The new music bizz is all about sucking money out of DIY artists

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Patience is the key, your post contains the common misconception of believing into things happening right away and out of nowhere, because that is what media suggest to us by feeding us with daily releases, news and basically anything possible, you shouldn't accept that ADHD-"mentality" of the presented information as your own, just keep on doing your thing, keep it tidy, objective and long term-focused and maybe if you deserve it or are the right person for it (what just simply implies you being in possession of the combination of certain personality traits as dedication, long term thinking, strategic and balanced way of distributing your time, ability and of course some kind of displaying it on the outside) you will some day be able to factually earn money or be famous with the things you're doing, because unlike the things you perceive would tell you (like the current music business is, where a two chord song costs a villa and needs more than 100 people to make it) music is art and art is long term thinking, genuine work and really a massive amount of independent thinking.

Also of course there are tons of people who are doing the same, but the longer you do your thing with a certain focus and strategy the less people are left which factually are equal to you or better than you with the things you're doing and yet again, long term thinking is not "planning on being a rockstar within a year", it factually is proportional to ones lifespan, I also can imagine that if one is acting according to this, at the point where one would be ready to have a presentable portofolio one would already own some kind of an own label anyway and that would make getting signed obsolete :lol: Not to mention that the way some self-proclaimed A&Rs, experts and whatnot approach intellectual goods of people way more intelligent, talented and skilled is a complete insolence :lol: Why would I want to put a DVD into a CD player? It's clear that it can't read it.
Last edited by Rameses on Thu Mar 22, 2018 12:22 pm, edited 4 times in total.
For DISCOGRAPHY, see К Ɱ Ԏ Ꮇ Ꮩ Ꭶ Ꭵ Ꮳ

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jancivil wrote: Tough guys, yeah. :party:
Oooh yeah... I've got muscles on my muscles.

Say what you see... Dumb ass. :lol:
I will take the Lord's name in vain, whenever I want. Hail Satan! And his little goblins too. :lol:

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To get somewhere is not just a matter of being a talented artists with a great song. Even way less so today.

If you got a deal with a label in the past where the label took 85% and you got 15% that would, of course, been a bad deal.

To some extent that is still a kind of a win/win.

Today everything, expect for very few, is a total win/loose. And you start to loose long before you even got close to an eventual deal.

Counted in money - the digital era has been way more beneficial for the exploiters then for musicians.



( Now somebody would say: "Ha ! Today you can have an SSL 4000 plug-in for a silly low price. You would never afford the real hardware in the 80s".

True. But back then you wouldn' tneed to buy one because the label would take care of the recording. Just send them your demo tape and they'll judge if they like your song. )

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To get somewhere is not just a matter of being a talented artists with a great song. Even way less so today.

If you got a deal with a label in the past where the label took 85% and you got 15% that would, of course, been a bad deal.

To some extent that is still a kind of a win/win.

Today everything, expect for very few, is a total win/loose. And you start to loose long before you even got close to an eventual deal.

Counted in money - the digital era has been way more beneficial for the exploiters then for musicians.



( Now somebody would say: "Ha ! Today you can have an SSL 4000 plug-in for a silly low price. You would never afford the real hardware in the 80s".

True. But back then you wouldn' tneed to buy one because the label would take care of the recording. Just send them your demo tape and they'll judge if they like your song. )

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The_Hidden_Goose wrote:Supply and demand. Users demand tools. Suppliers supply them
Actually, at least in terms of this little niche of ours, it seems the other way around i.e Developers create tools, and no matter that most of us could be doing just as well with the tools that came with our DAWs, we suddenly, inexplicably demand them.
Last edited by el-bo (formerly ebow) on Thu Mar 22, 2018 1:54 pm, edited 1 time in total.

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thecontrolcentre wrote: In the 80s I got a government grant to buy a guitar amp, to help me get off benefits. I ended up on the Enterprise Allowance Scheme as a musician ... dole plus £10.
In the 2000’s there was the “new deal for musicians” which was pretty much the same thing. I got quite a nice SE mic and they halved in with me for an RME multiface, both of which I still use.
Also met some great people on the course.

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in·fra·struc·ture
ˈinfrəˌstrək(t)SHər/Submit
noun
the basic physical and organizational structures and facilities (e.g., buildings, roads, and power supplies) needed for the operation of a society or enterprise.


whyterabbyt wrote:
Scotty wrote:Try taking away the infrastructure that you depend on for a day and come back and tell us that you didn't get a damn thing from the government.
herodotus wrote:I have never gotten a damn thing from the government.
That would have been a lot cleverer if you hadnt selectively excised the part of his post where he refuted that statement himself.

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Scotty wrote:in·fra·struc·ture
ˈinfrəˌstrək(t)SHər/Submit
noun
the basic physical and organizational structures and facilities (e.g., buildings, roads, and power supplies) needed for the operation of a society or enterprise.
That would have been a lot cleverer if it wasnt entirely beside the point.
my other modular synth is a bugbrand

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sfd wrote: ( Now somebody would say: "Ha ! Today you can have an SSL 4000 plug-in for a silly low price. You would never afford the real hardware in the 80s".

True. But back then you wouldn' tneed to buy one because the label would take care of the recording. Just send them your demo tape and they'll judge if they like your song. )
Even though the label provided a top class studio the artist would still pay. Labels would and still do invest a ton upfront. Contracts would state you recoup all costs before earning your full percentages. All costs would include using that juicy gear, engineers, tape (expensive!), living expenses, the producer, new gear everything. Then of course there mastering and production. Back then you would have warehousing costs for albums or CDs. That's just some costs to make a record. Not to mention all the marketing and business they took care of.

Now, if your album sells well and you tour a year or two you can pay of your label debt and start to get paid for real. If your record flops then you are in debt (easily a million back then) and tied to a contract. Some artists have a great debut album. Next the label says "Here have 2 million to do it again". Buy some nice things and use the rest on the album. Album fails artist goes broke and fades away. Trapped in a contract based on products, not time. Products a label may never make because you blew it.
Reverbnation
see ya 'round...

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Acid Mitch wrote:
thecontrolcentre wrote: In the 80s I got a government grant to buy a guitar amp, to help me get off benefits. I ended up on the Enterprise Allowance Scheme as a musician ... dole plus £10.
In the 2000’s there was the “new deal for musicians” which was pretty much the same thing. I got quite a nice SE mic and they halved in with me for an RME multiface, both of which I still use.
Also met some great people on the course.
well, i was in school in the 80s, working through the 2000s :cry:

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Morgaxx wrote:
sfd wrote: ( Now somebody would say: "Ha ! Today you can have an SSL 4000 plug-in for a silly low price. You would never afford the real hardware in the 80s".

True. But back then you wouldn' tneed to buy one because the label would take care of the recording. Just send them your demo tape and they'll judge if they like your song. )
Even though the label provided a top class studio the artist would still pay. Labels would and still do invest a ton upfront. Contracts would state you recoup all costs before earning your full percentages. All costs would include using that juicy gear, engineers, tape (expensive!), living expenses, the producer, new gear everything. Then of course there mastering and production. Back then you would have warehousing costs for albums or CDs. That's just some costs to make a record. Not to mention all the marketing and business they took care of.

Now, if your album sells well and you tour a year or two you can pay of your label debt and start to get paid for real. If your record flops then you are in debt (easily a million back then) and tied to a contract. Some artists have a great debut album. Next the label says "Here have 2 million to do it again". Buy some nice things and use the rest on the album. Album fails artist goes broke and fades away. Trapped in a contract based on products, not time. Products a label may never make because you blew it.

im guessing the op has never listened to "have a cigar" or "welcome to the machine".

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<vurt>

How about: "I want my Rolex back!"

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sfd wrote:

True. But back then you wouldn' tneed to buy one because the label would take care of the recording. Just send them your demo tape and they'll judge if they like your song. )
I have never heard of any industry contract that involved the label 'taking care' of anything, except ensuring that their favored engineers and producers are involved in the deal. The cost of recording is typically borne by the artists, out of their advance. They have to pay that advance back out of their cut, which is typically 10% of total sales, minus breakage and promotion fees. Artists who get better deals are typically those that already have major drawing power.

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jancivil wrote:gummint pays me to stay out the workforce

under the notion I could go postal

shouldn't that be "dad-gummint?"

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whyterabbyt wrote:
Scotty wrote:Try taking away the infrastructure that you depend on for a day and come back and tell us that you didn't get a damn thing from the government.
herodotus wrote:I have never gotten a damn thing from the government.
That would have been a lot cleverer if you hadnt selectively excised the part of his post where he refuted that statement himself.
whyterabbyt wrote:
Scotty wrote:in·fra·struc·ture
ˈinfrəˌstrək(t)SHər/Submit
noun
the basic physical and organizational structures and facilities (e.g., buildings, roads, and power supplies) needed for the operation of a society or enterprise.
That would have been a lot cleverer if it wasnt entirely beside the point.
It's almost like irony is becoming a kind of secret language.

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