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-- Endre
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AHAHAHAHA, i couldn't even finish reading the whole thread before replying... dude... get real... and get a job!

you're not likely to get 200 grand in releases, unless you make numerous PRETTY FUCKING AMAZING masterpieces.

and making trance simply to get rich... well, we all know TA's opinion on this.

i dont know about you guys but, i would never make a shitty track for money. well this is how i see it if you can make money on a shitty track then you'll probably make even more with a good track.

i like to make good tracks and would never lesser myself into making something i didnt want to, and putting my name on it.

quote:

Originally posted by Endre And i dont think i will earn much on kallocain, but much more with the nickson remix than without it, cause the track is basicly shit, in other words i dont like it much, well, its ok, but i made it when i was drunk, does that count as an production mabe by me then? pretty funny... anyway, glad you like it, i hope you buy it aswell cheers

endre do you choose what remixs you wanna do?

also would anjuna let you release like 3 tracks every month, if you had time to make them and they were good? and also do you get to choose your the songs you wanna remix?

or do they select what your gonna remix next?

3 tracks per month is a bit much. Remember, you've got to allow time to promote the track and build up the hype before you release it. The last thing you want to do is flood the market with a bunch of tracks under the same name. A lot of artists have different aliases for this reason (filo and peri).

I think a few tracks (maybe 5 or 6) under one alias per year is more accurate.

Besides, Anjuna is a little backed up release wise.

endre have you meet like any celebraties in the electronic music scene.

Since there are so many real producers posting in this thread it is a good place for me to ask this question. Say i'm a producer (which i'm not) and maybe i'm talented (not true), and i want to do a remix of artist x's track, which has been signed to a label. Now i know nothing about producing music, but presumably i need the files that where assembled to create the track in order to reproduce it. Now how would i go about getting those files? I mean, do artists and labels for the most part just give them out, probably making the recipient sign some non-disclosure agreement? Or is it pretty hard to get your hands on if your not well known or associated with the label? I'm just interested to know for the most part how the trance scene works behind the scenes and who gets to remix what and so forth.

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Originally posted by Nell no, thats promotion. which can lead to royalties. a club has to pay a fee to play music, but that ends up anywhere but the artists pockets.

So who gets the money then? Record labels? Does this explain why so many artists start their own record labels? I mean, higher risk, but probably more payoff in having your own label.

Endre,

You are amazingly talented! I love your music and cant wait to purchase your next single this september!


Keep up the inspiring work!

quote:

Originally posted by RJOllos Since there are so many real producers posting in this thread it is a good place for me to ask this question. Say i'm a producer (which i'm not) and maybe i'm talented (not true), and i want to do a remix of artist x's track, which has been signed to a label. Now i know nothing about producing music, but presumably i need the files that where assembled to create the track in order to reproduce it. Now how would i go about getting those files? I mean, do artists and labels for the most part just give them out, probably making the recipient sign some non-disclosure agreement? Or is it pretty hard to get your hands on if your not well known or associated with the label? I'm just interested to know for the most part how the trance scene works behind the scenes and who gets to remix what and so forth.

Well in the case of endre, they signed the original mix. Then they have obviously heard some of robert nicksons work so then they approached armada (the label Rob's with) to ask if he could do a remix of kallocain for a fixed fee. they give him the files/midi etc, he does the remix, gets paid, end of story.

alternatively, the producer may already have asked a friend to do a remix for fun or whatever, then the track gets signed afterwards includign the remix or whatever.

or like ocenlab sattelite, they pay for a few official remixes, but also hold a remix competition whre the files to remix the track are publicly availible and anyone can have a go at remixing it, and anjuna will then pay for the favourite ones that will eb released etc.

etc etc etc.

quote:

Originally posted by RJOllos So who gets the money then? Record labels? Does this explain why so many artists start their own record labels? I mean, higher risk, but probably more payoff in having your own label.

IN THE UK: when tracks are played in bars clubs, the club holds a licence to play music. this licence is paid for annualy, and the money that is paid is then divided amongst the record labels. all the big label get most of the money (like WARNER, EMI etc in the UK) and then tiny little dance labels get from zilch to fuck all money.

Tracks played on the radio mean that the artist should recieve a royalty per play.

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Originall posted by icexclusive i cant believe endre is this forum. is it the real guy or an imposter? if its you then wassup homie u got respect here in cali.

didnt stop pissin myself for the whole thread from this point

quote:

Originally posted by RJOllos Since there are so many real producers posting in this thread it is a good place for me to ask this question. Say i'm a producer (which i'm not) and maybe i'm talented (not true), and i want to do a remix of artist x's track, which has been signed to a label. Now i know nothing about producing music, but presumably i need the files that where assembled to create the track in order to reproduce it. Now how would i go about getting those files? I mean, do artists and labels for the most part just give them out, probably making the recipient sign some non-disclosure agreement? Or is it pretty hard to get your hands on if your not well known or associated with the label? I'm just interested to know for the most part how the trance scene works behind the scenes and who gets to remix what and so forth.

as for this. really mate unless its a vocal track all u need to remix it is the midi file, which u can work out yourself

quote:

Originally posted by Nell IN THE UK: when tracks are played in bars clubs, the club holds a licence to play music. this licence is paid for annualy, and the money that is paid is then divided amongst the record labels. all the big label get most of the money (like WARNER, EMI etc in the UK) and then tiny little dance labels get from zilch to fuck all money.

I never knew this. I have a few questions though:
What if a club plays alot of music from the smaller labels?This system doent seem to reward them fairly?

Is this annual fee adjusted for which labels you use or is it fixed?

How much does this annual fee cost a club? Is the fee variable upon the size of the club?



Thanks

quote:

Originally posted by icexclusive so cubase was involved??

yep, I think he said that about 30 times

quote:

Originally posted by Nell the main money is in the royalties, take my word for it.

i still don't get this one, i'd think the exact opposite, underground tracks as they get barely any exposure they'd make pretty much zero royalties. but then again where do royalties come from? plays on clubs and radios? haven't you said yourself that pretty much all the money goes to the big labels and the smaller gets nothing? and then again i'm pretty sure radios and specially clubs don't write down lists of what is played and what isn't so the RIAA-like agencies can know which amount to give to each artist.

very confused

quote:

Originally posted by paranoik0 i still don't get this one, i'd think the exact opposite, underground tracks as they get barely any exposure they'd make pretty much zero royalties. but then again where do royalties come from? plays on clubs and radios? haven't you said yourself that pretty much all the money goes to the big labels and the smaller gets nothing? and then again i'm pretty sure radios and specially clubs don't write down lists of what is played and what isn't so the RIAA-like agencies can know which amount to give to each artist. very confused

ok i'll explain again.

if YOUR track appears on compilations, is used in an advert or something in a similar form, YOU will as the producer be entitle to a share of profits made from sales etc. normally only a small % BUT if the Cd comp sells well or you get on several CD comps it adds up to a half decent amount! Also remember, when your track is signed by a label, it might not a be a one off fee, they might have something in the contract which says you will recieve a % of the sales (this is a royalty) so if the single continues to sell (even over a 5 year perdio) you will still keep getting money. The overall point being that you can obtain more money overall from these little extra's than from the small lump sum of cash you get for the initial signing of the track.

Radio plays are tracked (national radio stations at least, not shitty internet streams) and artists will recieve money if theyre track is played etc etc. BUT if you track is played in a club, you are entitle to nothing!!! why? because the club owner is paying for a specific music license that allows them to play the stuff. These licesnces also extended to radio stations. Radio 1 hold a (i forget name right now) license which enables them to play FULL RELEASES, WHITELABELS, BOOTLEGS on air. Not every station has this right.

And no, there are no specific licenses to particular labels. so EDM gets jackshit overall.

quote:

Originally posted by davepiazza I never knew this. I have a few questions though: What if a club plays alot of music from the smaller labels?This system doent seem to reward them fairly? Is this annual fee adjusted for which labels you use or is it fixed? How much does this annual fee cost a club? Is the fee variable upon the size of the club? Thanks

1. yeah your right, system doesn't reward fairly. its a pretty shti system tbh, but there's nothign we can do! the poeple playign pop music though have a miniscule percent going into EDM though, so it works both ways.

2. It's fixed, BUT there are different sorts of licences for different clubs etc etc. loads of factors taken into consideration (see my radio 1 example in the post above)

there's loads more to go into, but it's really really detailed, so im just skimming on the surface and summing it up in a few sentences.

quote:

Originally posted by DRM really mate unless its a vocal track all u need to remix it is the midi file, which u can work out yourself

So your saying someone can remix a track without obtaining any files from the artist? I mean, that makes more sense to me since there are alot of remixes in these forums of big name tracks by unknown producers.

quote:

Originally posted by RJOllos So your saying someone can remix a track without obtaining any files from the artist? I mean, that makes more sense to me since there are alot of remixes in these forums of big name tracks by unknown producers.

anyone can. work out a melody(ies) for yourself, then work around it. simple. if you don't have a good ear for notes, ask someone who does

thanks Nell!!

you really know your sh!t !

Nell may know his shit but I'm gonna kill him in the drinks department on Friday night, hrhr! I'm going out on the piss with him in Newcastle, w00t!

quote:

Originally posted by davepiazza thanks Nell!! you really know your sh!t !

Remember, though, that it's pretty much illegal to actually do that... but nobody really cares unless you're trying to make profit with your remix.

Is it ok to spin your remix in a big gig ? Like Tiesto played some kind of Radiohead remix for a while, I was wondering, he didn't release it, so it isn't his, did he just clear the samples because I had some money to spend and thought it sounded cool .. or can you actually do that ?

quote:

Originally posted by Simcut Nell may know his shit but I'm gonna kill him in the drinks department on Friday night, hrhr! I'm going out on the piss with him in Newcastle, w00t!

haha, i'm sooo going to out drink you! i think a bet is in order!

quote:

Originally posted by Mr.Mystery Remember, though, that it's pretty much illegal to actually do that... but nobody really cares unless you're trying to make profit with your remix.

^what he said UNLESS the track is not copywrighted!!! So amateur artists, be alert, copywright your music before someone steals the melody and gets it copywrighted themselves!

quote:

Originally posted by BelgianGuru Is it ok to spin your remix in a big gig ? Like Tiesto played some kind of Radiohead remix for a while, I was wondering, he didn't release it, so it isn't his, did he just clear the samples because I had some money to spend and thought it sounded cool .. or can you actually do that ?

depends on the license the club has! as pointed out by mr.mystery above, it's illegal to use samples that aren't cleared or directly copy melody's and chords. If they have a licence to play whites and bootlegs then I can imagine that an unnoficial remix could be squeezed in to there easily enough. However i really doubt anyone would care as long as you aren't about to make a fortune off of it by selling pirate CDR's on ebay or something. Chances are no-one will even know, there's enough unnoficial material floating around anyway, so don't worry about it too much. I'd imagine (although I can't gurantee this as i've never heard of such a case) that you would recieve a informal warning before a court order is made. i'll find out the exact rules on this.

quote:

Originally posted by Nell ^what he said UNLESS the track is not copywrighted!!! So amateur artists, be alert, copywright your music before someone steals the melody and gets it copywrighted themselves!

Um... as soon as you write a melody it's automatically copyrighted to you. Of course you need to be able to prove it's yours but...

yes you're dead right! but you should leave it with an official body, like a lawyer, personal solicitor, a goverment body even- for help as proof. sticking the (C) sign on your work DOES entitle you to be the copywright holder (unless you sign that over to a label or whatever)

example, person A writes and produces a track. person B writes a track with the exact saem melody 1 week later (even though they have never heard person A's track). Who has the copywright? in fairness, person A would be more in favour, but both A&B obviously both have the copywright to their own track. However, they also need to prove it (i.e. have orginal files etc etc etc) and an official body who has a dated copy of the track etc will be able to testify this in a court. technically, as WRONG as it may be, whoever has the earliest date in this case will PROBABLY claim the right to the melody. they have to meet a few pieces of criteria aswell.. 1) they have to qualify for protection in that particulat country by being native to the country or a resident (differs country to country) 2) work is saved on any form of permanent disk or whatever 3) the work has to be original.

And for those that don't know, ignorance in saying "i'd never heard the other person's work before" is not a valid excuse in music law, regardless if it's true or not.

A blatent obvious example of melody stealing that's been brough up a million times before is mauro's take on armins "blue fear", "like this, like that". It's so obvious it's almost stupid to be honest. copied key for key.

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