Discussion in 'Producers Room' started by CasimiroL, May 5, 2008.
Is it even possible without officialy releasing the track?
What exactly do you mean by officially release a track? You can always release your music independently. Anything you release is "officially released". You dont have to get shit copyrighted. Copyright is automatic upon creation in this country. Make music and release independently it's the way to go. There used to be a way to release on itunes and beatport through 3rd party publishing companies, or directly independently I dotn know if that's changed though. Google it.
you need to get signed to a label who is partners with beatport distribution.
*edit* or you could win a remix comp with a label that has beatport distribution...
How do you become partners with beatport? lets say I wanna launch my own independent digital label or whatever and don't wanna release with any other label does anybody know what's the cost for working with distributors like beatport, djdownloads etc. ?
I imagine getting an unknown record label in with Beatport these days is going to be very hard. You need some connections.
yeah, you'd have an easier time getting a track signed with an existing label then you would starting your own label to get on beatport. They're actually get rid of labels to slim down their roster. Last I knew, they weren't considering new labels for a period of time.
you may have better luck with some of the smaller distributers, prove you're a seller, and then make the move for beatport and larger distributions companies. You'd better have a well thought out business plan though.
I wasn't actually thinking of launching a label not right now at least cos I don't have the funds and resources, I was just curious how it works...
i don't even understand the purpose of a 'digital label'... do they upload your songs to beatport for you or does beatport just use them to weed out crappy artists? are they actually doing promo for you somehow?
Digital labels exist for the same reason record labels exist. They are *very* important in the world of electronic music as they can become reputable sources of good music.
For example some might buy a Warp record no matter what, some people might avoid a 4AD album because they know they aren't looking for that particular sound right now, or others may strike certain labels from their minds because they simple don't put out the type of music someone likes.
In many cases getting onboard a reputable label is a guarantee to have your music heard by the audience of that label and in many cases, can lead other labels to hear your music because they in turn respect the output of that label.
I'm unaware of whether labels still pay artists outright for their music or whether they are digital contract rights, its been a while since I've asked any of the label owners about that.
I can honestly say though, I personally would need yet another set of descriptors at my disposal if I didn't have labels to filter music for me.
This is the only statement I disagree with from your post. Yes, both exist as a 'quality control' check-point, and both can act as somewhat of a vehicle for promotion. The difference lies in how closely electronic music labels end up associated with a particular sound (and can actually tend to become quite narrowly focused), whereas "big business" record labels tend to sign anything that they believe will provide a high return on investment.
i don't get remix contests... who in their right mind is going to put any amount of effort into producing a track that immediately, unconditionally, becomes the property of someone else?
i understand the need to make a name for oneself, but to me these contests just seem like a cheap way for a label to score [profit from] a decent remix.
am i missing something?
I've heard both really bad stuff and really good stuff from digital labels the filtering is greater in non digital labels as it's maybe 10 times more expensive to press stuff than to sell digitally so the majority of the non digital stuff have a better quality. on the contrary there are certain digital labels who are daring enough to release stuff that are more risky and not guaranteed to have a good return in the case of more experimental stuff which the low cost of the operation allows for that to happen and that's what I like about some of the stuff that comes out on digital.
Yes and No. I know a lot of artits who take advantage of younger artists to do what you just mentioned and have labels with hundreds of releases just by doing that but then again unless you are a very talented artist and you have the right connections and luck it's so hard to get signed by a respectable label without a strong portfolio so those remix comps are not that bad to start off with. but then I agree 90% of the times they are a waste of time on the bright side though they are a learning process at least they were for me.
Internet miscommunication - I wasn't speaking about big content whatsoever. Just the electronic context.
There's a lot more too the big labels as well, I assure you its more like working in the stock market than it is simply saying that's gonna sell. Another discussion entirely however .
Absolutely the digital boom has been amazing, I can now find exactly the tracks I want and only pay for those tracks.
On the other hand, I also have to spend 10 times the amount of time looking for those tracks.
I usually watch tv with my laptop and headphones on, one ear on the tv, the other in beatport. Last night I discovered a whole other crop of labels I had yet to discover, between the metadata of label/artist and looking at what others had bought, I was up an extra three hours listening to possible purchases.
Its great when you are hungry for it like I am, but the average listener might feel a little overwhelmed from time to time.
It can also be a good way for labels to find new talent. Since you mention profit, how much energy do you think it takes a label to setup a competition, licence samples to be used under condition, promote the contest, then promote a completely unknown artist? For all the profit you think there is behind it, theres a lot of effort that goes into making a dollar, its really not the free cash grab you think it is. If you win, and your track does well I would imagine it could lead to further releases with said label, and potentially opening more doors. It can also be a good learning expereince or a way to get feedback on your tracks and technique. If you're a DJ playing out you have access to some cool samples to make a kick-ass track with.. so what if you don't win, you can still play your remix. You can't re-sell it, but lets face it, for a majority of the people out there making music EXPOSURE is the number one goal... or at least if money is your number one concern and you make electronic music, get your head examined or stick to what you do best; which likely dealing cocaine & extacy on weekend
i don't believe i mentioned anything about monetary gain, though there is the potential for that as well.
the label scores a number of remixes (+100% of resulting profits[monetary]), saves the cost of hiring a remixer(s), gains introduction to a plethora of budding artists, and prestige if the release(s) is well received.
of course the remixers stand to profit from this as well, but it just feels to me as though it is a bit of a cash/talent/potential prestige grab for the label, not that i blame them, because it certainly is a smart move, and in fairness, the terms are posted for all to see and accept/decline, but i think they could do more than offer a t-shirt and a few mp3's to the winner.
i honestly don't think that any of that requires a great deal of energy, and i can't remember the last time i saw an individual artist heavily promoted by a label.
meh, maybe i'm dead wrong, but i can't help if my spidey-sense tingles.
actually I believe the above mentioned contest does include a full label release along with the full label catalog (worth about 60 bucks or so on beatport) and a t-shirt ($20 value?) so thats already a loss for the label and you haven't even sold any remixes yet. That would mean you would have to sell about 120 tracks for the label to break even. Not including the time and energy it takes for them to promote the release to ensure they make their money back.
hey man, everyone is entitled to their opinion, but not everybody has a label on beatport that they work hard at to keep around.
That's good the hear. I've been noticing that the shear volume of crap on Beatport seems to be going down slowly.
pretty much me to a T
I think the amount of work that goes into a remix competition is not insignificant, and unless you're one of the BIG labels that is on everyone's favorites list, it's not likely to generate major revenues. It IS, however, a great way to find new talent and promote the label.
Profit!! LOL what world are you from. If you're in this for the mad money go do hip hop for a major label. Underground EDM labels are about the music, yes there is some "profit" that barely covers the grilled cheese I ate for lunch today, but at the end of the day I love doing what I do with my label and collaborated artists.
Remix comps are about exposing new talent, give new producers an opportunity to be distributed by major distributors like Beatport. Obviously there’s also a bonus for the label which is we get to hear new talent and hopefully build a relation to work on future projects. It’s not easy selling a no name artist.
Just an FYI: even House pioneers like Marshall Jefferson who as I remember from a Q & A on Gearslutz, he too admits that digital distributors like beatport aren't the bread and butter of the industry and neither is vinyl (most labels are cutting 200-300 records per releases these days), even if you're on a big name label, with a big name artist you ain’t making that much coin. Different avenues have to be created to both generate revenue into the industry and promote the artist.
mind giving suggestions on this, I'd love to hear them...
thanks for that.. really.. how very insightful. i am so shallow and money driven, and i still have no idea how this scene works after being immersed in it for nearly a decade.
thank goodness i have people like you telling me what's what.
apparently you didn't bother reading the previous posts, otherwise i would not have to hold your hand to guide you through defining the word 'profit'.
i have an FYI for you as well.. 'underground' labels, and artists for that matter, are most definitely not all about the music. if there were an acronym to describe the average label/artist, rather than ATM it should be something along the lines of ATMBIVCTRTCMSAIDLMTDMITTIHBIABATPINBTBATMBSPPISSPPBWITWMAIWGAISRABIMHATM.
about the music because it's very cool to reject the capitalist mind set although i've done little more than delude myself into thinking that i have because in actuality being about the prestige is no better than being about the money because seeking personal profit [<-seek true definition] is still seeking personal profit besides which if there were money available i would gladly accept it so really at best i'm maybe half about the music.
as you can probably tell, i really appreciate condescension.
c'mon now.. I don't think anyone meant to insult anyone else...
but seuss, I can see how the comment about profit could be misinterpreted or sound offensive to someone who isn't making much money (i.e. breaking even) compared to the amount of work they put into their craft.
even as an artist selling music on beatport and other distributers there isn't much money to be made for the 40+ hours of work that goes into creating an original track (half of that for a remix ) in which case the word profit just sounds like a bit of a joke know what I mean?
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