One other thing on this topic I'd like to point out:

A lot of the smaller labels won't necessarily "sign" you as an artist, they'll just license your track. When we had a few tracks released in early 2001, we were never signed to the label, we just had a simple "licensing deal" that said basically "we own the rights to this track for 5 years". I think that's a option that a lot of new producers are not aware of when they send their stuff out to labels. I know we certainly were not aware of it when we got a few tracks licensed.

It may not be the ideal situation for everyone, but I know I kind of liked they idea that my future work wasn't tied to any one label, especially since I like to produce a lot of difference genres, not just trance. The funny thing about our situation is that even though the demo CD's we sent contained 3 trance tunes out of 5, the two house tracks were the ones that ended up getting signed, to a trance/progressive label no less. Go figure

quote:

Originally posted by Spoonz In a nutshell from reading the posts above: 1) tidy up any loose ends of ur track. 2) research wot label(s) ur track would work on. 3) research wot format the label prefer to receive ur work in. 4) send a brief description with ur track in wotever format u send it in, it may or may not get read but might be important to the people who recieve it. (contact details, of course.. short/concise description of ur track - dont blow ya own trumpet lol) 5) send it and hope for the best. Most importantly: 6)* if unlucky, dont give up

Yes, good summing-up!

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quote:

Originally posted by substorm I have have had some success by just doing this! ...

Sound advice, I think that pretty well covers it.

I'd add that if you don't hear within 2-3 weeks then it's probably not worth waiting longer. Even if they do respond after a month and say "yes, your track is the greatest thing since sliced bread and we want to sign you RIGHT NOW", that kind of delay shows that your contact is unprofessional and unreliable and you probably don't want to deal with them anyway.

Also I'm not so sure about compressing to RAR. First off, most people don't use RAR, and second, MP3 is already compressed and using any further file compression is likely to actually generate a larger file as a result. You want to make this as convenient and simple as possible for the person downloading/listening. There's a very good chance they have a broadband connection and don't care about an extra 20 seconds of download time, but they might not be able to open a RAR or might just be too lazy.

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quote:

Originally posted by DigiNut Also I'm not so sure about compressing to RAR. First off, most people don't use RAR, and second, MP3 is already compressed and using any further file compression is likely to actually generate a larger file as a result.

quite true, archiving it with winzip/winrar will be no use to them if they are on a mac... and vice versa (dunno wot system macs use)

firstly, what do u mean mastering is just cutting below 30hz and slapping on a limiter? what about all the gain, attack etc?

And also, is it ok to send the same track to multiple labels at the same time, and see who offers you something first?

thanks

quote:

Originally posted by Spoonz quite true, archiving it with winzip/winrar will be no use to them if they are on a mac... and vice versa (dunno wot system macs use)

invalid. 'stuffit' will decompress all of the above on mac os x.

http://www.stuffit.com/compression/fileformats.html

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BEATPORT

more analog, more sidechain

i'm going to start using a licensing company to deal with all my productions. It's so much hassle sending music to labels that someone else might as well do it for me (for a cut) but with the amounts we're talking about it;s not worth the hassler anyway.

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quote:

Mastering; just knock of everything under 30 HZ and slap a limiter on it, watch you limiter as the track plays and try and make sure it doesn't attenuate too often or too much. That is all.

Good god man. This is not what Mastering is. This is called 'Jimbob sticks a high pass filter on his finished mix and runs the output through Waves L1 for more VOOOOOOLUUUUME.'

quote:

Originally posted by trancey_spacer firstly, what do u mean mastering is just cutting below 30hz and slapping on a limiter? what about all the gain, attack etc? And also, is it ok to send the same track to multiple labels at the same time, and see who offers you something first? thanks

Well, mastering is a lot more than that, as others have said, but this will do for a start, once your actually being released you will most likely get a real mastering engineer organised by the label... Often I've even seen the CD duplication services offering mastering for an extra $50 or whatever.

@ Derivative, I know that my method is not the most technical, but like I said, it is only there to avoid hurting other's speakers It doesn't hurt the track and I don't see why you shouldn't do it. Most people really can't master (and why should they? We're musicians not engineers! ) so keeping it simple stops most people from ruining their track.

The other option is not to do anything to the master chanel at all, but then you run the risk of there being too much rumble in the low freqs or something like that.

how to get a track out.....
find out where the dj or rep lives and stalk them that should wrk haaa

how to get a track out.....
find out where the dj or rep lives and stalk them that should wrk haaa

quote:

Originally posted by Dj_MadirozE how to get a track out..... find out where the dj or rep lives and stalk them that should wrk haaa

This actually works...