I'm Gian, also known as coldgproduction. I make samples and beats, work as an audio engineer, and build ProducerBrain. Sending music is part of my own work, so I care about what happens on both sides of the link.
Match the pack to the person
An artist may want beats they can write over immediately. A producer may want compositions with room to add drums, rearrange sections or change the sound.
Listen to recent work before selecting files. For a first introduction, I'd choose three to five strong ideas in one coherent direction. For an established contact, follow the format and quantity they actually prefer.
Put the most relevant track first. If you cannot explain why a file belongs in the pack, leave it out.
Prepare files that make sense outside your studio
Use a name that remains useful after downloading:
coldgproduction_NightDrive_142BPM_Fmin_v01.wav
Include your alias, a memorable title, tempo and key where applicable. Keep version numbers consistent. Label stems so their relationship to the main file is obvious.
For listening, use an MP3 with good audio quality or a streaming preview. For production, have the original WAV and requested stems ready. Export from your source project; converting an MP3 to WAV will not restore discarded audio detail.
Choose the right delivery method
| Method | When I'd use it | What to check |
|---|---|---|
| Email attachments | The recipient asks for direct files | File size, filenames and number of attachments |
| Shared cloud folder | Delivering stems or a larger collection | Access permissions and a clear folder structure |
| Private listening pack | Presenting a curated selection | Mobile playback, track order and download settings |
| DM introduction | Starting a conversation on social media | Whether they prefer receiving music somewhere else |
Before sending, open your link in a private browser window and on your phone. Confirm the intended recipient can listen and download as expected.
Write an email they can understand in seconds
A useful subject names the material and direction. Try “3 dark R&B loops by coldgproduction” rather than “Huge opportunity.”
These are adaptable examples. Replace bracketed details with something true and specific.
First contact
Subject: 3 R&B ideas for [artist/project]
Hey [name], I'm Gian, a producer from Switzerland. I liked [specific musical detail] on [track]. I put together three ideas that could fit that direction: [pack link]. If one connects, I can send the full files.
Gian / coldgproduction
Existing collaborator
Hey [name], here's a fresh selection in the [sound/mood] direction we discussed: [pack link]. I'd start with [track title]. Let me know what you make with it.
A new selection
Hey [name], I made two new [sound/mood] ideas that fit the direction you mentioned: [pack link]. The first one leaves more room for vocals. Full files are ready if either works for you.
Keep enough history to improve the next send
Record the recipient, selected tracks, date and response. If you use tracked packs, look at plays and downloads alongside the conversation. Someone downloading a loop is a useful reason to have the stems ready; their reply will tell you what they need.
Use that history to choose your next selection. Send again when you have material that fits, and avoid repeatedly sending the same files to the same person.
If choosing recipients is the difficult part, start with finding producers for your samples. If you keep losing track of files, use the organisation guide.
Bring the whole sendout together
A shared link and an email can handle an individual delivery. Regular sendouts also need contact history, organised music and a way to understand engagement.
ProducerBrain's sample sendout workflow brings personal emails, private packs and listening reports together.
Save your selection and the date beside the contact. When they ask for a file, you should be able to find the exact version they heard. Check that your listening link still works before sending another pack.