not sure if you need to give it away for free, you could probably sell it for 99 cents and do fine. i think people associate a price with quality, to a degree. make them think, 'wow, this is a steal', but not a literal steal.

omar s does this for example, you can buy brand new vinyl for like 7 bucks straight from him.

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Originally posted by nefardec omar s does this for example, you can buy brand new vinyl for like 7 bucks straight from him.

That's a pretty cool way to do it.

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Originally posted by david.michael And, with electronic music being such a "DIY" culture (especially these days), I'd be willing to bet that there are a lot of DJs that will hardly give unestablished artists giving away free tracks much of a chance. I can admit to sometimes being guilty of this myself. You find a good couple of artists or labels, and they act as an initial "quality" or "style" filter for you... providing a base for you to start your search for tunes. I try not to get stuck in this way of thinking, but it's really easy to do.

Indeed, there is so much EDM out there that many listeners are apprehensive of free music. What I've tried to do to remedy this is filter the content that I post to my site. The idea is to foster trust amongst DJs by curating the releases and offering lossless-quality audio files for immediate download. I think it's been working fairly well; I know a lot of DJs that play out material from Ektoplazm.

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Originally posted by nefardec not sure if you need to give it away for free, you could probably sell it for 99 cents and do fine. i think people associate a price with quality, to a degree. make them think, 'wow, this is a steal', but not a literal steal.

Sure, but any barrier to entry will drastically reduce uptake and exposure. This is literally the difference between 100 and 10,000 downloads. The open question is whether those 100 downloaders might trump 10,000 other downloaders in terms of social status within the scene or something... but I don't think so. I think a lot of new producers would like to be heard.

It might be different in the mainstream trance scene, mind you. I just stick to my side of things and do it as well as I can.

[QUOTE]Originally posted by Paradox Lost


Topspin? Tunecore? Amazon? How many ad's are there in that article? , I have come to realise that i probably will only make music for myself and if someone else likes it then its a bonus.
And i see lots of questions.Such as...

Why a label? , im sick of seeing ad's over the net saying check out this summers hottest act , and the short demo just turns out to be some sidechained generic rubbish, supported by god knows who.Why cant i sell it myself.

Maybe the EDM market is bloated ,, maybe im not marketed in a good way?

I put stuff on youtube , ive been a member since 2008 , and most of my video's havent gone past 200 views yet.

MyShit is a waste of space.

Why is autotuned rubbish like kanye west lapped up like free money , when really its a bag of shite.
------
But there is a pattern , i see anyways.

All the pop artists are on the radio , TV , youtube and whatever other media interface .And through out the summer are in nearly every major outdoor event there is.

All the succesfull DJ's with succesfull tunes are on heavy tours , playing in germany one night then the USA the next then back to france the night after.

These artists are pushed and pushed and pushed.
And i think to myself that if some people just think they can sit there and make tunes whilst putting them on god knows how many websites and such download sites with whatever adverts.
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Look back at the old days , bands travelling in a beaten up vans on minimal costs playing gigs , just to get heard.

So my personal goal is once ive got this production stuff down to a tee , then ill figure out a way to get out there thru DJ'ing.

Thats my 2 cents/coins/pence anyways.

___________________

Bring on my soundcloud ya!

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Originally posted by basilisk The open question is whether those 100 downloaders might trump 10,000 other downloaders in terms of social status within the scene or something... but I don't think so. I think a lot of new producers would like to be heard.

whereas, i think actually those 100 matter much more, because the other 9.900 will forget about you in a week


im sure the truth is somewhere in between

I've noticed that free music has a longer shelf life purely by being free. Not everyone is going to buy a year-old CD but plenty of people would download such a thing given the extremely low barrier to entry. I also track all official Ektoplazm releases on last.fm to investigate retention (or, plainly, whether people continue to listen to the music over time) and it's been surprisingly solid. This kind of discussion needs metrics... which are sadly unavailable in most instances.

Some days I wonder if my little site transfers more psytrance than Beatport.