I love Star Wars.
Nice. Go ahead and roll one more.
All right. 92.
If your life were a movie right now, what would the title be?
If my life were a movie right now, what would it be? It would be called The White Tiger.
Oh, why is that? It just sounds cool.
Yeah.
Yeah, I just, it's. It's like I'm, you know, it's. You think of tigers. You know, the white tigers, the one that's, like, different from everybody else. And I kind of, like, I kind of, like, was a tiger. I feel like in my, in my life. And the white tigers, like, the one that's like, you know, people don't think about. It's very rare. So I feel like I'm a rare tiger, I guess, in my life.
So, do you feel like when you meet people often, they're kind of surprised? They're like, oh, you're Wyshmaster.
Yeah. I mean, even when I was selling beats, online, nobody saw my face, so everybody just assumed I was this black guy, right? So even, like, a guy came all the way to my house from St. Louis, and he's like, oh, my God, dude, you're a white dude. I was like, why? What does that matter? You know? He's like, no, I just thought. Dude. I was just like, you know, just because you're beats. I'm like, oh, my. That's. That's kind of weird. You know? It's kind of a compliment, right?
I guess.
Yeah. But, yeah, no, it's. Yeah, people. Yeah, they don't expect, like, I'm six three. I'm a bigger dude. So, like, I remember first time Nellie, he looked at me super weird, and he's like, your wish master. I'm like, yeah. He's like, bro, you look like a bodyguard or something, dude. You know?
Oh, you were in security. This makes sense.
Yes.
Well, let's do one more random.
Roll 36. Ooh.
Is there any nerdy or fantasy kind of franchise that you would love to see redone? But as a musical?
I'm not a musical person, man. Which. I'm into music, which is funny. What?
Oh, I thought maybe we'd do, like, a hip-hop musical or something.
I totally thought this.
Yeah.
Like a Hamilton style.
Yeah, I mean, no. I'm not a big musical person, but if they did one. Well, I can't. I don't. I'd like, like Wizard of Oz. Like, that's a musical. That would be considered a musical, right?
Yeah, yeah, yeah.
I like that. That was pretty cool.
What about, like, a horror?
Horror musical? Yeah.
I haven't seen a good one. I saw. I saw evil. I saw Evil Dead: The Musical one time, and it was awesome.
I love Evil Dead. Yeah.
I'd highly recommend that if it comes to town.
But a musical. Let me see. Little Shop of Horrors. Already a musical. That was a good one. I guess I do like musicals. I guess I just think of... I think when... When people say musicals, I'm thinking, like, what is it? Like, the cheesy ones, you know, I mean, like that. Like Show Boat or High School Musical or something like that. Like, stuff like that. I guess that's the first thing I think of. So if they could ask me the question again. If...
If you could have any kind of nerdy franchise turned into a musical or redone as a musical, which franchise would you want done?
I guess, nerdy Ghostbusters.
That'd be fun.
That could be good. I can see that being. Really? Because it's already funny. It's already.
Exactly. You could do some cool stuff with that.
And they do have unique sounds with the guns that they use to trap the ghosts.
Right.
There are some unique sounds. You could definitely work in there. Yeah, totally.
Totally. Awesome.
Well, we're going to go ahead and transition now over to rapid fire. So, this is typically more silly. We're going to go into some avenues that maybe don't make sense at first, but everything will be.
I'll try my best. I'm an overthinker, so that's why sometimes I'll hesitate, like, all right, I got to think about this. It's called rapid fire, though, so that's the beauty.
We get to edit.
Yeah. We try to keep it edited down, but, you know, sometimes we've had a couple of big discussions come out of rapid fire, too, if it goes somewhere.
Yeah. Okay. First up, Obi Wan or Yoda?
Obi-Wan.
Who's the best Spider man actor?
Oh, my gosh, Toby.
Yes. That's good.
What is going on? There have been several people in a row who have given Toby as their.
You're wrong, Frank. That's what's going on.
That's apparently what's wrong.
Okay.
I did like that. I like the new one with the multiverses and stuff, though. I'm not gonna lie. That was pretty cool. And they all came back. Yeah, yeah.
They like how they tie it all together. It was great.
Yeah.
I was very happy with that. If you could fly or turn invisible, which one?
I hate flying, so we're gonna go with invisible.
You hate flying?
Yeah.
Everywhere, then.
No, I still fly when I have to. I just... It's just not my thing. I just have a couple of drinks, and I'm good.
Yeah. And he's six three, and I hate flying too.
This is the funny thing. It's like, so I like, my anxiety is, you know, pretty much, like, kind of under control. It happens once in a while, but when I'm on an airplane, it just, like, comes out like that. It's just like I start thinking, like, my thing about flying is I don't care about taking off. Come down. It's when I'm just sitting there thinking about all the miles underneath me, and I'm like, "Dude, I could just drop," you know? It's just weird. That's just how my brain works.
Yeah. There's no control in that. Right. So.
Yeah, exactly. I don't have control. Yeah.
I was thinking about that on a plane ride recently, and just like, that's so interesting. That doesn't bother me. Like, all of this, I feel safe in this metal capsule shooting through the air. But if I'm floating in the ocean, I'm terrified because I don't know what's beneath me now.
If they let me wear a backpack with a parachute in it, I'd feel a little bit better. Because I'm like, if I need to now, I'd be the guy that probably jumps out and hits the wing or something, but, you know.
So, have you ever skydived before or?
No. No.
Okay, so you would only do it in emergencies? All right, I've got to clarify. Just in case it's not past that. All right. What is the best munchy?
Best munchy? Cheetos.
It's come up a lot. Cheetos is a very popular one.
It's good.
Staying in that same vein, which breakfast, dinner, or lunch is your favorite?
Cool. Zombie apocalypse weapon of choice.
Oh, man. I would go with a flamethrower.
Okay.
I always want. I always want to shoot one. That's why I was just like, "All right."
Yeah, why not? It's the end of the world. I'm gonna use a flamethrower now.
If anything, I'm gonna go with, like, probably the predator gone. You know what I mean? If you. Predator? Yeah, yeah. I'd probably go with that. That'd probably be easier, but probably.
I always worry about a flamethrower because then you just light the zombies on fire. They don't necessarily die right away. So then, there are burning zombies coming after you.
Exactly. I was just thinking, for the fun of it, you know, it would be fun.
And, you know, in video games, it's supposed to catch fire from one to the next. So, would that kill?
I mean, it's supposed to kill them. I mean, the original Walking Dead. I mean, not Walking Dead. What's the original zombie movie?
No, not Dawn of the Dead. The other 128. Yes.
You know, they burned them and killed them, right?
That's right. That's right.
Right.
Well, in that same vein, in a zombie apocalypse world, where would your ideal hideout be based?
That's a good question. I'd want to be probably in, like, an underground, you know, some. Some kind of underground, like, frickin', you know, something that's already built, though. And I don't want to just dig myself a little hole or something.
Sure.
Maybe somebody's army base, maybe an underground army base or something like that would be cool.
Gotcha. I feel like an army base would be tricky or anything underground because, you know, there's only so many exits. I thought you would have said something like rural or somewhere in the middle of nowhere.
Well, just think about it. If, like, the military did drop nukes. You know what I'm saying? At least you're underground. You go a certain, you know, amount of feet underground, you're going to be safe, so.
Yeah, good point.
How many cats is too many cats?
One.
Yeah, correct.
I'm a dog. I'm a dog guy.
Yeah, same.
Okay. How many dogs are too many dogs?
Two. No, I'd say three. I'd say three is too many.
All right. Do you have a go to karaoke song? And if so, what is it?
It would be. Yes, I do. It is Megadeth Symphony of destruction.
I love that. That's a crowd pleaser.
I love that song.
Did you watch the Harry Potter movies or books?
Yes.
Which were your favorite, the books or the movies?
Books. No, movies. I watched the movies.
Oh, movies. Gotcha. All right, so what Hogwarts house would you say you're in?
I would probably be in the. Oh, my God. I can't think. The snake. The snake one. I can't think of. Yeah. Just because they kind of allow them to do it. I would be that. I would be that guy. They'd want to do all the magic. Like the dark shit, too. I'm like, I don't want to just learn the good shit. I want to do the funny shit. I like playing pranks on people. So, like, that would be my house for sure. Not the. Not the evil side of things, just the funny, you know, playing jokes on people shit.
Well, I mean, for all of us watching the video, we can see your backdrop is your logo with a green RGB.
There you go.
You already got the colors going, man.
Yeah, exactly.
Who would be your favorite comic book villain?
My favorite comic book villain that I would have to face is this person.
No, just... Just who's your favorite?
Okay.
You don't have to fight them. No.
My favorite villain would probably be Magneto.
Magneto is great. Yeah.
Favorite tv show right now?
My favorite TV show right now would probably be... I wouldn't say True Detective. I just finished that. It was cool. Have you guys seen True Detective?
Not yet. I haven't been ready to commit to it yet, but it's on my list.
It's cool. There's nothing like the first one. I like the first episode or season. I thought that was the best one. This one wasn't too bad. Jodie Foster, I'm gonna go with. I can't think of it. It's called, it's a guy with the girl, the zombie. I actually played the video game, too. It was a... It's based off the zombie video games, Last of Us. So, yeah, Last of Us would probably be... Yeah, that would be my favorite show.
Oh, that was great.
Yeah, yeah, I've heard great stuff about that. Yeah.
I wanted to finish off this interview with just, you know, most of our listeners tend to be people who are aspiring nerdpreneurs themselves, and if one of them is listening and you wanted to give them a few words of advice on pursuing their nerdy passion into a business, what would that be?
I would say, you know, stick with it. If you're really passionate about something, you should never give up on it. You know what I mean? Because I feel like if you do give up on something, you weren't really passionate in the first place. Because I would never quit music, and I've been places where people held up hundreds of $1,000 that were owed to me, or people were stealing from me and all kinds of shit. They put me in bad places where I'm like, shit, how am I gonna pay my freaking rent?
You know what I mean? And those. Those were times like, "Man, maybe I need to do something else," but I'm like, "Man, but I love doing music," so I stuck with it, you know? I mean, so the first thing I'm gonna say, stick with it. If it's your passion, if you want to turn it into a business, you have to learn how to market. You have to learn how to brand yourself.
You have to learn how to even, like, about forming a business, like an LLC or corporation, you know, even as just if you don't have an accountant, like, learn how to. How to collect. I mean, how to track everything so you can, you know, write off. Because I wasn't writing off stuff that I was like, oh, I could write off equipment. I could do that. I was like, damn it, dude, I already paid. You know, the IRS is not gonna be like, oh, you. You did it wrong. I'm sorry. We'll pay
you your money. You know, I mean, so make sure, you know you're doing well. The first thing I want to say is, like, nerds are passionate. That's why. I think that's why it's called a nerd. You know what I mean? It's just like, you know, back in the day, the nerd was like, the person with the glasses and the tape right here, you know what I mean? And just was real goofy, playing with fucking insects and school shit. Right? That's how that was.
But I think a nerd is, like, really just a passionate person. And sometimes it might be something that people are like, "That's kind of weird. You're into that shit, like, oh, you like Star Wars or whatever," but I think. I think that's what's cool about, like I said, I nerd out on a bunch of shit because I'm very passionate about it. So, I think, just, you have to learn other aspects. You can't just do it and think
that you're gonna make it. You can't, like, just make music and think you're gonna sit in the basement and someone's gonna find you. It just does not happen. You know what I mean? You have to go out there. You have to network. Yeah.
You have to be the business, the whole business, not just the product.
Exactly. Every decision you make, just always know it's your brand. So if, like, you know, you don't think I want to go off and... And if somebody sends me an email saying, tell me to go kill myself or I'm an asshole, you don't think I want to be like, you know, go fuck yourself? You know, give me... Send me your address. But... But I just, you know, I say, just unsubscribe. You know, that's what I do now. I
just unsubscribe sometimes. You know, I used to say little things back, like, oh, you must not be passionate then. Just. I'm like, "I'm gonna get that person." I'm like, "Dude." And it just. It just. It ruins my day. You know what I mean?
Well, Wysh, this has been so awesome. If people want to get some beats from you, or support you, or follow you and what you're doing, where can they do that and how can they support you?
So just go to my website, wyshmasterbeats.com. That's wyshmasterbeats.com, or just Instagram is my favorite social. So, like, wyshmaster beats. That's all it is. It's just Instagram backslash. Wyshmaster beats. Yeah, those are my two best places to go.
Awesome. Awesome. Well, thanks for listening, all you nerdpreneurs out there. And as always,
Keep it nerdy.
Hey, nerdpreneurs, thanks for listening. If you enjoyed today's episode or got any value at all, one thing that can really make a difference is to go to whatever app you are listening to this podcast on and give us a five-star rating. That one thing will help us reach more people and get us bigger guests on the show. And if you want to go so far as to give us a full review in Apple Podcasts,
we would love you for that too.And in case you were wondering, yes, these are Wyshmaster beats in the background. Thanks for listening, everybody, and we'll catch you on the next episode.