content label ( record label )
technical issues - have releases from our content provider. following up with content team .
urltoken 4 releases here. will follow up with content team to identify missing content .
technical issues - cannot find in our content provider catalog. following up with content team .
the content (l) abel is a los angeles project - based record label and collective. as the logo illustrates, over the years
technical issue - we have content, but not showing up in search. urltoken
technical issue - we have content, but not showing up in search. urltoken
when negotiating a record deal, always inquire about the label’s marketing efforts – for social media, online and offline press and radio .
the artist will also have to warrant that they haven' t breached copyright in another person' s work in making their record. the label should be notified of any uncleared samples and all session musician consents must be obtained before the label will accept the record .
es are not responsible for the content of any other websites that are linked from here. so there .
the job of a record label is to represent and exploit sound recordings. these are also known as master recordings, or masters in short .
1987: markus staiger founds nuclear blast in his hometown of donzdorf. the first record released on the label is the compilation _ senseless deat _ h .
this concludes the third episode of the understanding the music industry. in our next episode we will go in - depth about record label deals and agreements .
there are other ways to get content onto these services and labels need guidance on which route might be right for them .
“dancephonic… another distribution service who has blatantly copied all content from our website and pdf’s. innovators? we think not! ”
physical distribution. they have partnered with alliance entertainment, super d and amazon to get your cd / record in record stores around the world. you must apply for this feature .
he is also the author of the newly published book the complete guide to starting a record company, a primer that takes readers by the hand and guides them through the many steps involved in building an independent record label. it’s available exclusively at urltoken .
there are labels missing from the table below. there are still many that we will need to follow up on status of with our content provider, content team and technical team. others we might not have content for. please have patience as we continue to collect feedback and spot check these. we are also working towards a better way to collect & prioritize feedback .
artists are paid royalties based on record sales. in a typical major - label deal, the artist will earn somewhere between 14 and 18 percent of the record' s dealer price (ppd) which may be between £6. 50 and £8. 50 .
@ dancephonic another distribution service who has blatantly copied all content from our website and pdf’s. innovators? we think not! !
when it’s out: tbd, but definitely this year because his record label is doing that
release an ep first then use feedback to shape the lp
thing .
when it’s out: in the spring. the record will make its live debut in july .
urltoken 59, 99eur monthly for 100% of royalties for your label in the main stores worldwide (include beatport). more than 2150 label choose waxtone. non annual payment for release or track, 100% right for label .
important  easily the most important release in the recent history of the music business  are its record label and its retail price: there is none, and there is none .
album
brothers
to record the song, and he made a fantastic job of it .
pluggers operate either independently or are employees of record labels (in the radio department) or pr agencies. the majors labels always have a one or multiple pluggers servicing radio within a given territory, who push their current high - priority content .
what chrismaslin said. i, too, was wondering where ellen allien' s new release was after bpitch control' s content got restored .
professional record labels have deals with distribution companies that send their records to stores, whether physical or digital .
our label is based out of hungary and we are currently available on stores such as: itunes, junodownload, audiojelly, etc. . our content is delivered to stores worldwide by a popular distributor that currently works with hundreds of labels (symphonic distribution). in addition to our established content delivery methods, we have a marketing plan that we use to promote our releases .
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the big change is this: control over the distribution of content has shifted from a selected few, to everyone. the death of the gatekeepers .
a label’s distribution deal has a lot of impact on the deals they can offer artists .
in turn, the distribution commission (percentage or flat - fee) reduces the income an artist will receive. and time needed for a distributor to deliver content to stores determines how long in advance a label will need to receive final masters .
the artist should aim to secure a positive release commitment from the label (at least in the uk), coupled with a minimum marketing spend to support the release. should the label fail to release your record, you should be able to terminate the deal, and / or buy back your recordings, so they can be licensed to another label, or perhaps self - released .
name and likeness: the artist should consent to the record label using his or her name and likeness in connection with the promotion of records only. make sure you reserve all other uses of your likeness — for example, in merchandising, which is potentially a very lucrative area and entirely separate from the record deal .
with good music, grit and an understanding of the internet, anyone can build a core audience of superfans to sustain one - self, or to leverage for deals and get signed to a record label .
it' s important not to allow the record company to recoup from the artist' s royalty - income advances paid to the producer. in the uk, producer advances are the responsibility of the label .
good publicists know how to deliver clean press releases, submit content for review feature far in advance and are punctual and detailed about providing ‘premiere’ and ‘exclusive’ opportunities .
. most of the artists on this record come from the us rock music direction. brian' s contribution here is
if you’re looking to get signed with a record label, the a & r is the person you should reach out to. find out who they are. build relationships. only pitch the best of your material .
humming records is a berlin based independent label run by peter krahlisch, colin lovrinovic and joerg peters .
* their slogan is “become major” which is misleading as every musician equates “major” with “major label. ”
the contract should anticipate scenarios that could give the parties the right to terminate the agreement. there should be safeguards where the label goes into liquidation, or fails to release the record, or where either side is in breach of contract .
the artist will have to promise the label that they will perform their duties to the best of their ability, and that they are free to enter the agreement — ie. not currently signed to another record label. more specifically, they' ll have to promise to attend interviews and undertake personal appearances and all other reasonable promotional duties. costs incurred in connection with the latter (for example, travel and accommodation) should be borne by the label .
another protection the label will ask for is a re - record restriction. this prevents the artist from re - recording their music on another label for a certain number of years following expiry of the contract. any restriction you agree should apply for a maximum of five years following the end of the contract, and should only ever cover records actually released .
in order to raise the profile of a release, the artist will have to undertake some domestic and international promotional work. in the event that you don' t follow in the footsteps of sandi thom, by webcasting your' tour' from the comfort of your living room, the record company will deploy an army of radio, press, and new media marketeers to talk up your record. the considerable cost this may incur should not be recoupable from artist royalties. after all, the record label benefits whenever the record sells, and promotion is a reasonable overhead of their business. and, of course, with a likely earnings ratio of 3: 1 in the label' s favour, they' re going to break even a lot quicker than any artist can recoup .
an a & r is the person that works at a label and is responsible for communicating and signing new acts, developing them and their music until they are ready to be marketed, and initiating their involvement with the label .
these are not record labels. these are not label deals. even though some of them offer
label services
they don' t own anything. these companies are just providing services. you retain 100% of your rights no matter who you use. even if they take a commission, it' s just from your revenue. no ownership. none. capiche ?
all retailers want to know who the label is. if you don’t list one, the retailer will most likely default to the distributor name or the artist name. to have control over this create your own label name when distributing .
song selection: this relates to the choice of songs you record and the order in which they will be released — ie. singles, eps, albums, b - sides, bonus tracks, greatest hits, and so on. manufactured acts will generally lack control over this area and instead will have to record the songs their manager or label boss decides for them. bands who write their own material are signed precisely because the label has shown faith in their abilities. it therefore becomes easier to influence decisions around songs .
recording contracts are legally binding agreements, enabling record companies to exploit an artist' s performance in a sound recording, in return for royalty payments .
creating a label, operationally, can be cumbersome, especially when it comes to distribution. for noon pacific, a simple, easy method of distributing content and sharing data and earnings with collaborators was imperative to the success of its label. when looking for a distributor, it became clear that not many were optimized for a high volume of single releases, and none could help to automate the manual accounting process that comes from splitting royalty payments .
international label and collective chopstick dubplate perform live original soundsystem music for all the subwoofer massive and crew right round the world .
they can’t. that’s why i left them out. you have to apply to the orchard (as a label) .
our label uses waxtone and is very good, all the information (relase, accounting, sales), is accessible at any time and your customer service is very fast and have a help center support in 2 languages (english – spanish), our label has gone through several distributors but we got to waxtone recommended by another label and was our best choice .
surely you have heard the term of ‘ label a & r ‘. it stands for ‘ artist and repertoire ‘ .
their job is to take a record to the program makers or show - hosts and to pitch them on playing the track. it’s all based on the plugger’s reputation and relationships. the end goal is to get a track put in rotation – meaning that a record is getting consistent spin (play) .
audio1 is an established dj and producer from the san francisco bay area. whether its nationwide syndicated mix shows, curating exclusive content for direct music service or club / festival dj appearances, this man is everywhere .
in other words, things you should know when you’re looking to get signed by a label or are currently negotiating a deal .
what if the a & r guy who signs you leaves the label, or the md who' s a big fan of your music is suddenly fired? in this situation you might be glad you' d negotiated a key - man clause in your contract, allowing you to leave the label as well. this would enable you to sign a new record deal elsewhere and avoid being left on the shelf .
if the record company does go into liquidation, you should be able to terminate the agreement and get the rights in your recordings back. otherwise your copyrights could become the property of third - party creditors fighting over the remains of the now - defunct label. a similar provision, but much harder to obtain, is to allow the artist the right of termination where the label is sold, merged, or taken over. don' t forget: the label is still obliged to continuing paying the artist on all recordings sold, even after termination .
believe digital is a fraud. they claim most of the copyrighted content from africa on youtube and pockets the google ad proceeds without paying african content creators. one can view their public french profile and they only have a share capital of 222 860 euros or $ 293, 990 and they haven’t filed a public financial report since 2008. a petition is filed at the white house to sanction them for appropriating royalties from the congo. see urltoken
believe digital is a joke. they claim most of the copyrighted content from africa on youtube and pockets the google ad proceeds without paying african content creators. one can view their public french profile and they only have a share capital of 222 860 euros or $ 293, 990 and they haven’t filed a public financial report since 2008. a petition is filed at the white house to sanction them for appropriating royalties from the congo. see urltoken
is bgo the name of a label? in any case, i' ll certainly add ronin rhythm records to the master list .
labelpush is a good option, distribution, promotion, accounting solution and demo service for your label for free! for commission option .
this leads to two types of intellectual property, called music copyrights. one for the song, another for the sound recording. the song is typically represented by a publisher, whereas the sound recording is represented by a record label. for a better understanding, read my guide on music copyright .
c) the gaps. many labels are
back
, but they seem like their content is fairly limited. you mentioned fat possum above. but as far as i can tell, their content at emusic ends at about 2012, with nothing more recent. i also mentioned cherry red in another post, observing the opposite problem: only a few 2017 releases. i could also mention domino (missing austra), scat and american laundromat being back, but with big gaps in their content. what' s going on here? is there a time table to get their full catalogs back, or did these labels only make a limited offering available to emusic ?
routenote was one of the first distributors to partner with soundcloud. they have a small record label and management services. routenote moderates the data and if they see songs that are starting to catch they will target tastemakers and playlist editors. “artists don’t typically know that they are being pushed” steve told me .
there are a number of books on the subject as well as a great deal of software to assist you. a google search for “business plans” revealed hundreds of web sites on the subject, many with sample plans and outlines. if you decide to purchase business plan writing software, be sure it conforms to your unique label and what you want to achieve with it. not all “canned” plans will work for the record industry, in fact probably very few will. make use of the ideas and formats, not the content .
read on to learn more about noon pacific’s approach to music curation and how stem’s technology enabled them to pursue a singles - only label .
it sounds cool though, i just wonder how they can get all the licenses, because sometimes, the label asks for crazy prices .
care should be taken not to allow the label to recoup advances paid to leaving members for solo releases against the remaining members' royalties .
1997: hammerfall become the label’s first power metal success story when their debut album, glory to the brave, reaches the german top 40 .
also just noticed that there are only 9 albums available from the dronarivm label... would love to have all the rest up there !
the name wobblyhead embodies what the record label is all about .
the term implies something a little off kilter, something' s that' s a little bit surreal or psychedelic ,
says baumann. to moore ,
it' s vague, open - ended, and it rolls off the tongue well .
- a rare piece cd, being only 2000 released by amhurst records for rock record collectors club. a compilation of tracks from various artist. brian' s contribution here was
2013: the label dips its toes into the world of retro rock with devil man, the second ep from swedish psych - rockers blues pills .
success in starting a label is not guaranteed, but if you keep the costs under control, there’s little to lose, but much to gain .
. there' s no label or distribution partner to cut into the band' s profits  but then there may not be any profits. drop
in the case of a group signed to a label, usually the company will reserve the right to terminate the contract should a key member of the band decide to leave. the label may also try to obtain a clause allowing them to sign any leaving member as a solo artist — and if the group break up before releasing a record, but after spending their advance, they' ll probably be sued for breach of contract and return of the monies they' ve received !
why we’re psyched :
nelly
was low - key incredible. his whole last record was low - key incredible .
low - key incredible
seems to be his thing .
music publicists and pr (public relations) agencies are responsible for generating press, both online and offline. they do this for record labels, artists, event promoters and venue owners .
technologies such as peer - to - peer file sharing, torrents and sites such as youtube and soundcloud reinvented how media was shared and distributed, including music. it made the distribution of content more efficient – but also reduced the demand for physical products .
- this probably a bootleg tape, where brian is found on a cassette tape which is predominantly the georgia satellites, but has 6 tracks from the
brothers
album tucked on the end. the tape cover came trimmed with only track listing and a picture of georgia satellites. the tape is produced by team records (catalogue number t3910) and has zero information about the either artists or the record label. having searched the internet for the label has come up with no additional information .
a) i don' t know much about no one buys records, apart from the fact that this is the label that garfunkel & oates released their music on. whenever i looked up their stuff on the old emusic site, that was the label that was listed. could be a vanity label? (a duckduckgo search brought me to the ever reliable discogs, and this link. indeed, there are only garfunkel & oates releases here. urltoken )
city slang is available in the uk. 4ad / beggars / matador / rough trade went a few years ago. city slang is an excellent label .
8 years ago a group of friends started the label humming records to help share great music with the world - today... urltoken 1 year ago
in this third part we will expand on the different types of record labels, the role of a & rs, distribution deals and music promotion (via radio pluggers and pr agencies) .
plugging a record to radio in the hopes it will be put in constant rotation, securing coverage on music blogs and magazines, feature placements on itunes and spotify… all ways to generate exposure .
touring can be expensive, especially if you like to be as over the top as legendary rockers iron maiden. if you go on tour to promote a record release, don' t forget that the cost of tour support will be recouped by the label from your royalty, so it' s a good idea to cap what can be spent .
tour support paid by the label to get the artist on the road is recoupable, so it' s best to agree a limit on spend for obvious reasons .
when negotiating a record deal for a track that has radio potential, always have the label clarify their radio marketing efforts. if dealing with majors, have them add a clause that guarantees plugging efforts, for each market. with independents, if they do not have an internal plugger, ask for a budget that may be allocated to a mutually approved independent radio plugger .
you' ve written and recorded your demo, you' ve played some great gigs, and you can now boast a multitude of myspace friends, from watford to wichita and back again. a & r guys are falling over themselves to get to you and there' s now a major - label record deal on the table. what do you do? sign ?
a well - negotiated deal will ensure that the artist is entitled to a 50: 50 share of any secondary income earned by the label. this could be in the form of advances paid by overseas labels licensing your record, income from compilations, or sync fees that are paid when a sound recording is used in a film or tv commercial or on a computer game .
it is possible for one person to write a song (also known as a composition, or a work), while another performs and records it. or the same person could both write and record it .
even though volume cd packaging these days is cheap, record companies typically make a royalty deduction of 20 to 25 percent deduction for it — which might look like a bit of a rip - off ...
also bear in mind that the document will vary depending on the type and size of record company you want to build. for example, if you’re not planning to seek outside funding, it’ll primarily be used as your road map and can be fairly brief. however, if you’re planning to raise money from family, friends, or independent investors for a somewhat more substantial label, it’ll need to reflect more of the business and mechanical aspects of the label’s operation. finally, if you need to raise substantial capital, it’ll have to be considerably more comprehensive .
there are several positions the artist can adopt in relation to creative control. firstly, they can attempt to negotiate varying degrees of creative control in relation to each issue. alternatively, they can seek to obtain a right of consultation across the board, where the label must seek their opinion before acting, but can ultimately ignore their wishes. finally — and by far the best outcome for the artist — they can seek to negotiate a right of approval. this would mean that the label couldn' t make a creative decision without the artist' s permission. however, note that where the artist is dropped by the record company, or their contract has expired, the label can make all manner of creative decisions without the artist' s approval .
the thing i was most excited about after my call with mike were the opportunities they make available for their artists. like festival, label, playlist, radio and audition submission opportunities .
mixnauten is a joke, work with them only 2 months and i went to label worx. work using the system from another distributor that asks them 30% commission, this is not informed to the labels, offering 400 stores in your web and service only delivery to 40 stores, it’s just one label and its “customers” are…. . sublabels. a big lie .
in reality, most' deductions' are artificial and in no way reflect the true cost to the label. packaging on cds manufactured in volume is cheap. similarly, as more records are sold through digital channels, a reserve for breakages and the allocation of free digital goods ceases to make any sense at all, other than to boost the label' s profits .
in this lawsuit, the record labels sued online video site vimeo, alleging that dozens of sound recordings were infringed in videos posted on the site. a ruling from a district court judge earlier this year found vimeo could be responsible for copyright infringement, and in doing so imposed new, impossibly high standards for websites hosting user - generated content. in an amicus brief filed wednesday, eff argues that the decision undermines the safe harbors created by the digital millennium copyright act (dmca), and the innovation and expression those safe harbors make possible .
this fee is totally justified when you get consistent play. the exposure drives sales, increases an artist’s profile and leads to public performance royalties for the songwriters (collected via prs’ like ascap) and for the recording artists and record label (collected via prs’ like soundexchange, almost everywhere in the world except for the usa, where radio / tv do not have to pay master - right holders for using their records) .
more generous advances should be negotiated for the exercise of successive options — ie. when the next album becomes due — irrespective of whether previous advances have been recouped. recoupment is a process by which the label will first recover the advance against any artist royalty income. care should be taken to remove any wording stating that an advance is repayable. this would have the effect of turning it into a personal debt, which you could be liable for at any time. you should only ever have to repay advances where your record sales generate sufficient royalties to cover them. failing that, the label bears the loss .
inevitably, there have been plenty of failures, too. gerardo names virginia death metallers arsis as one of the label’s biggest disappointments. “they had so much potential but they basically self - destructed, ” he says. similarly, there have been those bands who slipped through the net; gerardo says current nb mainstays lamb of god received knockbacks from the label early in their career .
onerpm is moving away from a diy focused business and is focusing more on label / distribution deals ‘signing’ artists. 95% of their business are from artists they sign or labels they represent .
i worked 11 years whit different distributor: symphonic: good amadea: release contract hold 12 months, not good. label worx: excellent (dasboard and professional service) kzv: 60% comission for the label, not good. believe: good. waxtone: excellent (dashboard very simple, fully transparent, audio player promotion service is amazing) feyr: horrible ditto: good
now that is interesting. so could the issue here be less about the actual rights to the content and more about whether emusic' s site is able to plug into a given distribution network? i did, by the way, check on mexican summer' s sister labels, and at least here in the us, we don' t seem to have any of them currently. the irony of all this is that almost all the mexican summer content i currently own originally all came from emusic - that is, before the changeover to the new site. in any case, i' ll go and update the master list above .
what we know: hopelessness was co - produced by glitch - king oneohtrix point never and hudson mohawke, master of the glittering drop. it’s the first record by the former antony as anohni, which she says will be her performing name going forth. in an interview with a fan site, she called it
a dance / experimental electronic record with quite a dark thematic undertow ,
and it is
as different as could be
from her previous work .
record sales plummeted and the industry lost millions. the recording industry association of america (riaa) started a whole series of lawsuits against companies such as napster, kazaa and morpheus – even suing thousands of people that downloaded a few songs .
other rights the label will wish to acquire include rights in the album artwork and the right to use the artist' s name and likeness in connection with the sale and promotion of the records .
these are sums of money paid to the artist on account of future royalties. they' re paid when the artist signs to the label, and again as and when further options are exercised .
some independent artists have territory specific record deals and cannot distribute their album independently in certain territories (like a deal with universal uk – not us). it’s important to have this flexibility. you never know what lies ahead for your career .
in the rest of this article i will outline the role and function of record labels, a & rs, music distributors, radio pluggers and publicists. because as you better understand this framework, it’ll be easier to win at the game .
while many are content to stream your music, a vocal minority of hardcore fans still demand high - quality download formats like flac and apple lossless. we make it easy to keep them happy: you upload a single lossless file (wav, aiff or flac) and we lovingly convert it to every conceivable format under the sun .
with symphonic recently, your report helped me choose but also done my own research. working with a label that distributes through them, so costs me nothing at all and the label take a% as normal. notice quite a few small labels working well like this but this is my first release in this way so only time will tell. check out ratrace – fidget btw, out now everywhere 😉
overall, you might only get paid on 90 percent of actual sales, since retailers are able to return records they don' t sell. the record label therefore holds on to a portion of your royalties, usually 10 percent, as a reserve, until all sales are verified. you must make sure that this reserve will be liquidated (paid out) at regular intervals, and that the artist (you) receives their entitlement in full .
from my experience, slight a & r involvement is always beneficial. guaranteeing a certain standard of quality within the arrangement, mix and master of a record. and to help artists find artistic direction if they’re lost on a track or visual branding .
by submitting my information above, i acknowledge that i have reviewed and agreed to the privacy policy and terms of use, and i agree to receive updates and marketing messages from time to time from [ artist ] and [ its / his / her ] record label. for sms messages, i understand that message and data rates may apply, and that i may receive up to 2 sms messages per week from [ artist ]' s mailing list .
so once you’ve got your first recorded project, how will you go about selling it? other than raising start - up funds, this is probably the most difficult and critical part of establishing a label .
under most exclusive recording contracts, the artist will assign copyright in the sound recordings to the record company. an assignment is a transfer of ownership for the full life of copyright. in the case of sound recordings this will be 50 years from release .
by submitting my information above, i acknowledge that i have reviewed and agreed to the privacy policy and terms of use, and i agree to receive updates and marketing messages from time to time from [ artist name ] and [ its / his / her ] record label. for sms messages, i understand that message and data rates may apply, and that i may receive up to 2 sms messages per week from [ artist name ]' s mailing list .
what we know: painting with is anco’s first record since 2012’s centipede hz, and their first that wasn’t worked out in concert. it was recorded without josh
deakin
gibbs, and is heavily influenced by early beatles, early ramones, and dinosaurs .
however, in this age of do - it - yourself, now is a great time to consider starting your own label. the cost of entry is comparatively modest, and the process is not too complicated .
label: jungle cat, satta sounds style: jungle / ragga - jungle / clash / hip hop started: 2002 dub - liner brings the fire with high energy mixing, heavy jungle selection and dubplates galore .
label worx is a good company but too demanding for the new labels, on the one hand it’s good, but maybe for emerging labels they should be a little more open to passing some of their requirements .
those were the days when music was played from vinyl discs and cassette tapes, and when the discovery of music was limited to listening to the radio, going to a venue to see a live - show or by browsing your favorite section in the record store .
radiohead’s a moon shaped pool and blood orange’s freetown sound have been cited two times and agnes obel’s citizen of glass three times. brussels - based label [ pias ] has two nominees: dubioza kolektiv and agnes obel .
members: johnny o label affiliations: mashed youths, unjustified, hibiki, off me nut, junglinskiy their
clip & carbine ragga jungle sample pack
and
gunshot dubwise sample pack
influences many jungle producers .
although the thought of large advances may get you excited, they come at a price. often, if the advance is large there' ll be more pressure on an artist to succeed immediately. then if the first record is a flop the label may cut its losses and simply' drop' you. if you' re after a little more stability and you truly believe in yourself, you should probably opt for a smaller advance and instead aim to secure a higher royalty rate .
i' d also like to add ronin rhythm records to the inquiry queue. there were a couple of their items i managed to add to my wishlist before the label disappeared, and in fact i can still click from there and load the album pages, even though they' re not for sale. if it' s not too tricky to code, is it possible to gray out wishlist items or label which ones are unavailable ?
hi all, we are currently collecting feedback and aiming to get back soon with updates for the other mentions in this thread. i unfortunately can' t give an expected date as to when we' ll have those updates (ideally within next 2 weeks) but ask for & appreciate your patience as we continue to check the status with our content and technical team .
i would like you to conduct this study on catapult distribution. this is the company that i currently use and i really like them. but, i would love to see how they compare to the above companies. i also use mondo and i feel the same way about their website it sucks…. . i only really want the register my record label but what that actually did or what they registered my company with, i have no ideal. email me when you complete this comparison at
this much is true. a few hours earlier, hammer bumped into marcus at our shared hotel. before introductions had been properly made, he was already playing a song on his iphone by new us band sink the ship, one of the latest signings to sharptone, an nb offshoot label that focuses on rock and alternative music (another subsidiary label, arising empire, is home to up - and - coming metalcore and punk bands) .
here’s a full overview of the series: 1. understanding the music industry: artist managers and booking agents 2. understanding the music industry: music publishers, syncs and licensing 3. understanding the music industry: record labels, a & rs, distribution, pluggers and pr
two issues are of particular concern here. firstly, even unreleased recordings remain the property of the label for the artist' s entire career. and secondly, even once the artist has repaid all recording costs, the label will still own the masters. this was one of the reasons why mick hucknall decided to part company with warner music in early 2000, claiming that his deal was' immoral'. warner made approximately £192m from the relationship, and kept all the masters, whereas mick earned a paltry £20m! hucknall has since taken control of his destiny, along with a greater share of the profits, releasing music on his self - financed label, simplyred. com .
san francisco - the electronic frontier foundation (eff) and a coalition of advocacy groups have asked a federal appeals court to block record labels' attempt to thwart federal law in capitol v. vimeo —a case that could jeopardize free speech and innovation and the sites that host both .
when it’s out: any day now, possibly. he’s hinted that he’s made finishing the record a top priority, but his first deadline—january 6, to coincide with the album title—came and went. here is a photo on instagram showing us drake’s earnest commitment to album - finishing .
why we’re psyched: monastic living was terrible, but it felt designed to be, something to clear the room of the unfaithful. well, they can’t fend us off: we’re still excited about the prospect of a new record from the wittiest and most passionate indie rock band going .
krinjah started producing in 1995 helped to kick - off the ragga - jungle revival with ragga jungle releases like the “burial”, “angel” and “bam bam” remixes. krinjah has releases on king kong sound, hand grenade, junglexpeditions, cause and effect, tiger tech and too dutty record labels .
distribution of digital music hardly imposes costs at scale. a track uploaded to spotify or itunes can be consumed continuously without more effort on the label’s behalf. the only cost imposed is the one charged by the store for extra use .
before they' ll see any money, the artist will have to recoup the recording costs, advances, and usually 50 percent of all video costs. the label will make additional deductions, reducing the real royalty rate still further .
final grumble that i hope will be fed back to the decision makers - this is not an improvement on the old emusic, it' s a step back and will cost you customers unless you sort the content out. speaking for myself personally, i' ve been spending money on a lot of music lately on music that i would have previously been able to get from my emusic subscription .
“partners receiving releases from symphonic”…” i read it as two entities in the process: symphonic and their partne, r who is releasing music through symphonic. in other words, it’s symphonic and you (the artist or label). if you, bobby brown, wanted to use symphonic to get your music out there then you’d be considered the “partner”. so if “partner” means you the artist and “partners…modify a genre, label or artist name, release name, and / or anything else relating to the release if they feel the need to do so”, then symphonic would be giving bobby brown the creative control to change the genre, label, or artist name, release name, or whatever else he wants to change .
why we’re psyched: hynes—from his days in test icicles, to the solo lightspeed champion, to his two albums as blood orange—only gets better. he’s honed his chops writing for others, too, and we’re hoping this record contains the political anthems as jammy as he can be at his best .
a recording contract might seem like the holy grail, but record labels are not charity concerns and their contracts are not set up with your interests in mind. our guide to contract terms, written by an entertainment lawyer, explains what it all means and what the implications are for the artist .
2004: nightwish’s once becomes the biggest - selling album released by nuclear blast. dimmu borgir become the first black metal band to play on the us ozzfest tour, helping to properly establish the label as a force on the us metal scene .
eso es falso, dancephonic no tiene acceso a baseware de beatport porque no trabaja “directo” con las tiendas. las imagenes las puede manipular cualquiera con photoshop. tipica venganza de label despedido por derechos de autor o porque esperaban mas ventas de musica basura. — that is false, dancephonic not have access to beatport baseware because it does not work “direct” with stores. the images can manipulate anyone with photoshop. tipical label revenge fired by copyright or because they expected more sales of its garbage music .
hola amigos creo que me encuentro en la misma situacion de indiferencia con dancephonic distribution, el tal enrique molina no responde los correos y no resuelve mis dudas respecto al servicio, me gustaria juntarme con varias label y hacer un reclamo por el servicio .
hey ari, i really enjoyed your article. i am starting a label and the amount of buzz you created through the responses as well as your original research jettisoned my research so much more. now i am following your blog. keep it up .
at issue in capitol v. vimeo are videos that vimeo employees viewed or interacted with, as well as pre - 1972 sound recordings, which receive different copyright protection than post - 1972 works. essentially, the decision would seem to offer service providers an impossible choice: scour the website for any content that anyone could argue might include pre - 1972 audio and thereby potentially lose safe harbor protections, or risk expensive copyright litigation .
that search changed after sealey, who led three six zero group’s investment in stem, introduced dinnison to stem co - founder, tim luckow. stem’s ability to directly distribute to streaming platforms and enable automated splits among collaborators led noon pacific to become one of the first record labels to utilize stem’s technology to power its business :
our label has been with ditto music for 2 years now. their flat annual fee is great but don’t expect much else. we have requested the take - down of our whole catalogue since august 2015. 7 months gone by and our tracks still show up on half the stores. we have made numerous calls and sent many emails and nothing. also our last release took 3 weeks to go on itunes. honestly guys stay away from ditto music. we are currently dealing with label worx. fantastic and speedy customer service .
and don’t be afraid that someone’s going to steal your ideas. other than talent, not much new has happened in the last few decades in regard to how record companies operate. so you’re unlikely to be ripped off by showing your business plan to interested parties. chances are nothing you’ve come up with will be enormously revolutionary .
this is a trend that is happening across content. it includes the theft of writing, photography, other visual art, video and music. it seems the only option is to perform your music, give it to college and other forms of radio, and sell your own product. i’m thinking one sacrificial lamb of a great song to streaming just for the promotion, even though if your best songs get the most play, you’ll never see a dime .
they are usually hired per - territory, with a label or management working with different agencies in north america, europe, australia / new zealand and asia. for very specific campaigns, they are hired per country (one in the netherlands, another in france etc) .
i' ll add rounder to my list of awol labels above. but as for new west, we seem to have it? i see some hip hop performer named mooky listed. is that the label you had in mind, or is this just a similarly named outfit ?
packages. for $ 19. 95 a month they offer a mailing list service (up to 10, 000 subscribers), free song downloads, the ability to submit to opportunities such as tv placements, label submissions and festival slots, and distribution of 2 releases per year .
what we know: the gary, ind. - based artist broke out with last year’s universally acclaimed dark energy. she made the record between shifts at a steel mill: as she told pitchfork last spring ,
this album took my entire life to make .
now there is a follow - up, already due on hyperdub this year .
you’ll also want to secure a domain name, whether it’s your own name of the name of the label, which might be preferable. you can check availability of the preferred name by doing a “whois” search. then go to an internet registrar with whom you can register the name .
are you sure, plastic? i distribute through mixnauten from last february (directly without label … it’s possible with this company). mixnauten, in my experience, is the best distribution company i’ve ever worked i cannot tell you anything abiut dancephonic, because i do not know it
the content ( l ) abel is a los angeles based independent record label and collective . it was formed in 2004 by music producer dday one . 
the content (l) abel is a los angeles based independent record label and collective. it was formed in 2004 by music producer dday one.
the content (l) abel is a los angeles based independent record label and collective. it was formed in 2004 by music producer dday one.