I hope you don’t take my question the wrong way or anything… but what do feel that you stand to gain by being the label for a few (local I presume) bands?
It seems like it’d just create a lot more work for yourself vs charging said bands up front to record with you. I’m curious to get your thoughts on that.
I’m talking about bands that would be my own 
Dang! You have quite a bit on your plate then! :beerbang:
I wish I had the time and recourses for it NOW, and not in a year or maybe 2. Hope the house aint gonna cost to much more then planned so I can start on the studio asap. Gonna have to do some serious accoustics in there I think. Its a concret seller (walls 40 cm thick) 5meters by 10meters, and 2.65meter high. Not sure if I’m gonna do a 1 room thing or a 2 room. I REALY value an awesome mixing room, and am prepared to give up the 2 room idea if it realy benefits it, but not of its only a small difference.
Doing it on headphones in a shit room now 
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As an update: My first three months (Jan thru Mar) have netted me $4.49 from the one song. Problem is, the breakdown doesn’t really tell you what’s going on. Most of that is iTunes and Spoitfy, but all they tell you is the $$, not the # of plays/downloads, so the info is pretty much a bust…still, my first 5-song release netted $.,28 my first month with RN, and $1.28 here (for a single). Add to that I know the music is better (to my ears), and my skills recording are better and it makes it hard to call the difference.
Still, as the two EPs are falling off RNs program, I’m sending them to DK. We shall see!
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I know this thread is old but what the heck:)
The most successful artists that I have seen that make a plan to market do it a few ways at the same time. It is expensive though. They make a relationship with a good radio tracker (yes radio matters). If you can’t get a GOOD radio tracker on board your music should probably be for personal enjoyment. You pay the tracker and it will get a certain amount of radio play. Next set up a series of radio interviews at the stations that play it and a tour to go with it. Your digital sales will go hand in hand with more conventional means. You will be looking at $2000-$5000 per single released.
Build incrementally. Start with with small market radio stations. Rinse and repeat.
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WHAT??? Show me a legit radio tracker firm that will chart a single for $2000-$5000 and I’ll kiss my own ass. I went in over $100,000 before one of mine was circulated enough to register on MB charts. If the radio station does not report to MB, the spins don’t matter. If it does report, ya gotta make sure your tracker firm has a clear money trail or you can end up in jail. Its a felony in the U.S. to pay radio stations to play your stuff, and we’re not talking about copy-a-DVD frivolous felony here.
I can’t understate the importance of this. Even more important is doing your background checking on the company you hire to do the tracking. We chose ours by barking up the ladder and eventually finding out who Sony Music used to do theirs.
The trackers need to be absolutely sure they song will work before they take your money. A good tracker will turn down a song they are certain won’t play, as their reputation goes on the line if they accept your song.
Interesting. On small market radio stations that is the price around here. Usually, you’ll hit about 30-40 reporting stations in the $2000 mark and then 100 in the $5000 mark. Bigger stations will only play you if you’ve been getting results on at least a couple songs previously. I’ve seen this work several times.
One of my guys is now consistently recording a song for about $3500 releasing digitally and then paying a radio tracker $2000-$3000k. He then sets up radio station tours and live tours. The royalties from the radio play consistently covers his recording and tracking cost, live shows pay extra and he is building momentum. He does a song per quarter and now the bigger radio stations are starting to take notice.
What genera?
It took ballpark $30K to tie up enough stations in the U.S. regional southeast before we were able to approach the bigger ones. But this was mainstream rap music, and I know that field is tougher and pricier than some. By the time we were six figures in the red, the royalty payout never really offset the cost. The song was on the verge of loosing a lot of cash until it was acquired on a film licensing deal with Sony.
Interesting. The person I am talking about is playing country.
How close has he gotten to crossing the 100 line at the national level?
Not that close. I am not really sure, to be honest. I do know that radio trackers use some crazy charts to make people feel good about how their stuff is being accepted. In Canada, we have a pretty aggressive royalty collection agency called SOCAN.
Holy crap dude!!! I didn’t realize you moved to Canada!!! When did that happen???
LOL. I’ve always lived here. I do occasional shows in the USA but have always lived in Canada.
I could have swore your RR ‘about me’ thing had you in Utah. Gosh, I must be loosing my memory in my old age lol.
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