Publishing music online in 2018


#83

Does anybody have an official company adress of bandcamp???


#84

I am 43 and I feel a lot less stuck in age panic and feel even younger than 10 years ago.

Along the way I just stopped taking myself and all the things I do so serious… becoming a parent also helps a lot!


#85

I’m 33 and I honestly hope this isn’t my prime right now. That would be somewhat discouraging :rofl:


#86

im 38 and im scayored :frowning:


#87

Why? Just do what you do. The outcome is of no importance really, it’s a side effect, an uncontrollable one!


#88

i jest. ill be writing bangers till the day i die :smile:


#89

I hope by “bangers” you mean “smooth jazz hits”, you geezer :wink:


#91

definitely… experiencing something really good live sticks for a while. but it also depends on where you live and a bunch of other stuff. but in general I think it is the most important.


#92

Releasing music these days… in short, its hard… that’s for sure.

I have affiliations with two labels that I have built a relationship with over the years, I’m thankful they enjoy my music enough to share it on my behalf. One is exclusively Bandcamp and they are very organic in their reach. They rely on fans to share and spread the music. The other is official and goes though Beatport, Juno, iTunes, Spotify etc… they also use promo services to get the music to professionals (djs, radio shows, media etc) to be honest I don’t see much difference in either approach. One costs a lot of money and takes a lot of time, the other is pretty simple and self published. Both use a engineer to master and finalise the releases.

I give a lot of my music away, because I feel listeners beat profit… I honestly don’t think you can make a heap of money through releasing music.

The plan these days is to get listens, which hopefully lead to bookings for gigs… and that’s when money comes into play…

But to answer your question, just give it away until you gain traction amongst people who enjoy your music, and hopefully they can help push your sound out to a greater audience.


#93

I know few musicians who successfully promote their music through Instagram. It has a great click-bait potential for short clips-publishing. And with help of tools like zen-promo https://zen-promo.com/follow_bot_instagram. You can perform quite a good promotion company for your music.


#94

Doing this for free to get gigs?
Not all gigs pay that well either… I mean, I remember getting paid 100€ for a festival gig once in 2005… I spent it the next day (bought the then current edition of Blood Bowl which we played during the rest of the festival lol).

Gigs only pay at the roskilde level, unless you count a few pints as ”getting paid”. Or is this somehow different in the USA?


#95

Lots of long posts - very sorry if redundant. Ive tried record union just recently. You get good distribution, a login to view statistics and manage eventual sales/royalties. Ok website, fine uploader/metadata etc. Not much service per se, but comparatively a good distributor i thought, well covered and relatively fast and hassle free.


#96

Might be worth reading Carsten Nicolai’s thoughts, third question in this interview.


#97

Revamping this thread to talk more about the LANDR mastering process (mods, please split if you think it should be another topic).

Who’s used it? I’ve heard the algorithms have improved immensely and if you have a solid mix you’ll get good results. I’m especially interested now that they’ve added the album mode.

Thoughts?


#98

I would rather use izotope ozone. It has mastering presets and algorithms that automatically analyzes your material. But you still have full control and you can adjust all settings manually to your needs. Why would you leave the final step of your work to a machine?


#99

I think mastering gets waay too much love, for what it is: basically a little compression, limiting and EQ. And I mean a LITTLE.
Unless you like a specific sound, I guess it’s that “smoothing” effect of multiband compression. Ok.

Look, I expect very soon for a helpful DAW AI chatbot to be interfacing with producers and engineers like they will in the medical field, positing alternative algos and, perhaps, programming altogether, that the Bot is basically accessed with the information of every recording ever produced (via 6G) directly interfacing with my neurolink so that perfect mixes will be achievable instantaneously and then, we start asking how we can integrate more of a fallable human element into the process from the AI, who, of course can be even more human than us. So my contradictory reaction to a “purist” instinct is shadowed by my own awareness that the only thing that will really separate us from machines in the future is our vanity. So as far as that topic is concerned, I am convinced looking askance at any AI-based tech is like the prairie horseman calling the internal combustion engine the Downfall Of Humanity; not that in time, he may be proved right, but because he is attempting to hold back a flood with a teacup.

Back to present-day though.
The most important thing is translation across mediums, IMO. Mastering can help with that. But just to get a track bumped up louder? Use louder sounds.


#100

Anyone that has used it have an opinion?