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efence wrote:

fragments wrote:

Crimsonghost wrote:

fragments wrote:

Crimsonghost wrote:No. Not from my own stuff anyway. I'd love to actually work in a studio recording live audio. I don't have any interest in going to a club to see or play live music or a dj. I'm more more into the mixing and production side of things.

I'm thinking of using my free credit hours to begin taking classes in the studio recording program at one of the Unis I'm an adjunct at.

Couldn't hurt, right? Hell, I've been thinking of taking a recording class at the community college. Every little bit of knowledge helps.

I figure it'll either help me confirm what I've been doing is good or give me new ideas. I wouldn't look at either of these as bad thing.

Problem is it's one of those "closed" programs where you can't just pick and choose classes and you have to be in the program to take them. I talked to the director before about auditing (no grade, can't get degree) the classes. He didn't seem stoked.

Go to small underground show, throw it out their that you will engineer or assist engineer for free. People like free. I've engineered a couple albums on the recording side. They almost always hired for mixing but it was still good times to work at the desk.

Yea, good thinking! I've been throwing offers around to all kinds of people since I posted that. I did find an online acquaintance who makes industrial (?) who got fed up mixing a track and sent me the stems so I can have a go mixing them for him.

I'm also going to be doing some dubs of some other folks tunes for a Creative Commons project I'm working on.

No I don't, pretty much boils down to me not being confident enough to send my music around

Nah I'm content just making tunes and spinning in my bedroom, I'd love to get a tune played by someone one day but that's the height of my ambition.

It depends on how each of us define the term "make it"

If making it means fame, money, women, etc, I pretty sure majority of us will not fall under the "make it" bracket. But if you consider "making it" simply enjoying the art of creating music, then at the risk of sounding like an after school special, you've already made it

Music is subjective, two people can release the exact same track but one get more attention due to the fact the they're an already established artist. My point being that, you can stay in your basement working 24 hours a day making music but unless you network and get yourself out there to build a reputation, image or fan base, you'll probably sit on hundreds of half or quarter done tracks. Furthermore, you probably won't ever find the motivation to finish the track (Excitement/enthusiasm seems to deteriorates rapidly and it's hard to get in the same mind set when you first came up with the idea).

Again, if you fall under the group of people that measures success via fame, money and bitches, creating music is only a wheel (a big wheel but nonetheless a wheel) in a big machine, which we call our musical career and a lot will depend on how you market yourself and how motivated you are to stay grinding. I think some of us give up not knowing how close we are to succeeding because let's face it, as we grow older and take on more than just school and drunken weekends, it's hard to stay motivated and focused.

My opinion is, stay motivated, keep getting out there to shows, join forums, send cd, just immerse yourself with the whole culture or genre you're producing. This is a lot more effective than sitting at home organizing your sample set for the millionth time or falling into the same old habits that get you stuck at the exact same spot when making tracks.

"Making It" is subjective - not only artistically, but even financially... very few people who make a lot of money at it, make the same amount of money over a long period of time.

That is why diversification in how one makes their career in music is so important. Case and point: Joker is doing quite well - and has done so for a few years... but will he be still commanding the same fees in 10 years? Who knows what the landscape is going to look like in 2023. I can tell you things were very different in terms of who & what was making money in 2003... That is just a 20 year spread, which is a long career as a club musician - but not even half the years of a person's working life (if retiring at 65). Even less significant considering most musicians don't retire at 65.


So say you 'make it' and make a lot of money spinning in clubs for 10 - 15 years, what will you do then?

Mad EP wrote:So say you 'make it' and make a lot of money spinning in clubs for 10 - 15 years, what will you do then?

Start a record label

Benji wrote:

Mad EP wrote:So say you 'make it' and make a lot of money spinning in clubs for 10 - 15 years, what will you do then?

Start a record label

you say that like its an easy thing

ehbrums1 wrote:

Benji wrote:

Mad EP wrote:So say you 'make it' and make a lot of money spinning in clubs for 10 - 15 years, what will you do then?

Start a record label

you say that like its an easy thing

Yeah it's probably a pain in the arse, but it seems to be a legitimate option. Especially if you've been in the scene for long enough and have the contacts

Benji wrote:

ehbrums1 wrote:

Benji wrote:

Mad EP wrote:So say you 'make it' and make a lot of money spinning in clubs for 10 - 15 years, what will you do then?

Start a record label

you say that like its an easy thing

Yeah it's probably a pain in the arse, but it seems to be a legitimate option. Especially if you've been in the scene for long enough and have the contacts

Again - maybe for 5 - 10 years, if you are extremely successful (and lucky)... but even influential labels have a hard time making it beyond 5 - 10 years, and even then, the first few years aren't making any real money.

Being an artist with contacts doesn't automatically help you with distribution or manufacturing contacts. One of the greatest underestimated difficulties in music is how hard setting up & running a profitable record label. It is one thing to press up a few runs of 12"s... maybe get some good press/hype, sell enough to cover costs for the next run, etc. Maybe even pocket a lil cash after several releases.

But there is a HUGE world of difference taking it from that level to having it be profitable & stable enough to support yourself and your family for 10-20 years.

Mad EP wrote:Again - maybe for 5 - 10 years, if you are extremely successful (and lucky)... but even influential labels have a hard time making it beyond 5 - 10 years, and even then, the first few years aren't making any real money.

Being an artist with contacts doesn't automatically help you with distribution or manufacturing contacts. One of the greatest underestimated difficulties in music is how hard setting up & running a profitable record label. It is one thing to press up a few runs of 12"s... maybe get some good press/hype, sell enough to cover costs for the next run, etc. Maybe even pocket a lil cash after several releases.

But there is a HUGE world of difference taking it from that level to having it be profitable & stable enough to support yourself and your family for 10-20 years.

Why are you so negative? You won't get anywhere with that attitude

I think you're confusing negative with realistic

ehbrums1 wrote:I think you're confusing negative with realistic

Not really, it's perfectly possible or there wouldn't be any labels

Benji wrote:

Mad EP wrote:Again - maybe for 5 - 10 years, if you are extremely successful (and lucky)... but even influential labels have a hard time making it beyond 5 - 10 years, and even then, the first few years aren't making any real money.

Being an artist with contacts doesn't automatically help you with distribution or manufacturing contacts. One of the greatest underestimated difficulties in music is how hard setting up & running a profitable record label. It is one thing to press up a few runs of 12"s... maybe get some good press/hype, sell enough to cover costs for the next run, etc. Maybe even pocket a lil cash after several releases.

But there is a HUGE world of difference taking it from that level to having it be profitable & stable enough to support yourself and your family for 10-20 years.

Why are you so negative? You won't get anywhere with that attitude

You are mistaking reality with negativity. I think there are a number of ways one can support themselves as a musician - and do so over the entirety of their life. I am just saying it is rarely happens as a single "making it" event by releasing records.

Releasing records doesn't pay as much money as they used to - especially in electronic music. Some people still make a little cash, but it is nothing like it was in the 90's & early 00's. These days most money comes from touring, but even that has a limited lifespan. Think about it: most kids going out to clubs are 18-25. How many of them *really* want to see a guy at least twice their age dropping club tunes? Sure, there will be exceptions, but over all, it is just the way it is.

That is why I said earlier that diversification is key. A number of the big names from 10 years ago are now focusing on sound design and doing very well at it. Others are getting paid to do mixdowns for the latest 'flavor of the month' superstars - which is a great way to have steady income, and not be prone to the fickle nature of trends hype. Beyond that - some teach, some do session work, some run publishing companies... the list is endless.

Releasing records and playing gigs is a lot of fun - and it is a great way to get a headstart into any of the related fields that can provide a longer-term career. Far from being negative, I am trying to show people that life as a musician doesn't have to end after releasing a couple records - there are ways to legitimately and securely support themselves as a musician, even if not in the original way they intended.

ehbrums1 wrote:No I don't, pretty much boils down to me not being confident enough to send my music around

m8 you've got no reason to not be confident. I like your music a lot. Push It is a tune and I also really liked some of your old sounds which are no longer on your soundcloud.

could definitely see them getting a release.

dubunked wrote:

ehbrums1 wrote:No I don't, pretty much boils down to me not being confident enough to send my music around

m8 you've got no reason to not be confident. I like your music a lot. Push It is a tune and I also really liked some of your old sounds which are no longer on your soundcloud.

could definitely see them getting a release.

well push it is getting released lol

much luv

yer i agree your beats are sick ehbrums

you should have a read through that thread by nakedlunch telling people like us to stop being such pussyoles, really helped motivate me tbh ahaha

chekov wrote:yer i agree your beats are sick ehbrums

you should have a read through that thread by nakedlunch telling people like us to stop being such pussyoles, really helped motivate me tbh ahaha

Yea ehbrums your beats are mint and you could deffo make loads of releases with what youve already got imo.

chekov wrote:yer i agree your beats are sick ehbrums

you should have a read through that thread by nakedlunch telling people like us to stop being such pussyoles, really helped motivate me tbh ahaha

Yea ehbrums your beats are mint and you could deffo make loads of releases with what youve already got imo.

Running a record label is EXTREMELY difficult and not just for the obvious reasons. I'm not saying it can't be done, but better be prepare yourself as there's a LOT of work (and I mean A LOT). There's a reason why so many labels fail and only a handful survive. If you're already an established artist and want to start a sub label under a major (What Shady records is to Interscope) they'll hand out label like candy becuase they know you already have a track record of selling albums. Essentially you become an investment, whereas if you start your own, you're competing with HUGE record labels for artist. Trust me when I say, this is a fairy tale where David, 9 times out of 10, will lose to Goliath.

To give you an idea, here in Toronto we have numerous reputable audio engineering programs. Many of the graduates have dreams of starting a record label, most if not all fail.

Go to this link below and look at the question Caden Hudson asks Jim regarding starting a record label after graduating from one of the most highly touted Audio engineering school school in north america (it's halfway down if you don't want to read the whole article).

http://jimlamarche.wordpress.com/

My point is, if someone that is educated in the music field is having troubles keeping a label afloat, us average joes will have a major uphill battle to climb...

Again, it's not impossible, but very difficult. Like most things in life, you get out what you put in. So,if music is a hobby, then I recommend treating it as such and sending tracks to a labels at your leisure. If you eat, sleep, shit music and your life will never be complete unless you start your own label, best of luck because you have a much better shot than the hobbyist.

chekov wrote:yer i agree your beats are sick ehbrums

chekov wrote:you should have a read through that thread by nakedlunch telling people like us to stop being such pussyoles, really helped motivate me tbh ahaha

will do, thanks for that

Sinestepper wrote:Yea ehbrums your beats are mint and you could deffo make loads of releases with what youve already got imo.

gonna take more to get into these trousers