Also albums are still pretty decent in penetration of semi-casual listeners, I can tell you a person or two who made a few grand in the last couple years but im not breaching privacy. Again its not a living no doubt, but its not no money.

Ah spill those beans, or all we're reading is hearsay*

only if you suck my toes, I need a good toe-suckin, boy.

You can get a tickle at best

you can get a nice toe sucking on c̶r̶a̶i̶g̶s̶l̶i̶s̶t̶ for some mp3 money I wish I had.

I'm no receiver

quote:

Originally posted by SYSTEM-J Actually, Beatport's revenue is booming at the moment, last year almost doubling: https://djmag.com/content/techno-re...t-selling-genre As I see it, the site's core market has always been digital DJs, and the vast majority of them don't use Bandcamp to buy individual tunes. No one I know does that. Dance music right now is at a level of popularity not seen since the Millennium, and so there are more bedroom DJs than ever. As for casual fans, I'd say they were always more likely to listen to mixes or compilations than buy individual files from specialist websites. It felt to me like Beatport's streaming model was an attempt to monetise casual EDM listeners rather than recapture disappearing revenue.

Maybe I do underestimate the amount of digital bedroom DJs. Unfortunately, Bandcamp is still a bit lacking when it comes to browsing for new DJ-fodder.

In terms of revenue, Beatport is also a pretty big player in the sample-pack space and that's a HUGE cashcow (packs generally go for 15-30 euro or more, depending on the size). I don't know if that data is publically available but I'd be interested how much of that revenue is tunes and how much is samples (they also offer Native Instruments Stems for DJs but that format is dead in the water).

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June 2018 mix

quote:

Originally posted by Woony Maybe I do underestimate the amount of digital bedroom DJs. Unfortunately, Bandcamp is still a bit lacking when it comes to browsing for new DJ-fodder. In terms of revenue, Beatport is also a pretty big player in the sample-pack space and that's a HUGE cashcow (packs generally go for 15-30 euro or more, depending on the size). I don't know if that data is publically available but I'd be interested how much of that revenue is tunes and how much is samples (they also offer Native Instruments Stems for DJs but that format is dead in the water).

Those that whinge about sales sometimes don't work hard on marketing to get the tracks out there. Most of these Underground labels and a lot of artists aren't willing to put in the effort to get their names out there but instead want to do it with a few clicks. You'll be surprised how many don't put in the effort mainly because they don't have the heart in it anymore. Some labels and artists aren't willing to take risks to experiment.

Album comes out in End of July.
https://www.facebook.com/TheDigital...161520610544474

"Marketing" these days means paying money to professional PR companies to essentially buy yourself media attention, buying fake followers/likes and pandering to the lowest common denominator with stupid pictures of your dog on Instagram. I fully understand if people don't want to do that. Besides, marketing doesn't do anything for sales if people are just going to stream it on Spotify anyways. People nowadays market to get gigs, not to increase sales.

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June 2018 mix

The best form of marketing for underground producers is, and always has been, to get signed to a respected label and/or get your tracks played by a heavyweight DJ, the kind who has hundreds of fans slathering over their tracklists.

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Mixes:
> Back To Deep [Deep Trippy House]
> Terra Nova [Modern Progressive Trance]
> Rough & Ready [Modern Trance]
>A Different Energy [Good Modern Trance]
> The Edale Mix [Panoramic Beats]

quote:

Originally posted by SYSTEM-J The best form of marketing for underground producers is, and always has been, to get signed to a respected label and/or get your tracks played by a heavyweight DJ, the kind who has hundreds of fans slathering over their tracklists.

Dunno, I feel like being playlisted by big DJs has a lot impact than it used to have. There are so many DJs now and so much content in forms of mixes, everything is so fragmented. There's nothing anymore like the EM or Fabric mixes used to be, where everyone in the scene takes a moment and listens. Also just due to the sheer amount of music released, tracks stay in rotation for a lot less longer than they used to be. I've heard of many cases where a record does decently well in the promo rotation for two months and then by the time it comes out in the shops it's already been played out by all the professional DJs since everyone and their mother is on promo lists now.

Of course, if you have a bonafide hit on your hand where it gets played by everyone and people in these track IDs groups yells for the ID for months on end it's going to do well but I feel like that's the exception rather than the rule. Obviously, labels still matter a great deal but I know people that have had releases on very "respectable" labels and that didn't too much for their career since records just get lost in the sea of releases if they aren't exceptionally good or promoted to death. The labels that really push people are the labels with a top notch PR agency and a strong social media presence.

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June 2018 mix

Last edited by Woony on Jun-26-2018 at 17:24

I'm not saying getting one release playlisted is going to break you. It's a snowball effect that takes most producers 5 years at least. My point is that making quality tracks that pass the right quality controls is far more reliable than playing the bullshit social media game you just described.

___________________
Mixes:
> Back To Deep [Deep Trippy House]
> Terra Nova [Modern Progressive Trance]
> Rough & Ready [Modern Trance]
>A Different Energy [Good Modern Trance]
> The Edale Mix [Panoramic Beats]