KVR Audio

CableChannel · Post by **CableChannel** » Wed Jul 09, 2014 2:23 pm

Most basic question: did you call those guys and ask them if they consider promoting you?

Tricky-Loops · Post by **Tricky-Loops** » Wed Jul 09, 2014 2:36 pm

That's how most remix comp winners are ending. Your song will be released on their CD (and they have all the rights for the song, too!), and after some time you'll be forgotten. For promotion you need a big record company with much money, not a poor independent label. Or at least hire a manager but that isn't cheap, either.

You might reach some more people here at KVR but to reach all the mainstream folk you need to make advertisements in magazines & TV & radio...if you want to get famous. But you can also be happy with a few hundred or even less followers...

Numanoid · Post by **Numanoid** » Wed Jul 09, 2014 3:02 pm

debra1rlo wrote:So, what are YOU doing to promote it besides bitching on KVR?

C'mon, be a little more considerate

I think the OP has the right to post such a question, and that it is of interest to more than just him.

Many of us are in belief that getting a contract or deal of some kind, and then you've made it.

But that's just a step on the way. To get out there you need help with promotion and access to networks that may help you reach out.

Where would Depeche Mode be today if for example people like Neil Ferris hadn't worked tirelessy to promote them early in their career.

ZenPunkHippy · Post by **ZenPunkHippy** » Wed Jul 09, 2014 3:08 pm

Numanoid wrote:Where would Depeche Mode be today if for example people like Neil Ferris hadn't worked tirelessy to promote them early in their career.

Where would Depeche Mode be if they didn't work tirelessly to get the point where Neil Ferris noticed them enough to be arsed to promote them (because it looked like a good money spinner).

Numanoid · Post by **Numanoid** » Wed Jul 09, 2014 3:16 pm

ZenPunkHippy wrote:Where would Depeche Mode be if they didn't work tirelessly to get the point where Neil Ferris noticed them enough to be arsed to promote them (because it looked like a good money spinner).

As I understand from the interviews on the Depeche Mode reissue DVD's, Neil Ferris was working with Daniel Miller and Mute from the very start.

Depeche Mode ambition was to make a single, Daniel Miller agreed to put it out on Mute and that they split the money 50/50.

From there it snowballed, I don't think Depeche Mode worked tirelessly to be discovered and make a living out of it, as "Do we have to give up our day-jobs?" (the title of the first part of the documentary of their band odyssey goes to show). But I do think Neil Ferris did a hell of a good job promoting them and the other Mute artists helping them starting up and getting off the ground.

Numanoid · Post by **Numanoid** » Wed Jul 09, 2014 3:53 pm

The vid is on youtube:

Spot all those vintage synths behind Daniel Miller

knowix · Post by **knowix** » Wed Jul 09, 2014 4:52 pm

Think of it this way. Was the competition about picking the best remixer and making a big deal out of him or her?

No. It was just another promo job for an already somewhat successful artist.

You're just a by-product. Deal with that by either becoming embittered, or trying to prove that you're bigger and more powerful than the cogs in the promo machine.

Major Lazer is a Diplo side project btw, and is known more for their ludicrous videos than their actual songs.

Hink · Post by **Hink** » Wed Jul 09, 2014 5:04 pm

robojam wrote:The other thing to remember is to ask yourself why it should be you over the thousands of others competing for the same space? What do you have that they don't, and what can you do to get an edge over them?

As time goes by people who make recorded music become smaller fish in an ever increasing sea. You can't expect to just make it because you momentarily gained a smaller amount of exposure than the others.

not sure I completely agree Mike, I look around and see the bands and artists who have had commercial success and I cannot say for a fact that they have anything others do not except for what the OP is complaining about, promotion. One person promoting themselves is difficult, having someone in the biz with the right contacts promoting for you leads to more people promoting for you.

I'm dont think complaining about not getting promotion is the way to get more people to promote your music though

Numanoid · Post by **Numanoid** » Wed Jul 09, 2014 5:10 pm

How much does it cost to get some kind of agent?

If they only get paid by commission, then if they fail to get any results for the artist, they wont need to be paid

robogone · Post by **robogone** » Wed Jul 09, 2014 5:30 pm

Hink wrote:
robojam wrote:The other thing to remember is to ask yourself why it should be you over the thousands of others competing for the same space? What do you have that they don't, and what can you do to get an edge over them?

As time goes by people who make recorded music become smaller fish in an ever increasing sea. You can't expect to just make it because you momentarily gained a smaller amount of exposure than the others.
not sure I completely agree Mike, I look around and see the bands and artists who have had commercial success and I cannot say for a fact that they have anything others do not except for what the OP is complaining about, promotion. One person promoting themselves is difficult, having someone in the biz with the right contacts promoting for you leads to more people promoting for you.

I'm dont think complaining about not getting promotion is the way to get more people to promote your music though

I see what you're saying, but I'm more thinking in terms of what would get a manager/agent/promoter to be interested in you in the first place and to think about it. Sadly it doesn't have to always be talent, it might be image or being in the right place at the right time.

Contacts is definitely really important, but you have to be out there and promote, and schmooze, and know when to hold your tongue, etc.

vurt · Post by **vurt** » Wed Jul 09, 2014 5:32 pm

where are depeche mode today? did someone tweet a sighting?

Numanoid · Post by **Numanoid** » Wed Jul 09, 2014 6:30 pm

vurt wrote:where are depeche mode today? did someone tweet a sighting?

They seem to be using instagram a bit:

Welcome To #ModeMay – an Instagram photo-a-day challenge.

The challenge: Every day this month, post a picture to your Instagram account based on the theme of the day listed above.

We will re-gram the best picture every day on our @depechemode Instagram account. We will also put the best photos of each week here on depechemode.com

Got 4000+ likes per day

Tricky-Loops · Post by **Tricky-Loops** » Wed Jul 09, 2014 6:43 pm

knowix wrote:Think of it this way. Was the competition about picking the best remixer and making a big deal out of him or her?

No. It was just another promo job for an already somewhat successful artist.

You're just a by-product.

That's an important point. All these remix competitions are there to promote THE ORIGINAL ARTIST, not the guy/gal who makes the remix. And (in most cases) all rights for your remix are going to the record company, you cannot promote or sell your own remix anymore.

What I like about remix comps, is that you get a lot of material (including vocals), and you can use it - so you don't have to hire a vocalist. It's a good exercise to get better in songwriting and producing.

But it's not a good way to get famous... Then it's better to produce songs under your own name and try to find a record company which promotes YOU!

PurpleCatfishBettie · Post by **PurpleCatfishBettie** » Wed Jul 09, 2014 7:01 pm

i'd say, get back to work, only this time from the ground up. instead of doing a remix, design something all yourself. then use the fact that you won a remix contest to help you market your original work.

Numanoid · Post by **Numanoid** » Wed Jul 09, 2014 7:09 pm

Peachey wrote:So about a month ago i won the official remix competition for Major Lazer's "Aerosol Can", meaning they hand picked my remix out of around 1500 others

I'm not sure about the hand picking though

How do you hand pick somebody out of 1500+ entries?

Estimating that each remix is about 5 min length, it would take about 125 hours to listen through them all once, that is over 3 weeks work (assuming a 40 hour work week).

And to be able to review music properly you need to give a track more than one listen.

I won a pretty big competition, but no real promotion done?