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In modern electronic music almost anyone can make a track of sorts - so you need to stand out.

This question is answered along with how to develop a unique sound and build an audience in a book I'm launching - "Complete Music Producer - Essential Skills to become a success"

Featuring exclusive interviews with top electronic producers like Bok Bok, Paul Woolford, Sasha, Above & Beyond to legends like Arthur baker. Its the world first guide for producers to develop their own unique sound and build an audience.You can check out more at the books website below to buy ebook or paperback

http://www.completemusicproducer.com/

Here is a link to a free digest version of the book: http://bit.ly/KHzbpR

I'd honestly never thought of doing a SWOT analysis for myself as a DJ/producer.

To build an audience, all you have to do is follow thousands on soundcloud, and they will follow you back out of the kindness of their heart.

Release regularly. Play every gig you're offered no matter how long the drive is or how much sleep you'll get before work the next day. Talk to everyone you get a chance to.

At least 99% of people that "make music" (me included) have well under half the commitment they need to "make it". We will be hobbyists for ever more. Those I know that have done well all did it the same way... talent really is a fairly distant second place to working your fucking arse off every single day.

Short book?

Hm I only partly recognize what magma is saying here. I know quite a few people who have this don't
care attitude and show up drunk at gigs and stuff but they know the right people.
Of course they make quality music but I don't always see that level of commitment you're talking about.

This thread is depressing.

Why does everything have to be commodified?

Naw, the only thing you need is a single release on a relatively big label. If a certain person from a certain label likes your music enough to release it, it'll be considered 'acceptable' to like the music and then, more labels will contact you to release your music.

It's about creating the pseudo-objective truth that people are allowed to like your music and then they will. Most producers I know personally, big names, got where they were not through hard work as much as certain people liking their stuff and releasing it.

Genevieve wrote:Naw, the only thing you need is a single release on a relatively big label. If a certain person from a certain label likes your music enough to release it, it'll be considered 'acceptable' to like the music and then, more labels will contact you to release your music.

It's about creating the pseudo-objective truth that people are allowed to like your music and then they will. Most producers I know personally, big names, got where they were not through hard work as much as certain people liking their stuff and releasing it.

^

The pure truth.

Yep. I'm not saying that people don't work hard, but the real hard work comes after the big break, not before it. Ask most producers how they got where they are. They just made tunes and either sent them out, or were discovered online. When someone signs your tunes, they don't look at your past resume of how much work you've put into your shit and how many hands you've shook. Just if they like your stuff.

A music label is just a really vain company.

^Yeah but how much grinding do you do before you have that one song that gets discovered?

Thats where the real work lies

kidshuffle wrote:^Yeah but how much grinding do you do before you have that one song that gets discovered?

Thats where the real work lies

Exxxxxxactly.

A&Rs/Labelheads don't spend their days trawling the new joiners on Soundcloud to see which ones are talented. Getting that first tune heard by the right person takes a LOT of work, self confidence and almost single-minded dedication. Every professional musician I know CHOSE to be a professional musician way before they had any industry backing.

Most of the people my housemate represents, even the pure pop acts, were grinding for years before anyone in the industry took any notice. Most people are too attached to their dayjobs to really make a proper shot at it... it's fair enough really.

kidshuffle wrote:^Yeah but how much grinding do you do before you have that one song that gets discovered?

Thats where the real work lies

Depends. Some people go out of their for years to find 'that one dude from the established label that likes their tunes', and eventually get lucky. But most by far, just send their tunes to labels/get found, while producing and getting high all day. Seriously. I can't recall a single big name musician I've personally met, and I've met a lot, who got where they are by brown nosing for years. Or even from interviews.... Burial and Ikonika just sent tunes to Kode9 and got signed. Kito sent her first 140 tune to Skream and get signed (while living on the other side of the world, so not a single connection she's made in Australia avtually helped her get signed to Disfigured Dubz).

This 'you gotta work hard and play every show' thing is not necessary to get signed. Really. Maybe to a major label who need to know how much of a fanbase you have to be profitable. But in 'our world', it's a matter of the 'right' person liking your tunes. The hard work and networking comes AFTER.

I'm not gonna speak on other people's behalf. But I put on a night. One very big name dnb/dubstep producer himself just said he sent tunes to a bunch of labels by email and immediately got them all signed. No one knew who he was or ANY of his history. They just liked his tunes.

We just have different views of what a major label is, as well as success.

magma wrote: A&Rs/Labelheads don't spend their days trawling the new joiners on Soundcloud to see which ones are talented. Getting that first tune heard by the right person takes a LOT of work, self confidence and almost single-minded dedication. Every professional musician I know CHOSE to be a professional musician way before they had any industry backing.

Most of the people my housemate represents, even the pure pop acts, were grinding for years before anyone in the industry took any notice. Most people are too attached to their dayjobs to really make a proper shot at it... it's fair enough really.

Well put magma mate. It's all that work in the background as you strive to create your original voice that poeple miss and often dont understand. This partly aims to help producers understand that and shortcut it where possible.

Check this interview with Actress - http://www.guardian.co.uk/music/2012/ap ... ingham-rip - talking about his time developing.

Buriel that some guys have mentioned fits exactly what is discussed in the book. Completely unique sound etc ...

check the guide http://bit.ly/KHzbpR

For those wanting a better snapshot of the book I've made a snappier free guide going over the key concepts

you can check it here - http://bit.ly/L62wMa

Exciting identity yeah??

TEAMWOLF need to do something really stupid then...