Out of interest, how many of you guys have got a label release?

spyre said:
I had a track signed (in signature) after I was asked about it by someone from Altosync (Eleventh Sun's label)......... I've still not received the contracted quarterly sales stats or payment from them (it's been about a year now). One to avoid imo!
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I hate to burst your bubble, but 99% of labels are like this. Most sites won't pay the labels until at least £50 of sales on that track have been made. So if it's a mediocre track, chances of them being able to shift what is essentially 50 copies of that one track are slim! So the label hasn't received either!
 
Sphinx187 said:
Its all about quality control and hopefully we can achieve that overtime.
I sense this thread going on a massive tangent ahaha good points all round tho.
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Havent read all of this thread yet so this has probably already been touched upon but anyway...

Quality control is, what I find, has made drum and bass so good to date. The reason I love drum and bass is because it a) Doesn't give a shit about sticking to a certain boundary... if it's 170 - 180bpm (give or take) then its pretty much dnb. Doesnt matter what the drums/bass/vocals/whatever sound like, it's pretty much accepted by the open minded dnb massive as a dnb track. (Dub Phizix - Never Been... a prime example) And b) Up until everyone decided a whimsical label was a good idea, every tune was well publicised, thought out and there was no one releasing pants tunes just because they could... Just seems like now, there are loads of 15 year olds thinking its gonna be a great idea to start a label cos their mate is ok at using Reason. Nahmsayin?

Now this isn't to say digital labels are a bad idea... we have our very own Freek with Blue Cheese and (Monsiour Stix running Rotten Cheese) doing very well... the difference is, they thought shit out, had a business plan... they didn't just sign up for a new account on the beatport and spunked some shitty new anybody track up the wall to the masses.

Quality control. Sit back and think about it. A record label is no different to soundcloud if your tunes are shit. People will demo and just not buy... you've wasted moneys bruvvvvvvvv!
 
Before i started producing and even when i started producing, i had the mentality that getting signed was a good thing, i think this is 95% of peoples view's. A kinda measure of progress/success. I used to listen to alot of tunes and think this is fucking shite, but someone must like it as its signed. This all changed very quickly once i really started to understand the trade.

Now i think getting signed can be a good thing but more times than not its abit of a joke, an ego feed if you like. Fuck knows if i will ever send something to a label myself. Wowever i know that i dont want to send anything other that the best bit of work i could do, and i feel that i couldnt do anything better. None of this mass producted rubbiish!

My 2 cents
 
Mr Fletch said:
I hate to burst your bubble, but 99% of labels are like this. Most sites won't pay the labels until at least £50 of sales on that track have been made. So if it's a mediocre track, chances of them being able to shift what is essentially 50 copies of that one track are slim! So the label hasn't received either!
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Ha, well that's a bummer. I wasn't expecting it to sell much (it was on a compilation release), but then again I don't know cause I was never sent any stats!
 
IV4 said:
Oh yea.... Well then how did doctor p become so famous?
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Or all the millions and millions of "dubstep artists" who just started and went with the "filth" wave?

BTW had a good laugh at neddez's gif lol
 
There does seem to be a lack of quality control now everyone and his dog has a digital label, so the idea of getting signed isn't really that exciting anymore. I think for me, having a vinyl release on a label would be a good indication of being a successful producer.
 
Why Is is with alot of underground electronic music that the record label has all the front? We're all aware of what label the more popular DnB producers are affiliated with and I can see the point of getting a good reputation and having access to quality studiofacilities...but I guess my question is what is the point in getting signed to smaller lables where..not much cash is available( if any) to help out the producers, lack of facilities etc etc.. It may seem abit uncoordinated but surely it would be a lot more cost effective if everyone was independent some how and rely on your own production work to get sales about. The only postive I can see with minor label is someone can promote your music without any individual effort. Another point is that commercial billion dollar companies have plenty of cash to inject into their soulless top of the pops performers to see a tidy guaranteed return and I bet not alot of people can't state what label Girls Aloud or Madonna are with.Maybe I'm being niave about this disscussion as I have no exprience but unless you get signed to labels who are known whats the point?....unless your doing it for the sheer love of course ;).. which is probably most important!
 
ive got a few bits signed, heres a selection


forthcoming on direct recordings


out now on phucked recordings


out now on mutation audio

Its all pretty new to me, im just having a good time putting my music out tbh
 
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