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-- Is there any money in EDM singles?

Is there any money in EDM singles?

I was just trying to think of the differences between normal mainstream music, and the underground EDM scene, and their different philosophies.

It just seems to me that EDM is not driven by a banker who is worried about his investment, but rather a wide range of producers and DJs who start their on labels, and promote "their sound".

which led me to the question, is there actually any money in releasing singles in EDM? These singles which we all drool over have very limited release in the grand scheme of things. Do record companies actually make money of EDM single realeses? Or are they just released to give the artist/producer/dj some coverage, and therefore get you into the club?

I guess the single biggest difference between main stream and underground is that the money is derived by live shows in EDM, and not albums sales.

there are plenty of producers that do not spin, or spin very often...

The bigger ones imo

MIKE
Airwave
Darren Tate
Kyau vs. Albert
Mirco De govia
Katana
John Graham
Andy Moore
Steve Helstrip


a lot of the time its just a part time job

Ralphie B...

Then you have to look at people like Tiesto who release and DJ and have made tons of money.

I think its about how you market yourself really. If you want to stay "underground", then you're going to be stuck there. If you can reach out to the mainstream masses, then you will be able to profit.

However, this can also alienate your fans.

Fuck it, I'm babbling.

quote:

Originally posted by placebo Then you have to look at people like Tiesto who release and DJ and have made tons of money. I think its about how you market yourself really. If you want to stay "underground", then you're going to be stuck there. If you can reach out to the mainstream masses, then you will be able to profit. However, this can also alienate your fans. Fuck it, I'm babbling.

haha, more babbling welcome!

I know if you really want to you can make loads of money, but am i correct to assume thats usually from touring and not the realases themselves?

quote:

Originally posted by placebo Then you have to look at people like Tiesto who release and DJ and have made tons of money. I think its about how you market yourself really. If you want to stay "underground", then you're going to be stuck there. If you can reach out to the mainstream masses, then you will be able to profit. However, this can also alienate your fans. Fuck it, I'm babbling.

yea thats what pauls doing...

he admits it also

quote:

Originally posted by sandstorm03 there are plenty of producers that do not spin, or spin very often... The bigger ones imo MIKE Airwave Darren Tate Kyau vs. Albert Mirco De govia Katana John Graham Andy Moore Steve Helstrip a lot of the time its just a part time job Ralphie B...

the bigger producers can prob. make some decent change but it seems like the vast majority of smaller producers are probably just eking out a minimum

quote:

Originally posted by Konijn the bigger producers can prob. make some decent change but it seems like the vast majority of smaller producers are probably just eking out a minimum

depends if they own the label imo

The vast majority of producers release tracks to boost their DJ profile, so they get booked more often and for bigger money. Others do it because they want dancefloor weapons that no other producers are providing.

quote:

Originally posted by SYSTEM-J The vast majority of producers release tracks to boost their DJ profile, so they get booked more often and for bigger money. Others do it because they want dancefloor weapons that no other producers are providing.

is it just me, or is this happening less and less? It seems when a relativly unknown record gets noticed, everybody is pounding it soon enough.

it seems there are fewer and fewer special tracks, which only a select few have...

Maybe its because everybody seems to have moved on to progressive house because its cool now?

quote:

Originally posted by AndskiSpeed Maybe its because everybody seems to have moved on to progressive house because its cool now?

Yeah, because that's all of EDM.

quote:

Originally posted by AndskiSpeed Maybe its because everybody seems to have moved on to progressive house because its cool now?

that has absolutly nothing to do with the thread

quote:

Originally posted by SYSTEM-J Yeah, because that's all of EDM.

fair does, but this IS 'trance addict'... I was assuming he was on the subject of trance! nevermind

quote:

Originally posted by sandstorm03 there are plenty of producers that do not spin, or spin very often... The bigger ones imo MIKE Airwave Darren Tate Kyau vs. Albert Mirco De govia Katana John Graham Andy Moore Steve Helstrip a lot of the time its just a part time job Ralphie B...

and then we have the producers that does not want to spin at all because they think they suck (or something like that)
arksun, marc mitchell

I've read interview here with Umek, our biggest star DJ, he said most money is in making compilations, then artist albums, and live sets. I guess singles come in last.

DJing is more about paying the bills/getting the thrills and production is more about the art methinks. If the art helps the DJing then your doing very well. imo

Speaking as an upcoming artist, there is not much money circulating around. How much you make soley depends on how many copies you sell, but high selling records are becoming a rarity. Last big record I can think of was As The Rush Comes, which sold some 13,000 copies. The average track sells between 800 and 1000 on any given label. Some exceed that, some go bellow that. In most cases, 800 sold copies will leave barely any profit left, much of that is consumed by the costs (artwork, vinyls, white labels, mastering). How much the artist gets in the end also depends on what kind of a deal he has arranged with the label.

Compilations do not yeild the money they did in the past, when sales would exceed well over 100,000, even millions. Now a 'successful' compilation is one that can sell 20,000, 30,000 copies. The money is also not that great, and it comes 1-2 years after, so don't expect instant riches by any means.

The only viable source of revenue the artist can hope for is a remix job from a commercial label, those pay the most, your average Lost Language, ASOT, Blackhole remix deal will get you 500-1000 Euros nowadays, if you are lucky.

If you got into this industry hoping to make some money, sorry to break it to you, but there is none to be made. If you want to make heaps of money, start producing hip hop beats, and who knows, you just may be the next Timbaland, charging 250k per beat.

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