So how did you make it?

[KrunietZ]

I was wondering how you got started in the music business.

What im looking for is some experiences on how you made the way to get that record deal in house.

Did you make 200 cd's and send them to every label known.

Did you have an reference label that you'd know would be interested in your style.

Were you by luck contacted by a label who was interested in your music.

I thought of making this a poll but i would like to read your feedback instead of voting so if an little note from you is possible i would be pleased.

Regards

HK

[deleted]

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[KrunietZ]

I think 99.9% of the people you'll talk to are hobbyists. I'm at the bottom of the ladder, so i'd like to hear too if anyone wants to share stories.

Yes i know this may be the issue here, was just hoping that eventually a couple of people would give their version of the story though.

Anyone?

[BONES]

I've never seen any point in sending anything to a record label. I have only initiated one release in my humble career. Some friends paid for my first 7" [but I try to keep it in my pants these days]. This lunatic I was roadie-ing for made me do my first album before I was ready. I paid for and self-released my first CD. Our manager, who introduced himself to me when I was DJ'ing, kept at us until we recorded another album which he released on his own label. Now we're into that rut and its just expected that we keep putting stuff out and travel all over the world playing huge concerts. Its a nightmare really.

[kritikon]

A great boon to any musician is to have someone in the band who can actually give a shit and is really keen. My co-conspirator was full of energy and burning ambition, so he basically did loads of legwork, lots of networking in clubs and a huge amount of phoning/ begging/ arm-twisting/ bullshitting. I just enjoyed myself making music and going out clubbing at the time

From his networking he got names and contacts of smaller labels who were releasing the sort of music that we made. Loads of those contacts were dead-ends but some were useful. We basically just made some short demos - the standard 3 tracks - not even professionally mixed or mastered. Apparently he sent them off and spent alot of time following up/ harrassing the labels he sent them to. I guess his secret was that he specifically targeted labels that were starting out and needed bands in a certain genre. It may well be different nowadays, I dunno...this was nearly 15 years ago when there was a decent market for dance music and it was still in growth. We never played live...still got a deal though.

I also knew someone well who did it the live way (even in the dance scene)...played in several bands (there was a big group of them who all played in different bands but regularly collaborated with each other under different names). As far as I remember he got their deal through the live scene.

Now I'm in NZ the music scene is alot smaller, but I know of a few labels who still release unknown bands on the strength of demos...I would imagine that doesn't happen as often in the UK any more.


I do know that it took my mate alot of legwork and travelling up and down the country...eventually it wasn't even a UK label that took us on.

Personally I don't have that drive or energy ... have no interest in that sort of thing any more, but if I ever got the urge to sell music again, I would probably do a similar thing and pester small labels.

[Stupid American Pig]

I honestly dont know if I want to be signed- I think I would rather sell CDs on demand through something like CD baby...

[stefancrs]

Pah, just make music and spread it

[Polychrome]

You can probably find information about this much easier by reading interviews with signed artists, and reading books about well know artists, since virtually everyone here is a hobbyist.

When I was trying to get a record deal, I read up lots. The common theme I came across over and over was that groups/artists who became sucessfull never stopped trying to get signed and become profitable. They kept at it for years and years without any sucess, then eventually broke into the business. They all "made it" in unique ways, through contacts or one sort or another, and/or by building up a grass-roots following. There was lots of variation in how they suceeded, except that almost all refused to quit trying no matter how tough things were or what obstacles got in their way.

Of course, most people who "never give up" won't get a major record deal despite their efforts, since the industry is tiny compared to the huge numbers of musicians on the planet. So its very risky going that route...you have to sacrifice a lot to put all your energy into what, at best, is a long-shot, while working crappy day-jobs etc

[KrunietZ]

I would like to thank all of you for your reply's

I thought of typing in a conclusion here but as it seems there isn't really one, other than keeping the head high and don't give up.

Thanks so far folks

[wrench45us]

i think there's some basic differnces with electronic stuff and the rest of the music world. A lot of electronic music is produced by a guy in his basement studio with his computer and software.

I don't know what the percentage of people out playing electronica live is vs. sitting in the basement being composer/musician/producer, but I suspect the live players vs. basement players ratio is small.

The traditional route I know of for bands to get signed is to tour endlessly building up a fan base and constantlty trying to break through to the next level from touring the state, to the 5 state region to national. That life has a real down side to it that tends to grind people up. Still there seems to be an endless supply of people willing to try it.

I don't see how that route would work for electronic composer/musician/producer. Those concerts I hear about on the west coast with two guys on a dark stage with their laptops and some flickering lights don't really seem to be hitting the mainstream.

As an alternative, I would suggest stalking Warp Record producers. Find out where they shop, daycare, mechanic, etc. -- and just keep running into them with your demo CD ready. Try to make an imprssion before the restraining order is enforced.

[Cordelia]

I worked for years learning my craft- composing, singing, playing guitar, bass, and keyboards, got with a bunch of like minded musicians, came up with some memorable songs, toured the U.S. for four years non-stop, got signed to Rough Trade, built up a large following, had an indie hit, watched Rough Trade fold and the audience dwindle, got signed to an American indie label, got my own band together, worked my ass off for a couple more years, played every music convention and industry showcase in the U.S., got exhausted by the whole thing, fired my band and said f**k it all...
Some time later, a BMG executive heard one of my songs on the radio while driving through town. It was a song about a woman named Marguerita, he mis-heard it and thought it was a song about Margueritas. Being a drinking man, he called me up and said he was interested. I didn't return his call for an entire year, that's how little I cared at the time. Still, we finally got together and eventually I signed a seven album deal with BMG.
I made a CD, had the time of my life making it, but hated every single minute of selling it. Luckily, since I'm old enough to have long ago abandoned any rock star dreams, I got everything I could get up front, sold the publishing on the CD for quite a tidy sum, wriggled out of the contract, and have been living well and happily ever since. Funny how you can work so long for something only to find out once you get it that it's not what you want after all.
The moral of the story is... well, I don't know exactly, but I didn't make much progress until I did everything absolutely the wrong way. So, maybe you should try that.

[KrunietZ]

The moral of the story is... well, I don't know exactly, but I didn't make much progress until I did everything absolutely the wrong way. So, maybe you should try that.

Thanks for your contribution, good reading.

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[chagzuki]

I had an offer from a small label just before christmas, but they pretty much stated that they didn't have the means to get a lot of exposure other than via indie channels, and that they didn't expect to do much more than recoup expenses with their most of their releases. In other words, it was the type of label that's in it for the music rather than the money, which is great, but I couldn't see any advantage to that offer over going it alone until a much better one comes along.

[wrench45us]

Not quite. What about Orbital, Underworld, Kraftwork, Faithless... Orbital got popular from live M25 raves, and underworld are obsessed with live.

i didn't say nobody did it. just that I believe the larger percentage of those making e-music don't play live. The generation of a fan base and buzz etc. would be a real advantage for those playing live -- not to mention feedback about what works and what doesn't.
DJ'ing would be an obvious similar route.
And between those e-musicians and DJ's who do 'make it' I would think the percentage would be higher with those playing live than those working in their basements -- for all the reasons noted.