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Questions on getting noticed by a label as an artist. Keyboard Synthesizers
Old 4th January 2012
  #61
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Quote:
Originally Posted by UltraNatalie View Post
Obviously electronic music wouldn't really fit into that kind of a press kit model and honestly if someone asked us to do that for them I'm sure we'd advise a different strategy.
Do you realise that this is an electronic music sub-forum?
Old 5th January 2012
  #62
Gear Addict
 

Quote:
Originally Posted by UltraNatalie View Post
....Obviously electronic music wouldn't really fit into that kind of a press kit model and honestly if someone asked us to do that for them I'm sure we'd advise a different strategy.

Again, sorry I really was just trying to help

Quote:
Originally Posted by Simonator View Post
Do you realise that this is an electronic music sub-forum?
lol!
Old 5th January 2012
  #63
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Daniel Kovac's Avatar
 

Quote:
Originally Posted by Mardi Gras View Post
Hey slutz,

As the title says I'm wondering what the best way to go about getting recognition from a label?

Is it really just a case of emailing labels with links to your Demo/EP?
it depends on the label; i don't like it when my labels email adress is on a massive mailing list.. i just listen to demo if the artists really wants to release on my label. but yea just send around your tracks.. some labels out there do listen to their emails frequently.. but for my part i think the best is always to have personal contact

Quote:
Originally Posted by Mardi Gras View Post

how good to the production values have to be?
also depends on the label, of course

Quote:
Originally Posted by Mardi Gras View Post

sound I send my songs to be mastered before sending them to be listened to by a label?

Do labels want electronic artists who can pretty much do the whole engineering side themselves or do they take the basic idea of the song from the artist and get a professional electronic engineer to push the song up to CD standard?
don't let your demo's master from a professional that makes no sense; it's the labels work to master tracks.. you can do little mastering by yourself if you like
Old 5th January 2012
  #64
Made a lot of money in this business (and spent a lot of money over the years). If you're making electronic music, stick with house-based styles or dubstep (ack!). Any other style is going to be an uphill climb - even more than usual. Ask me how I know! LOL.
Old 6th January 2012
  #65
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Quote:
Originally Posted by I.A.D View Post
Honestly. If you feel your music is ready, then send it off to labels.
I just got signed a few weeks ago and it's because I sent my tracks around.
Wow! Congrats bro. Besides a great song, what did you think helped your song get heard?

Regards
Josef Horhay
Mixing Engineer
www.acoosticzoo.com
Old 6th January 2012
  #66
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Simonator's Avatar
 

Quote:
Originally Posted by Breaks Dude View Post
Made a lot of money in this business (and spent a lot of money over the years). If you're making electronic music, stick with house-based styles or dubstep (ack!). Any other style is going to be an uphill climb - even more than usual. Ask me how I know! LOL.
If your objective is making money, then there are a lot of easier ways to achieve that than by making music!... Become a banker.

Stick with making art that you feel is good. Too many people not doing this is everything that's wrong with music today.

[/rant]


.
Old 6th January 2012
  #67
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login's Avatar
Quote:
Originally Posted by Simonator View Post
If your objective is making money, then there are a lot of easier ways to achieve that than by making music!... Become a banker.

Stick with making art that you feel is good. Too many people not doing this is everything that's wrong with music today.

[/rant]


.
Except that maybe his biggest talent is making music and has much more time invested in to it.

There is a market for comercial music and "art", it's about what you feel comfortable doing.
Old 6th January 2012
  #68
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Quote:
Originally Posted by login View Post
Except that maybe his biggest talent is making music and has much more time invested in to it.

There is a market for comercial music and "art", it's about what you feel comfortable doing.
Sure, if you really love sh*t music (I'm sure many people know of nothing else), then knock yourself out & make some more trash.

I'm only taking objection to the open generalisation 'if you're going to make electronic music, stick to house as it sells more'.

If everyone designs music to tick boxes to sell units, you end up with the horrendous situation that today's charts are in.
Compare the quality of contemporary music with the equivalent from 30 years ago... when people got into the game because of a love of music.
Old 6th January 2012
  #69
Gear Maniac
 

Make a good track, send it to a label you like. There are no gimmicks. If you have the chops, it will be obvious in your music.
Old 6th January 2012
  #70
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a) If you are making dance music, try to get the support of big name djs first. If a big dj jumps on your track you will usually have good labels knocking on your door.

b) Primarily, make good music. Cream invariably rises to the top. You don't sit around making music like Trentemoller and stay hidden in obscurity for long.

c) That said, I have known some great producers who were terrible at marketing themselves and their profile has never quite matched their talents.

my 2c
Old 6th January 2012
  #71
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lysander's Avatar
 

Quote:
Originally Posted by Simonator View Post
Sure, if you really love sh*t music (I'm sure many people know of nothing else), then knock yourself out & make some more trash.

I'm only taking objection to the open generalisation 'if you're going to make electronic music, stick to house as it sells more'.

If everyone designs music to tick boxes to sell units, you end up with the horrendous situation that today's charts are in.
Compare the quality of contemporary music with the equivalent from 30 years ago... when people got into the game because of a love of music.
I believe you can strike a good compromise - make the music you love on one side and release commercial tracks on the other so you can make a living.
Look at Georges Benson: he's made a very good living out of cheesy smooth jazz but he also plays straight ahead jazz and hard bop in clubs and as part of his sets on tour.
Best of both worlds. He does get some stick for it from the hardcore jazz snobs but who cares.
Old 6th January 2012
  #72
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ionian's Avatar
Quote:
Originally Posted by lysander View Post
I believe you can strike a good compromise - make the music you love on one side and release commercial tracks on the other so you can make a living.
Look at Georges Benson: he's made a very good living out of cheesy smooth jazz but he also plays straight ahead jazz and hard bop in clubs and as part of his sets on tour.
Best of both worlds. He does get some stick for it from the hardcore jazz snobs but who cares.
He's no different than Bob James, for example. A lot of the smooth jazz cats could play but I think they came to the realization that sadly there's no real living in straight ahead jazz.

Regards,
Frank
Old 6th January 2012
  #73
Gear Nut
 

Quote:
Originally Posted by AcoosticZoo View Post
Wow! Congrats bro. Besides a great song, what did you think helped your song get heard?

Regards
Josef Horhay
Mixing Engineer
www.acoosticzoo.com
Thanks! Honestly I don't know what it was, maybe just the right time? All I know is music is my #1 priority. I spend at least 6-8 hours on my music everyday and it's what I want to do ... Funny part is I'm only18 and a couple of weeks ago when I got noticed as signed I was only 17 .... So it is possible at any age for anyone reading this.
Old 6th January 2012
  #74
Gear Nut
 

Noticed and signed**
Old 7th January 2012
  #75
Here for the gear
 

I can talk a bit from experience. I and a friend are more heavy on the performance side. He had the honor of opening for Avicii last year, and the result of his excellent work on mixing/mashing/slight-remixes of tracks was interest from a pretty major record label. He was told to produce an "original" track, by that they meant a track either remixed or made from scratch. They basically gave him a month to get it turned in.

The point is, that I think the best way to get what you're looking for is to be exceptional. I think due to the extreme amount of demos that get sent to these labels they, like said above, basically give the demos like a second or two if any. So to send a demo you'd have to find a way to really make it stand out in the crowd. I think my friend had better luck getting noticed because he was preforming and not sending in demos. I think both ways can work. However, I think preforming tends to get people in the crowd there specifically to scout your talents which means you have their undivided attention to impress them.

I hope this helps a bit guys

Cheers!
Old 7th January 2012
  #76
Here for the gear
 

He actually is just a performer when it comes down to it. His knowledge of music and production is very basic. I have actually been helping him with edm production techniques.

My suggestion in my previous post is ultimately to do both. I think you need to be very good at producing things, but also be able to do the entertainment side well. Get your attention from the music industry through live mixing and using custom remixed songs and such. Then when they ask for a demo give them your best work.

I can't say that they didn't specifically ask for a brand new released track, but I think if they ask that, you just wait for a while then give them your best work.
Old 22nd November 2018
  #77
Gear Nut
 

Quote:
Originally Posted by Breaks Dude View Post
Made a lot of money in this business (and spent a lot of money over the years). If you're making electronic music, stick with house-based styles or dubstep (ack!). Any other style is going to be an uphill climb - even more than usual. Ask me how I know! LOL.
Why? All other genres have a much smaller scene...
Old 23rd November 2018
  #78
Quote:
Originally Posted by UltraNatalie View Post
Hello I know this thread is old but I wanted to breathe some life into it.

I have a bachelor's degree in Music Business and I worked for a major record label before getting the job I have now as a marketing manager for a CD/DVD/Print manufacturing firm called xxxxxxxxxxx.

Since I used to see what the A&R reps at labels get every day I helped develop a "state-of-the-art" press kit and EPK for Ultra. I guarantee you no label has seen something like this (unless they've gotten one made by us of course haha)

I think it's important to make your press kit stand out, AND make it simple. Sending in your demo with a bunch of newspaper clippings and your bio printed on an 8.5x11 piece of paper is not unique. YOU NEED to make sure that the person opening your stuff at the label gets their attention caught or else you risk the chance of having your stuff thrown away before even being listened to/looked at.

I hope that helps
-Nat
Natalie is spot-on! Too bad she never posts anymore. I don't know the record industry that well, but I drive by all the major labels in LA every day and was friends with a signed artist at Warner/Chappell Music. Knowing where the labels' offices are you could try establishing a relationship with the receptionist (difficult but not impossible with the right presentation).

It really helps to know someone. I work in Hollywood next to the biggest movers and shakers (been to David Foster's house, got a photo with Diddy, etc.), and it wouldn't be too hard for me, but for someone from Ohio (or wherever you are), I imagine it's a LOT more difficult.

You've got to network your connections; SOMEONE you know, knows someone, who knows someone. But as Simonizer said, your track has to be KILLER. (If you're a vocalist, it helps is you're 19 years old and look like a model.)

By the way, I'm guessing Natalie used to work for WEA Manufacturing (Warner-Electra-Atlantic). This is a manufacturer who was a customer of a company I used to do marketing for who purchased our CD technology back in the 1990s.
Old 23rd November 2018
  #79
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Quote:
Originally Posted by studio460 View Post
Natalie is spot-on! Too bad she never posts anymore. I don't know the record industry that well, but I drive by all the major labels in LA every day and was friends with a signed artist with a Warner label. It really helps to know someone. I work in Hollywood next to the biggest movers and shakers and it wouldn't be too hard for me, but for someone from Ohio (or wherever you are), I imagine it's a LOT more difficult.

You've got to network your connections; SOMEONE you know, knows someone, who knows someone. But as Simonizer said, your track has to be KILLER. (If you're a vocalist, it helps is you're 19 years old and look like a model.)

By the way, I'm guessing Natalie used to work for WEA Manufacturing (Warner-Electra-Atlantic). This is a manufacturer who was a customer of a company I used to do marketing for who purchased our CD technology back in the 1990s.
Old 23rd November 2018
  #80
Clicking the above gets: "Video unavailable. The uploader has not made this video available in your country."
Old 23rd November 2018
  #81
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Quote:
Originally Posted by studio460 View Post
Clicking the above gets: "Video unavailable. The uploader has not made this video available in your country."
Its Leftfield Open Up feat John Lydon.
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