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Black Tiger Recordings now taking submissions for 12" releases of Trance Tracks (pg. 5)
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View this Thread in Original format
| Stino |
| bullsjit about the vinyl/mp3 thing....im getting a track released at Discover Digital, KICK ass promotion, very nice label, awesome artists and so on.... it will get as much recognition as a vinyl on Discover, just look at the first Discover Digital release, chameleon which is doing extremely well. |
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| kopi_luwak |
Plz Luke, save this into the classic threads section!
Is just memorable, lol, and next time another label wannabe appears we will just have to point him to this one :stongue:.
Kopi =o. |
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| DigiNut |
| quote: | Originally posted by mux
He's right, vinyl opens doors that digital releases just don't. Anyone can produce an mp3, so there's no "bar" to meet... getting the backing of a label means that someone thinks your music is good enough that they feel they can sell it for a profit, and that speaks volumes. |
That's all well and good, but (a) there are many digital labels that do make a profit, and (b) you don't need the backing of a label to press vinyls. |
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| IDarkISwordI |
| quote: | Originally posted by DigiNut
That's all well and good, but (a) there are many digital labels that do make a profit, and (b) you don't need the backing of a label to press vinyls. |
+1
Hey. Chemical Records will cut you a dubplate for a price of $104.65. This is a bit steep, although its better than some other servies that charge a little less than that for an acetate cut vinyl which last on average 20 plays. The next step up is Dynamic Sun which will cut an awesome deal of $857 for 100 pressed vinyls ($8.57 per vinyl). For a little less than $1k, theyll do just about everything for you, including packaging. Its steep for most, but for those of you not wanting to sign into a label and for those who just want some vinyls to sell without the middle man being there, its a pretty good deal.
Cheers,
Zac |
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| mux |
The point isn't that you can press your own vinyl, it's that someone is willing to do it for you, and take the financial risk, and handle the distribution. They're willing to gamble the reputation of their label, and cash out of their pocket, that your music is good enough to sell enough copies that they don't lose their shirt in the deal.
If you shop around, you can get 300 records pressed for about $800. If you're pressing your own music, it's called a "vanity pressing". Everyone I know who has done that still has 150 copies of their record in their basement. Getting rid of 300 records costs a *lot* more than just the costs of pressing them.
Do any of you folks who are saying MP3 releases are just as good as vinyl have any vinyl releases? |
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| DigiNut |
| quote: | Originally posted by mux
The point... [is] that someone is willing to do it for you, and take the financial risk |
And most of the profits. |
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| mux |
that's called business. you apparently have no idea how this record thing works.
say you're an underground record label, and you sign a track and give the artist $500 cash for it. then you put up $4500 cash (and many, many hours of work) for vinyl pressing, cover printing, shipping, distribution and promotion of the artist. you press 1000 records, and sell them to the distributor for $7 each, and what do you know, most of them sell! the record makes $5500 GROSS, then many months later, the distributor sends you a cheque. yay, you made about double what you paid the artist.
otoh, if the record only makes $1500 gross (and the distributor returns all the unsold copies, and charges you for shipping), the artist still gets paid, and you take the $3000 hit. that's called 'risk'.
*most* records never turn a profit. seriously.
that's just how the dance record industry works. the real question is, if it's so obviously a terrible business to be in, why bother?
the only reason is for the love of the music - and that's why people running labels deserve some respect. |
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| DRM |
| quote: | Originally posted by mux
that's called business. you apparently have no idea how this record thing works.
say you're an underground record label, and you sign a track and give the artist $500 cash for it. then you put up $4500 cash (and many, many hours of work) for vinyl pressing, cover printing, shipping, distribution and promotion of the artist. you press 1000 records, and sell them to the distributor for $7 each, and what do you know, most of them sell! the record makes $5500 GROSS, then many months later, the distributor sends you a cheque. yay, you made about double what you paid the artist.
otoh, if the record only makes $1500 gross (and the distributor returns all the unsold copies, and charges you for shipping), the artist still gets paid, and you take the $3000 hit. that's called 'risk'.
*most* records never turn a profit. seriously.
that's just how the dance record industry works. the real question is, if it's so obviously a terrible business to be in, why bother?
the only reason is for the love of the music - and that's why people running labels deserve some respect. |
you are either djlithium under another name or a repressed ex label man because you sound very bitter. Artists know fine well how much money a label is putting behind them to do well, but imo the problem with labels today is they will sign any old e.
a couple of years ago there were about 2-3 artists signed from this forum and they were damn well happy about it. Nowadays these startout labels come on here, ask for new music and will sign anything that sounds remotely professional, as opposed to being a great track that sounds professional, there's a huge difference.
This is the whole problem with trance today imo. Its not that the artist (in here and everywhere else) are copying others ideas in a sense and making great but similar tracks to the well known producers but that labels are saying hey that sounds ok, lets release it.
What needs to happen is that the people making tracks and lets face it, we all as producers start by emulating what we like from others in one way or another, leave them to that. Then, when and if they have the talent they will show that a year or two later when they find their "own sound". It's at this point the labels should come in any say "hey we've been listening to the last few tracks of yours and we feel like it's something that we as a label would like to sign"
So yeah these people need to stop starting labels here there and everywhere thinking hey i have a friend who produces professional sounding trance im going to release it:
A) The person you're signing is probably still in the "creating a sound phase"
B) You don't have a clue how to run a label
and most of all :
C) If you dont have A or B sorted at the very least then you are going to fall flat on your arse, after or often before your first release.
So lets please go back to a situation where there are great labels that will only take la creme de la creme. That way, you as a label will not fall on your arse and more to the point the artist being signed can actually take a huge amount of gratitude from being signed and realise at that point they have made it, rather than both of you realising all you've reached is mediocrity. |
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| mux |
| quote: | Originally posted by DRM
you are either djlithium under another name or a repressed ex label man because you sound very bitter. |
Heh, no. :) check my .sig, I'm Drew, aka "mux". I met Lithium at a unix security conference once in like 2000, I doubt he remembers me.
I've never been signed to a label, 'cause I'm a terrible studio engineer. I'm a pretty good live-pa tho, which has had me hanging out with a lot of folks who are either signed to or running labels.
| quote: | | So yeah these people need to stop starting labels here there and everywhere thinking hey i have a friend who produces professional sounding trance im going to release it. |
I agree 100% with everything you said.
The *vast* majority of labels never hit ten vinyl releases. Black Tiger has apparently done six already, which is pretty impressive for 2005. |
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| DigiNut |
| quote: | Originally posted by mux
that's called business. you apparently have no idea how this record thing works.
say you're an underground record label, and you sign a track and give the artist $500 cash for it. then you put up $4500 cash (and many, many hours of work) for vinyl pressing, cover printing, shipping, distribution and promotion of the artist. you press 1000 records, and sell them to the distributor for $7 each, and what do you know, most of them sell! the record makes $5500 GROSS, then many months later, the distributor sends you a cheque. yay, you made about double what you paid the artist.
otoh, if the record only makes $1500 gross (and the distributor returns all the unsold copies, and charges you for shipping), the artist still gets paid, and you take the $3000 hit. that's called 'risk'.
*most* records never turn a profit. seriously.
that's just how the dance record industry works. the real question is, if it's so obviously a terrible business to be in, why bother?
the only reason is for the love of the music - and that's why people running labels deserve some respect. |
Hate to break it to you, but I understand very well how the industry works, and the record label will be an endangered species within 10 years.
The distribution cost of music today is near zero. Labels are merely a "stamp of approval", and that is only still true because of the market saturation of trance music and the stigma of being an "amateur producer". That stigma only exists because inexpensive production tools are relatively new - it will disappear completely eventually, and at that point in time, the record label will be defunct (or at the very least, a bit player in the music industry). |
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| DJ Shibby |
| quote: | Originally posted by djlithium
Please ignore these clowns.
blah blah blah
If its not on 12" vinyl, its not worth playing. NOTHING GIVEN HAS ANYTHING OF VALUE.
blah blah i don't give a about the music or actual talent blah blah |
N :haha: e :D w :haha: b |
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| jetflag |
"Please ignore these clowns???"
with that kind of additude no-1 will send you stuff
and as for the "anti-digital-dj-concept".... welcome to the future m8 |
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