i don't see anywhere in the agreement where it's costing the licensee any money up front? What you copy & pasted is great, most labels won't even disclose the cost of a mastering engineer until royalty time and by then it's too late for any kind of negotiation. Anyways i look at recording contracts all day for my job, i'm happy to review what you have. IMO the "don't sign it unless it's with a major" statement made by a few people on this forum is naive. I can personally testify that a MAJOR part of huge record labels spend 30-50% of their time and resources licensing records from smaller labels to re-release on their own imprint (that could mean globally or in specific territories). There are countless records that have done this and it's even more popular now as some of these giant labels get sent 1000-3000 demos a WEEK and might have skipped over something great and not realized it.

Also another bit of advice, look up the label on beatport or any other retailer, look at some of the other artists and contact them asking about their experience. "Hi, my name is XYZ i'm considering signing a record to 123 Label, I just want to ask about your experience. How was the promotion? Did they pay for remixers, if so was there a significant budget? How quickly did you receive royalty statements and did they make sense, ie the third party costs, terriroty figures, etc? Did they pursue any licensing opportunities? Compilations? etc

Last edited by Zombie0729 on Aug-29-2011 at 23:35

producers(even more-so, new producers) get dicked around so hard these days. the label is usually in another country too.

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Originally posted by MSZ producers(even more-so, new producers) get dicked around so hard these days. the label is usually in another country too.

I can't remember the last time anyone said anything positive about this. What happens when musicians have nothing to gain from making music?

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Originally posted by meriter I can't remember the last time anyone said anything positive about this. What happens when musicians have nothing to gain from making music?

Not to drag him into this but I think cryo managed to put into words, a kernel of truth about how the music industry functions in a grassroots economy. I tend to think the people who are only in it for the money will die out, if they're not dead, already. While there are the outliers who manage to make a livable wage at it, more and more you're going to find the field populated with the amateur who simply does it for the love of doing it.

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Originally posted by cryophonik In many ways, EDM is the new folk music - its core is largely comprised of people with little musical knowledge or formal training and, therefore, gets sneered at by those with years of training and experience who are making more "sophisticated" music. It's relatively simple music that is created by common people for common people. And, like folk music, it has earned its place as a legitimate musical form, despite what the snobs think of it, largely as a result of its achievability by virtually anybody. ...

http://www.tranceaddict.com/forums/...d=&pagenumber=7

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Now with extra singles!
my old stuff, not quite up to snuff - but I still dig it - UPDATED 9/23/2012

quote:

Originally posted by meriter I can't remember the last time anyone said anything positive about this. What happens when musicians have nothing to gain from making music?

the more releases i make, the more street cred i obtain, it also increases the depth in my swagger walk.

pay to play bro