This Business of Music (was How to Promote Ambient...)greenspun.com : LUSENET : 3D Audio's Music Business Forum (SSS Temp) : One Thread
Hello all ... sorry this moved from AOL but hopefully the spirit will live on here.
In the next week, I plan on sending my first CD on my dinky label to the CD manufacturer. It's a compilation of ambient / experimental (quite an eclectic mix, actually) of known and unknown artists of these genres. I'm getting 1000 made, and i'd like to get some pointers on how to move them.
First off, let me say this -- i'm not into this to make $$$. I don't expect to, and I won't be upset if I don't break even. This is not the point of the thing. I just want to release music, done by myself and others.
Since i'm very new to this, i'm asking for pointers, hints, gotchas, anything really, that would help me make sure that a year from now I won't have 500 CDs in my living room (and moving some to other rooms doesn't count :-) Since this stuff is still _way_ underground (even with this "electronica" thing bubbling forth now and then) i'm wondering where to send it -- mags, DJs who care, etc. I've managed to line up some distribution so far, and i'm working on more, but I sure could use some advice from others who have traveled before me.
Any help is appreciated!
-- John Michael Zorko (email@example.com), February 15, 1998
Hey, why no Eleven Shadows on your compilation?
Urb is always a good bet. Probably some of the other usuals, such as Alternative Press, perhaps Spin if you're feeling lucky, and Option Magazine. DJs who care -- hooo-boy...lemme see...try Jason Bentley at KCRW-FM 89.9 in Santa Monica, California, who does "Metropolis", a highly influential radio show that features much of what you are describing.
And if *anyone* knows a really good, honest label that puts out ambient/ethereal sort of stuff with female vocals, I am always interested in hearing about it. The labels that I am working with are having sooo many financial woes right now.
-- Ken/Eleven Shadows (ElevenShad@aol.com), February 17, 1998.
I've sold about 100 copies of my latest project on the users list for the particular piece of recording gear (Roland VS880). Of course, I am a participant, not just on there to sell things. But still, I would look for some common thread between the artists, and head towards that as a market.
-- Doug Robinson (Jazzooo@aol.com), February 17, 1998.
I'd also like to know what are good experimental/ambient labels to send stuff to. Honest labels! And are you the same Eleven Shadows as on the Hyperium releases? That is so cool if that is so. Please do not send email here because I am using my friend's email address.
-- Thing (Thing@earthlink.net), February 18, 1998.
Yes, I'm that same Eleven Shadows with a couple of releases on Hyperium. They're a prime example of everything that a record company should NOT be. They're unreliable, incompetent, noncommunicative, don't push their products hard, and cheat their artists. I'd steer clear of them at all costs -- true scumbags in every way imaginable.
-- Ken/Eleven Shadows (ElevenShad@aol.com), February 18, 1998.
I'd go for a good web presence too, and drop your url anywhere that'll take it. It's worked for me! Never underestimate the power of link (link) dropped in a line for one's convenient interest!
-- the artist formerly known as ai3000jfs (firstname.lastname@example.org), February 18, 1998.
>>I'd go for a good web presence too, and drop your url anywhere that'll take it. It's worked for me!<< If anyone is interested, I'll be putting together a categorized page of web links for all sorts of things, including musicians, studios, producers, manufacturers, and maybe an independent albums category. If enough people are interested and will email me their link/URL (in the subject line, type "Add my link"), then I will post it when I get that page up. The traffic is definitely picking up around here on the SSS Temp and at 3D Audio Inc. And there's a surprsing amount of international traffic too. Let me know if you think this is a good idea.
-- Lynn Fuston (email@example.com), February 19, 1998.
If someone was writing a book about ways to improve home recordings, what are some topics that you think should be covered? What are questions that you have, and would like answered. These should be questions about recording that would be common to everyone, not specific equipment related questions. Any ideas?
-- Lynn Fuston (firstname.lastname@example.org), March 17, 1998.
I'd want to see something that offered an overview of various kinds of recording equipment with the advantages and disadvantages of each from not only the author, but perhaps several other people. These opinions may be dissenting somewhat, but at least the topic would be well-covered. I think that people are genuinely confused when they are trying to enter into the recording world. The book should cover the advantages/disadvantages of MDMs, HD recorders, computer recording, analog tape of varying sorts, etc. etc. Same with mixers, microphones etc.
This will not help recordings sound better at all, but I just thought I would say that!
What will help recordings better is the second half of the book, or Volume Two! Microphone technique/selection, how to really use a compressor, how to use reverb without swamping everything in a hideous floating miasma of sound, and EQ basics (when to use it, when not to use it, the advantages of cutting vs. boosting, etc.)., how to get sequences/drum programs to sound just a little bit more natural, arrangement basics (ha! now *this* oughtta be interesting!), constant reminders to stop using factory patches on all your sounds (!), and all that fun stuff. And then finally, mixing tips, including how to mix so your drums and bass are actually audible the next day...a list of common microphones and their applications may be a handy little chart for people...
I have all sorts of ideas for books like these and once in a while will get a comment from someone on one of the newsgroups or one of the people who record here that I should write a book about this stuff. However, that is quite an undertaking, and then, who the heck would publish it? They'd probably say, "Who the !&(*(%! is Ken Lee? And what are his credentials?"
-- Ken/Eleven Shadows (ElevenShad@aol.com), March 31, 1998.
Okay? Okay. I've been an ad music guy for quite awhile and whenever I venture outside that realm I feel a bit lost on fees. So what's the range for a creative fee on a piece of music to be used in a corporate presentation? I have to stop thinking that if it's non-broadcast then it's a "demo" ... 'cause corporate/industrial stuff is a different tomato.
-- Angelo Natalie (email@example.com), June 01, 1998.