Ok, lately I have been seeing a big problem with a lot of the small labels and it's really bothering me.

Basically an artist will send out a track to about 50-100 trance labels trying to get signed. It's not that great a track (horrible production and maybe just some generic ideas) so of course he gets turned down by Armada, Flashover, Vandit, all the big guys. And this is the worst of the worst type of track - not even worth playing on the smallest radio shows.

He then takes it to some small digital-only label and "signs" it because they are desperate for whatever they can release for cheap and/or free. It goes out to all the stores unmastered.

End result? It sells 5 copies and the cycle continues with another label. How does this help anyone guys?? Why are you doing this? Why do people keep sending out crap demos? It doesn't help anybody

PS - I'm not saying the big guys are good either - they have a tendency to release really BORING but well mixed and mastered tracks.

The only labels that have really surprised me lately are Blue Soho Solaris, Abora, Anjuna (a FEW) and a few others.

anjunadeep all the way

but seriously, coming here and ranting aint gonna do shit

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one of the many reasons beatport only allows labels that do a certain amount of volume now. i believe label minimums are at 300 sales per quarter. this will wash out a lot of what you're talking about.

Yea it is a major issue, hence why I fullu support BPs method of cutting small labels.

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Yeah, I think a lot of it has to do with just wanting to be

DJ X (Aus) (shitty tiny label) when you play your DJ gigs. Being signed as a producer gets you a lot more crowd in my experience, even if no one has ever heard of the label.

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quote:

Originally posted by Zombie0729 one of the many reasons beatport only allows labels that do a certain amount of volume now. i believe label minimums are at 300 sales per quarter. this will wash out a lot of what you're talking about.

BP still sell bucket loads of crap even with thier newley approved label system.

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Ok dude so when you have a year under your belt, and are starting to make albeit bad but finished tracks nevertheless you shouldn't send them out?

I say thats wrong because before I got to where I am now (which isn't far but further than the shit demos stage) I sent shit demos off. You know what I learned from it! Sometimes the label would take me under their wing and give me some pointers, or other times they would refer me to other labels (more contacts). I now know through sending shit demos out a well known producer from the uk and have developed a friendship with him and his family who has helped me no end in my music.

I sent a shit demo when I made electro house a few years back called "Sticky Electro - Party time" that was so shit it got played on a few pirate stations here in the UK and was distorting because I didnt know what 0db meant thats how shit it was. Anyway the label signed it, got me to remix it, had some others remix it and at one point (nearly a week) the original,remix,and other remix were top 10 beatport,djdownload,beatsdigital etc and was beating the chemical brothers in the dance charts.

I'd put the screenshot up that I kept but its on my slave drive which when I reinstalled seems to think its unpartitioned raw data ??

Would that have happened if I listened to you?

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Processing a highly structured and complex pattern of sensory input as a unified percept of "music" is probably one of the most elaborate features of the human brain.....understanding how music is perceived and how it may elicit intense sensations is far from being understood.

The small digital label thing has its good and bad parts.

On the one hand small digital labels can be the last refuge of people making poor imitations of what is already popular, but on the other it can serve artists making good stuff that happens not to be "in" at the moment, and help them get their music heard.

fun thing is the OP is complaining about the amount of lousy music being put out. Problem is the labels not the artists sending the demo's. The label should be the quality controlling factor as it decides what is being put out. What the OP (imo) is describing is bad management by people whom happen to have bad hearing as well. That's the problem with the digital age, it costs none to start one (label), if you do it the cheap way that is.

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quote:

If less is more think about how much more more would be. -Frasier

quote:

Originally posted by ACK5 BP still sell bucket loads of crap even with thier newley approved label system.

to me that just says people are buying it?

It is totally wrong that you should have to pay for that shite!

So I put up my equally shite stuff on soundcloud which can be downloaded unmastered for free.

I have been 'literally inundated' with 3 downloads in the past year.

Or is it that I like making tracks and dont do it solely to get it released?
Think thats the general problem.

If you like it , good.
If not , so what.

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Regardless of what label releases the track or who did it, great music tends to filter its way up to the top.

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