Finally, if you have self-produced music and therefore have managed the artistic and commercial aspects of your project, this last contract is for you. It will allow you to make your music accessible and you will reap almost all of the benefits from it, without paying anything back to your record label. This business is very complicated and is mainly reserved for well known composers established in the community.
However, even more so than the license agreement, if things do not go well, you will lose big time! In summary, and given the times we are living in, when creation is no longer reserved for an elite and where you can produce at low cost, the license agreement seems the most suitable.
However, to get started and build a solid base with a label that inspires you with confidence, we recommend the artist contract.
You may earn less, but you can focus almost exclusively on making music — still pay close attention to the length of your contract and commitment. The artistic line of the Cracki Records label is varied. They are driven by heart and aim to offer a wide range of eclectic and quality music. Styles of music : electropop, indie pop, indie rock, new-disco, pop soul, psychedelic pop, synthpop, synthwave.
Contact Cracki Records. A passionate team, defending a record and publishing company that provides artists with everything they need for their career. Their team is made up of a label director, a communications manager, a booker and a marketing manager. Contact Colligence Records. Contact Chinese Man Records. French and French-speaking underground pop network, publishing compilations since The association also carries out the activity of a label by publishing compilations and artist albums that have little to no previous distribution.
In January , La Souterraine hosted artists compilations, 2, songs on its Bandcamp platform and claimed 50, unique users. Contact La Souterraine. JAJ is a structure attached to the publishing house Alter K. Contact Cookie Records. Groover Tips. Save my name, email, and website in this browser for the next time I comment.
Distribute your project. How much do artists get paid on Spotify? Success in Music: 7 mistakes to avoid in… 6 July How to get signed by a label when… 26 April Produce your project. What is an Artist Entrepreneur? When a record label licenses your music, they essentially purchase the rights to an album from you — and manufacture, promote and distribute it. Under this deal, the distributor pays for the manufacturing costs of an album from the pressing process to the printing of the labels.
The distributor then recoups these costs from record sales—in addition to an agreed pre-determined percentage of profit.
Of course, this kind of deal is becoming less relevant in the face of digital distribution. This allows you to approach the ones that are compatible with your music. You should have a recognisable brand that includes quality photos, artwork and a buzzing social media presence. Make sure your artist profiles are complete, up-to-date and include a bio, artist image and links to your social and contact info.
More on promoting yourself in one of our free guides. Regularly creating fresh content to share on social is a must. Your content and information matter! Besides your own gigging — also check out local unsigned nights like Sofar Sounds that hosts intimate gigs in small venues around the world. Recommended: Releasing On A Label vs.
Going It Alone. I think this is worth mentioning as a lot of people have a negative perspective on a label owning their music. Most labels prefer to own the master copyright as it allows them to exploit it to their maximum potential, whereas it would be more difficult in a licensing or profit share deal.
It does well — it gets picked up in some key playlists on Spotify like Discover Weekly and Release Radar, racking up , streams. Not bad, right?
You sign the same track to a mid-tier independent label. But through their connections, marketing power and dedicated team, they are able to rack up , streams. When a label is freed up to do what they want with your music, they can send it to the right people, generate fans for you, create new opportunities and do a lot more good which helps your career grow. Many artists start too big when trying to sign their first tune. Small independent labels are great because normally they are run by passionate individuals who care about music.
Once you do this, start curating a list of labels you can start sending music to. Check out the linked article at the end of the next on the demo submission process for a more detailed insight into this process. For a full rundown on the process of demo submission, check out our guide here. Note: none of this constitutes legal advice.
In other words, how long the label is going to own or license the master recording. Normally, this ranges from 7 years all the way up to a lifetime. When you produce a song, there are two types of copyright: the recording and the underlying composition. The recording is that audio file that you send to the label, whereas the composition is the actual music itself. Do you know how you bounce out different versions of the same song throughout the production process?
Normally, the master is handled by the label, and the publishing by a third-party publisher. Give them ideas, criticism, links or comments that could benefit them. Point out something they could have missed. Put in some effort. Make life better for them. Good things come from those little risks.
You should apply all of these principles in many of your business relationships. Especially if you want to collaborate with someone, these things go a long way. I will show you my approach to establishing new business relationships.
Our goal here is to create friends or at least acquaintances. You want them to get familiar with you and need to develop goodwill with them. Apply this approach with all the the five labels on your list. With a little luck, the people you meet first will make meeting the others easier. Networking is cumulative like that. Take note that building relationships takes time and that you should start doing this at least two weeks before you submit any music.
If you rush things, you might not have had enough time to bond and can not reap the benefits. Follow them on Twitter, like them on Facebook, follow on Soundcloud. If you know the personal names of the employees, try looking for their personal Facebook accounts with the end goal of having them accept your request. They way you do that is by…. On Twitter, try replying them regularly.
These are all easy ways to get a conversation going, but also have the other party recognize your name and handle. Try and add value. Even mail can prove a great way to start a dialogue.
People will remember someone who stepped in their office a thousand times more than the dude who was just emailing, so aim for that. Grow a pair and do it! Do some bonding This is your end-all goal. Make some friends in the process. Joke around a little. The longer you talk, the more acquainted you get. Get friendly, be yourself and invest a load of time. You get to submit some music. Avoid using copyrighted material — unless you have a potential chart topping 1 hit in your hands, labels are not too eager to release music that contains copyrighted material.
Clearing it takes a lot of effort and potentially money. Only the big boys clear stuff. Listening to all that music is a pain in the ass.
You need to make this process as convenient as possible for them. You need to be precise and persistent to get your stuff heard. Quality over quantity — do not send more than three tracks at once in a demo submission. If you have more, force yourself to filter out the best. Everyone wants to feel special — including the label.
Especially not when using a personalized approach like we are. Just imagine what would happen if two of them said yes at the same time.
Export the right quality — make sure to send tracks in the right format. Lossless file formats such as WAV and AIF are overkill and could ruin your chances of the label even downloading them in the first place.
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