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Starting my own label, i want the oldschool sound back! (pg. 3)
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| Spacey Orange |
do it op. behind every successful person, there always has been doubters and naysayers. unfortunately, i don't think that there is any skill i can contribute toward your effort but maybe you could start a kickstarter campaign when you have it more developed.
"We don't like their sound, and guitar music is on the way out." -- Decca Recording Co. rejecting the Beatles, 1962
“You ain’t goin’ nowhere, son. You ought to go back to drivin’ a truck.” -- Jim Denny , manager of the Grand Ole Opry, to Elvis Presley in 1954. |
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| Raphie |
| Stop talking and start walking and give us a progress update of this epiphany in 6 months |
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| Looney4Clooney |
| Robbys rolling bass line is gonna change the game/ |
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| Andy28 |
:stongue:
Where is Robby these days??
To op.... Go for it. At the end of the day it can't turn out any worse than the hundreds of other ty labels that's releasing crap on beatport or iTunes that nobody listens to anyway.
Best of luck :) |
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| DJ RANN |
| quote: | Originally posted by Spacey Orange
do it op. behind every successful person, there always has been doubters and naysayers. unfortunately, i don't think that there is any skill i can contribute toward your effort but maybe you could start a kickstarter campaign when you have it more developed.
"We don't like their sound, and guitar music is on the way out." -- Decca Recording Co. rejecting the Beatles, 1962 |
You're right, there's always people who say you can't do it and that should be used as motivation to prove them wrong etc, but that Beatles quote is bull.
I know the guy who was the assistant engineer on that fateful day of the Beatles tryout. It was at the Decca studios in West Hampstead, London (my hood) and he said it had nothing to do with guitars being on the way out....
.....he said they were absolute that day. They turned up in a foul mood, looked like John and Paul were one crossed look away from tearing each other's throats out and they played really badly. None of them were in time and their tracks just didn't gel.
They told them so right at the end of the audition.
I said to him "I bet you were gutted in hindsight?"
"not really. This band came in the next day and we signed them on the spot"
And that's how the rolling Stones got their break ;) |
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| theqlogic87 |
| Letting people download your music for free with a Paypal donate button on the side is the way to go bruh |
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| Soyagua |
My advice is to make the music as available as possible.
Also from my experience: the live is the future of music. So be sure to get your artists to play at same party/evening/festival. Maybe we should do some international collaboration as well, as i'm just producing my heavily 90's influenced album. :)
EDIT: You said that your music would be everything of the 90's to 00's. You might want to consider more limited segment so you can focus all your resources to that. |
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| Storyteller |
| Making it available for free and legal is not easy. All the artists OP has mentioned are connected to rights collecting agencies. His label would need to obtain a license and pay royalties to the collectors per download they give away. |
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| DJ RANN |
And actually, there tons of money in live but the big boys right now are making their vast fortunes in cheap download sales, radio play, and licensing.
If you remove the commodity part of it, it becomes worthless.
Apparently Calvin Harris is making way more off sales right now than his ridiculously lucrative touring schedule, and that's saying something. |
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| evo8 |
| quote: | Originally posted by DJ RANN
And actually, there tons of money in live but the big boys right now are making their vast fortunes in cheap download sales, radio play, and licensing.
If you remove the commodity part of it, it becomes worthless.
Apparently Calvin Harris is making way more off sales right now than his ridiculously lucrative touring schedule, and that's saying something. |
wow, always thought the money was in touring/concerts |
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| DJ RANN |
It is, until you start making pop songs (like calvin always has) that appeal to mainstream consumers and mainstream radio.
You just need one hit, something that can be played on major radio, and then the money quickly eclipses getting paid $200k a hour to DJ.
Suer the gig money is nothing to be sniffed at when you're in the top 50 guys, but all the top 10 guys make way more off sales, radio play and licensing.
I've told this one before but one duo made so much money unexpected off a massive hit in the late 90's that they had to burn through several million dollars in one month or face a massive tax bill. So they and 20 close friends had a rather epic fortnight in Vegas and spunked it all away in time for the deadline. |
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