quote:

Originally posted by enydo I don't understand how this is the best feature on dance music ever. Sam, did you also sign this dude to PRYDA FRIENDZ?

It's the first article I've seen that backs everything up with logic, facts and history.

This dude wouldn't fit Pryda Friends. He would fit a smaller label like he's talking about, and owns his own. If anything, he needs to start branding himself/his label and perhaps build an artist agency to use all this knowledge.

Should he sell t-shirts and commemorative key-chains?

Maybe not, but if he wants anyone to know who he is that doesn't read his articles, he needs to offer some kind of memory or experience for people to bring with them other than his music.

The music is obviously not enough.

Maybe he should do corporate promotion with Kellogs. Or Nestle. Or Goldman Sachs. Now there's a good one, Goldmann Sachs. The future of dance music, forever.

nah, get sponsored by tumblr and get tumblr sponsored on a nascar

What if you did all that, but then you also got sponsored by a hotel chain?

This way, while you make it to gigs around the world, being the world-famous, highly respected DJ that you are with a whole line of branded items, you can stay for free and also build up your contact book as you meet people around the world.

The networking possibilities are endless. Hand me my day-planner.

Have Vince McMahon run everything. With Razor Ramon.

really was the best dance music article I've ever read. Thank you original poster.

This was probably the best article I've read. Very logical and blunt. Hopefully DJs and/or Producers return to that tight relationship of not giving everyone a track or not at all. That's what made Oakenfold so big because of all those exclusive tracks and dubplates.

quote:

Originally posted by iammesol It's the first article I've seen that backs everything up with logic, facts and history.

Are you serious? The whole time I was reading the article, I was wondering where all his facts were coming from. He's just making shit up off the top of his head.

i.e.

"In 2000, an average vinyl single generated a return of a couple of thousand Euros, while in 2011 the same single generates a loss of a couple of hundred Euros, even without what were formerly known as “production costs.” Anything on top, like a bigger production, a decent mastering, or proper sleeve design became factors of deepening material loss. That area of the craft gets subsequently cut off and replaced by an undiscriminating routine of two-step-distribution: “save as” and “upload to.”

Fleeing to a purely digital distribution doesn’t look that much better in general: only an established artist backed by a strong physical release experiences significant digital sales. The overwhelming majority goes by unnoticed. The average “digital only” dance single generates around 100 Euros of profit, for both artist and label, now most often being the same person. And these figures go down, too."

"The artists’ disillusionment leads to ever lamer results in music — why bother? A single produced hastily in two hours work sells 500 units, while a delicate masterwork moves 800 (plus a bit of beer money from Beatport). These figures are in constant decline, too. The market average first pressing of a vinyl 12″ is 300 units now, which regularly indicated sales below this figure (deduct records given away as “promotion” and to friends)."

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Mix archive | Melbourne club guide

^Goes to show you he is a musician and not a statistician.