this is prolly gonna get me shat upon.. but thats the present situation
anyway.. so here goes.
--
Enaomi18 wrote:
quoted 5 lines i can sell tracks myself with a website and paypal. i can get some more
>i can sell tracks myself with a website and paypal. i can get some more
>exposure by going on itunes, or another store. i see no need for a label in
>that scenario.
>
>
this only makes sense if you're working with <1000 copy labels who dont
"care" about promotion, who dont "care" about getting distribution, who
"dont have the money" to send promotional copies out, who dont maintain
a steady stream of releases, and who take the "its just a hobby" type
attitude.
this is all well and good if these "its just a hobby"-labels are
releasing music by "its just a hobby"-musicians - in fact, it probably
doesnt matter to either of the two (label/musician) since they both have
a job "gotta pay the bills" stylee -- which basically means that there
is no passion, and NO lust to make the machine work better. this type of
thinking, when massively repeated by huge amounts of
labelbosses/musicians, leads to the result that even the consumers think
"they got day-jobs.. they'll be ok .. i dont need to support this" and
just ignore everything.
i look at these "30 cents to artists" things and man oh man.. digital
distribution is all great, I SUPPOSE, but last i checked, most
digitaldistribution-sites are full of labels, and full of artists -- and
it would seem (i wont bet my life on this) that most do not have any
kind of promotion going on for the tracks.. "30 cents for a track" is
probably great, if you already have food on your table, electricity,
water, heat, and a home, you can use it to buy a lollipop -- but what i
really - what i REALLY dont get is..
if 30cents per track, means that 10 people are going to download it,
within a few years (yes, its a caricature - but do ya get me??) ,
that'll mean that the hours spent working on the track have amounted to
a magic 3USD.
im currently in the process of working out a digital-distribution-test.
my albums "container" (deFocus/2000) "spaces" (u-cover/2001) "showcase"
(merck/2003) are all going to be released on various digital
distribution sites - where it will be me, and the guy facilitating the
multiple digitaldistribution-site-contracts putting it on. i have no
idea how things are going to work - and as far as i can see, it does
seem like i will have to push the fact of this, with the hopes that i
will get a few dollars out of it. if i get 50cents, i'll be pretty happy
- because it'll be _something_. i have no utopian dreams that thousands
of people are going to opt to downloading them from said places
(interestingly - the list of DD-sites they will be on, seems to change
daily, from 35 to a max of 40, but without me being told which ones they
are -- again, its a very low-risk, it could help -- but what im looking
at is -- is there going to be any kind of promotional machine promoting
the information that they are going to be available? how is it going to
work out? i see no reason in jettisoning any new music to such a venture
before i see that there is an interest.. i mean, whats the use of having
something on a DD-site if you're going to get say, 15cents per download
-- and no-one downloads? - again, for some of you, it'll probably be
great if one person downloads something, because you have a dayjob - i
on the other hand, do not... so it'll be interesting to see how this
pans out)))
what i have to say is this:
if an artist has a shop, if they go to a gig, and they bring cds, - then
if you really believe its worth it - support them. you might be
surprised to later find out, that at least a handful of people actually
see their daily bread out of these sporadic support/sales/donations..
its a risky life - and seeing other people treat your lifeblood as a
hobby - i.e., half-day label-bosses - later on leads to a distinct lack
of impetus to actually finish anything. also, there is NO identifiable
difference between musical-hobbyists trying to get demos heard, and
musicLIVERS trying to get demos heard - with the desperate hope of
getting some food on the table. its also interesting that anyone who
speaks openly of their venture to support themselves entirely out of
their musical work - gets told "get a day-job".. this kind of "taking
the unsustainability of life with a musical career for granted - and
denying the possibility of it being possible to actually make any
headway, denying it - and presenting that denial as TRUTH" is extremely
distressing.
i will work my utmost to get to the position where 99% of my time isnt
spent wondering how im going to eat next, or if im going to have a roof
over me - and i have been working at it since april2002 - when the
company i briefly worked for (my only job, ever, im 27 as of 26.oct)
went bankrupt. i do NOT intend to work. i REFUSE to listen to people who
say "get a job - this'll never get you anywhere" - what do THEY know -
except they're basically repeating a negative, hopeless view of how this
world works, and affecting everyone around them with that attitude of
'you cant make it - get a job'..
the only sources of money i have are:
- finding a few cents on the street (you'd be surprised how much finding
a 5 cent coin on the ground means when you have nothing)
- getting paid for performing live
- selling records out of my own webshop (getting your own records from
labels that released you -- seems to be much more of a given than
"advances" and "royaltystatements" (what with most labels not knowing
what those two things mean - as they're too "business-like")
- producing a remix for an artist (and this normally means getting a few
copies of the record (see the one before))
- getting random donations from people who feel what im doing.
- being foodwise supported by my significant other - she refuses to see
me starve (which i, basically, would.) - and also believes that music is
what im supposed to be doing here, on this planet, in this life.
this is how i survive. it somehow works out - but its a very stop/start
venture.
from this type of viewpoint, to see anyone taking the piss about 'labels
dont mean anything' - i feel the person is being ridiculous. if you look
at any of the more on-top-of-it labels, they do these things:
1) organize album launches
2) organize record tours
3) organize worldwide tours
4) license tracks to other labels
5) publish tracks / licensing them to commercials
6) they have their machine ready to get money out of radioplay, or any
other such
7) have proper worldwide distribution
8) have a promotional circuit of press-reviewers/interviewers/ magazine
contacts / DJs, etc - to create the hubbub, to raise the profile of the
artists that they are pushing.
9) have multiple means of getting the record out there (label-shop,
digital distribution shop, creation of musicvideos and promoting
thereof)
10) send royaltystatements, - and pay the agreed-upon sums of money, on
time, resulting in
11) they ARE _caring about the welfare of the artist_.
- and those are the labels that everyone (music-hobbyist and
music-liver) are trying to get on. and - again - the music-hobbyists
crowd out the music-livers, and who's to say whats more worthy etc - but
for everyone who "gets thru" there are dozens upon dozens upon dozens of
people who have worthy creations - but never get heard (or they settle
for less - and get a little ditty out every once in a while - whilst
being sent one copy of the record..) it also doesnt help that most
forums seem to be full of extremely bored people who are nonplussed by
everything, signed or unsigned - just because they can put something
down and disrespect the effort involved - they get on a powertrip and
basically raise a stink where once was a savour..
once you have a suitably run, well-setup label behind you, that supports
you, and allows you time to develop, that gives you an advance
(=basically commissions you to do an album or an ep), all the while the
label having such a profile that marketing people get in touch wtih them
to get their music on commercials - i do NOT see how anyone can say that
labels dont matter - and that they're a completely useless waste of
time.
and, ALSO, one thing i come across most of the time is this: 'you're not
gonna get on a label like that - so why dont you start your own?' this
basically means having to reinvent the wheel, and keep reinventing it,
whilst no-one cares about your fledgling label, you have to put all
amounts of hours into getting the distribution/promotion-circuit going -
and you're starting out of NOTHING. again - its probably a great hobby
to press a few hundred records and send promos and its probably VERY fun
- but man - how many other people think exactly like that - whilst
commuting home from their dayjob? the type of investment required to
press a decent amount of records, and the time invested into getting the
recognition and assuring the flow of sales - means that you can
basically give up on music altogether.
those who can set up a label of their own and sell self-published
cds/vinyls and survive - kudos. its probably easier with bands (more
people to waste time on that).. but it is impossible to make happen for
someone who doesnt even have the money to press 50 CDs and send them
out.
yes i would be very interested in seeing what bleep total sales, or even
average sales are, per a label that is on bleep - just to see how many
people actually pay for digital music - when a label such as warp
records is behind it.
i find it singularly interesting how consumers are like 'oh.. an euro
per track.. ohhh.. if only it were like. 20cents.. i'd go for it in a
second'.. like a single SONG isnt worth more than an euro? i'd rather
sell 1 copy of a CD of mine to a person, for 20eur - over paypal - than
see 100 people download a track via digital distribution - and get 1USD
out of the whole result.
a pet isnt just for the summer - its for life.
same with music.
----
humbly yours, esa juhani ruoho
http://www.lackluster.org/
---------------------------------------------------------------------
To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org
For additional commands, e-mail: idm-help@hyperreal.org