Re: (313) Artist Compensation?
this is the way how I've worked for about ten years now. split the profit of a release 50/50, and an advance on this one. an other option is a percentage of all sales, mostly ranging kinsda 15% - 20% - sometimes better for artist - as you're then not involved on cost side of the label disrupt schreef: Well, in my experience label and artist split the profit of a release 50/50. If you're lucky you'll get an advance on this one. For that you'll give the label the permission to do whatever they feel is right with this particular recording. Cheers! Jan - (disrupt) www.jahtari.org Having never been on the producer side of things, I'm curious if anyone can illuminate some of the basics when it comes to artist compensation for small record labels (the kind most of us buy our vinyl from). So if Producer A writes a track, how does he/she sell it to a small electronic label? Is he/she paid a one-time fee for the track or are they given a percentage based on how many prints of the track sell? I'm interested in how this works with our music and small labels, not the rest of the music world. Maybe some of the people on here who've been producing for years can illuminate this for us? Obviously the focus should always be on the ends (good music) and not the means (how much $$ am I getting for it), but this seems like an interesting topic to me -Arturo Lopez-
Re: (313) old school chicago house mixes
On Thu, October 25, 2007 1:18 am, tevans wrote: thought people might be interested http://www.nuyoshi.com/wbmx.htm Hmm. Whoever created that page just made direct links to MP3s in the DHP Mix Archive: http://www.deephousepage.com/mixes.php There are some sweet old Ron Hardy bootlegs in there. J
(313) 'The Vault' - Oct. 10, 2007 feat. Dirtybird
News and other info can be found at the bottom of this message. The last four programs are always archived online. Visit www.antonbanks.com to hear them. Many thanks to Dirtybird for contributing this set. For information about her, please visit either www.DirtybirdMusic.com or www.Volatl.com. Planned guests for the next few weeks: TBD - Neil Landstrumm (www.scandinavianyc.com) TBD - Mark-Henning Sargent (www.traumschallplatten.de, www.foundsoundrecords.com) TBD - Adam Jay (www.internal-error.com, www.myspace.com/azurerecords) Tentative - Lee Burridge (www.hoojchoons.com, www.fabriclondon.com) CLICK THE LINK TO HEAR THE SHOW http://www.antonbanks.com/audio/the_vault_10-11-07.mp3 Tracklist: Sun Electric, Umpa Lumpa, S**tkatapult Planetary Assault Systems, Booster (Luca Angelli rmx), My Best Friend Red Robin & Jakob Hilden, Lazy Jack, Trapez LTD (060a) The Black Dog, Floods (Surgeon Remix), Soma Grand Theft Audio, Keep Moving, Persona ### Set by Dirtybird For information about her, please visit www.volatl.com or www.italobusiness.com tracklisting: sleeper thief - cenotes [mobilee] marcoerre - room (part 2) [platzhirsch schallplatten] maskio - monday (dusty kid likes maski remix) [hell yeah] the pale - night machine (instrumental mix) [subtrak] uto karem - always better [loose records] seth troxler - crosson likes poo (lee likes it too remix) [esperanza] craig torrance & philip hochstrate - shrinkage (samim's schoenaeboelae remix) [four:twenty] pheek - orage solaire (tim xavier remix) [archipel] dj emerson & helmut dubnitzky - billionare bass club (billy dalessandro remix) [kiddaz.fm] daso & meindl - hypnosis [session deluxe] dave shokh & jaxson - itzsamna (format b remix) [dipolter] wacker & zittrich - rough collies (anthony collins remix) [meerestief] franklin de costa - morgenlast [green empire] levan - funk chaser [system] beroshima - horizon (pig & dan remix) [cocoon] sara galli - piccolo [303lovers] blatta & inesha meet wiesel - do it at the peepshow (goldie-lox'strickybeans remix) [hell yeah] ### Recloose, Four Ways of Saying Goodbye, Spelunking, Planet-E --- About the show: The Vault airs every other Wednesday night from 9:30 pm until 11:00 am (21:30 to 23:00 US Eastern Time = GMT -5:00) on 88.1 FM WESU. The station's 1500 watt signal can be heard from as far north as Springfield, MA to as far south as Long Island, NY. WESU also broadcasts via the internet. Visit the station's website www.wesufm.org for the details. In addition to hosting this radio program, I am a freelance DJ and occasionally write record reviews. I welcome any questions, suggestions, or comments. Please feel free to respond to this message (www.antonbanks.com/email.html) or visit my website for more information. *** I appreciate all promotional music sent to me and will never sell any of it online or anywhere else. All promotional material sent to me is aired on my show as well as used in my DJ sets when I play out.
Re: (313) old school chicago house mixes
yikes, this is definitely a trip on the 'wayback' machine. it all puts a smile on my face...thanks for the links. m. On Thu, October 25, 2007 1:18 am, [EMAIL PROTECTED] wrote: > thought people might be interested > > http://www.nuyoshi.com/wbmx.htm > M. Tang | A & R Generator email. [EMAIL PROTECTED] aim. jiji2017 www.generatormusic.com = Up next: GEN030 - Mauser / Jack Orchestra (12") Deep jackin' Chicago trax/Detroit soul with acid basslines. Soundclips @ www.generatormusic.com
Re: (313) Artist Compensation?
Well, in my experience label and artist split the profit of a release 50/50. If you're lucky you'll get an advance on this one. For that you'll give the label the permission to do whatever they feel is right with this particular recording. Cheers! Jan - (disrupt) www.jahtari.org Having never been on the producer side of things, I'm curious if anyone can illuminate some of the basics when it comes to artist compensation for small record labels (the kind most of us buy our vinyl from). So if Producer A writes a track, how does he/she sell it to a small electronic label? Is he/she paid a one-time fee for the track or are they given a percentage based on how many prints of the track sell? I'm interested in how this works with our music and small labels, not the rest of the music world. Maybe some of the people on here who've been producing for years can illuminate this for us? Obviously the focus should always be on the ends (good music) and not the means (how much $$ am I getting for it), but this seems like an interesting topic to me -Arturo Lopez-
Re: (313) Artist Compensation?
At the small end of the scale I think it really depends on the label's business model and (hopefully) what works out best for both parties. Things I have seen are (and not mutually exclusive) * copies of the work instead of $ * outright payment - although I would never advise anyone to 'sell' but instead, to 'licence' * royalties from collecting agencies * a cut of the $ from sales All of these things are subject to manufacturing and/or distributing costs as well. (well you need to work out what you want - a distribution deal, or a manufacturing deal, or both?) I have seen some pretty bad contracts from indie labels so I wouldn't just automatically assume that an indie label will give you a better deal... This is just some general advice. I'm sure people on the list have had more specific experience and can enlighten you further! Cheers Mel ps i 'm sure I've missed a few things here but sleepiness rules for now. On 10/25/07, Arturo Lopez <[EMAIL PROTECTED]> wrote: > Having never been on the producer side of things, I'm curious if > anyone can illuminate some of the basics when it comes to artist > compensation for small record labels (the kind most of us buy our > vinyl from). > > So if Producer A writes a track, how does he/she sell it to a small > electronic label? Is he/she paid a one-time fee for the track or are > they given a percentage based on how many prints of the track sell? > I'm interested in how this works with our music and small labels, not > the rest of the music world. > > Maybe some of the people on here who've been producing for years can > illuminate this for us? > > Obviously the focus should always be on the ends (good music) and not > the means (how much $$ am I getting for it), but this seems like an > interesting topic to me > > -Arturo Lopez- >
Re: (313) Artist Compensation?
A friend of mine just gives the artist 10% of the pressed copies to sell at shows or whatnot. no idea how standard that is. On Oct 25, 2007, at 1:50 PM, Arturo Lopez wrote: Having never been on the producer side of things, I'm curious if anyone can illuminate some of the basics when it comes to artist compensation for small record labels (the kind most of us buy our vinyl from). So if Producer A writes a track, how does he/she sell it to a small electronic label? Is he/she paid a one-time fee for the track or are they given a percentage based on how many prints of the track sell? I'm interested in how this works with our music and small labels, not the rest of the music world. Maybe some of the people on here who've been producing for years can illuminate this for us? Obviously the focus should always be on the ends (good music) and not the means (how much $$ am I getting for it), but this seems like an interesting topic to me -Arturo Lopez- -- matt kane's brain http://hydrogenproject.com aim -> mkbatwerk [EMAIL PROTECTED]
(313) Artist Compensation?
Having never been on the producer side of things, I'm curious if anyone can illuminate some of the basics when it comes to artist compensation for small record labels (the kind most of us buy our vinyl from). So if Producer A writes a track, how does he/she sell it to a small electronic label? Is he/she paid a one-time fee for the track or are they given a percentage based on how many prints of the track sell? I'm interested in how this works with our music and small labels, not the rest of the music world. Maybe some of the people on here who've been producing for years can illuminate this for us? Obviously the focus should always be on the ends (good music) and not the means (how much $$ am I getting for it), but this seems like an interesting topic to me -Arturo Lopez-
Re: (313) old school chicago house mixes
Thank you! A friend in Chicago who grew up on this stuff tried to get me to get some of his recorded tapes of the shows to transcribe, but he only had a couple. This is great! On 10/25/07, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: > thought people might be interested > > http://www.nuyoshi.com/wbmx.htm > -- --- Michael Kuszynski [EMAIL PROTECTED] [EMAIL PROTECTED] http://www.planerecordings.com New York, NY
Re: (313) votes
I can confirm about Cielo -- saw Francois K there about a month ago for Deep Space and the sound was quite good. FK was kind of so-so, but then so was the crowd :) fh - >funktion one also make some brilliant sounding speakers. cielo in new >york has a system of theirs and it is totally awe inspiring. >
Re: (313) votes
Nobody calls me a liberal and gets away with it, foo! As for mythical beasts, it is -true- that I worked for a music and arts newspaper in Washington DC three decades ago called the Unicorn Times. It was B.I. (before the Internets) so you youngsters can't look it up on Wikiplayer. We were covering electronic music (live and recorded) back then too. Here's an article Ted White wrote about a local dude, Rupert Chappelle, who ended up in some mysterious mid-70s prog universe and never left: http://irupert.com/irupert/ozonepage.html Ted White, in his Dr. Progresso guise, was one of our staff writers and this is one of the columns I edited. He -is- on Wikibooyaka. http://en.wikipedia.org/wiki/Ted_White_(author) I can't take credit for assembling our stellar cast of writers, that was all the doing of editor Richard Harrington, who was also a Washington Post freelancer and is now the dean of Post music writers. Back then, a "mixer" was a skronk box that was designed to add distortion to guitars so that fanboys would think they were more punk. Of course, in the right hands -- The Cramps, for example -- that was the correct move. fh Oh yeah, vote: playing in: Rane MP22 (with crossfader pulled because I don't use it and don't like the insertion loss) playing out: Rane MP24 - >I have a custom made mixer forged from the steel of King Arthur's >Excalibur sword and certified awesome by Bea Arthur. Theo played on it >once at a gig we did a Burger King and it made him cry like a little >girl when he tweaked the EQs. It has patent technology AI that >predicts just how far you are going to kill certain ranges and does it >before you do. > >The guys in Optimo own one which they customized with supersonic gain >(I called it "Helenkellerification"), custom spoiler and neon lights >underneath. It sits on 22s. > >I almost made a third one for Phred, but he refused to get me the >proper amount of Unicorn blood that I needed to make it happen. He was >having liberal guilt fits about the slaying of an animal in the name >of sound. > > >
Re: (313) votes
On Wed, 24 Oct 2007, Dan Bean wrote: Formula Sound PM80 Badass mixer. I've been lurking this mixer from ebay for some time now. I had a chance to play once with it and even though the feel was interesting, the sound quality rocked. Now here is my question; is the newer pm-90 anywhere near the older model when it comes to sound quality? -- Jari Tolkkinen | dj ken-guru | http://www.ken-guru.net --
