Gute Ratschläge für angehende Künstler

[polarity]

blue sonix klärt auf wie ihr euch bei eventuellen signings eurer tracks verhalten müsst und was es zu beachten gibt

http://eurodnb.com/show_article.php?id=122

[Jay Rome]

[AlexJungle]

Die hamm auf die Fresse gekriegt????
Net zu fassen!

Hier noch Bussiness tips von Luna-C:

"MUSIC BUSINESS TIPS

Okay, a lot of people said they enjoyed my history, and made comments about the "rules" so I thought it might be a good idea to tell you some stuff that I have learnt over the years. But before you put too much trust in what I say here, remember that:-

1) These are based solely on my experiences, so they may not be suitable for you, and...
2) I am currently not a huge superstar, so are my rules worth listening too?

RULE 1 - KNOW WHAT YOU WANT

This is the hardest rule. Most people go through life not knowing what they want. If you want to succeed, the most important thing is perseverance. Talent isn't enough, and nor is knowledge, because without perseverance, nothing happens. But before you persevere, you need to know your aims. I always aim higher than I can reasonably expect to ever achieve. I never wanted to be a DJ, I wanted to be the best DJ. Same with the labels etc. Its not enough to say "oh, I think I will be a record producer someday, when I have some money and can buy studio equipment blah blah blah"

No Money? Get a job, or 2 jobs. Rent someone's home studio, use your PC, start learning what you can. It wont come to you, you have to go get it. When I set up Kniteforce, I had no idea how to use the studio I had bought with Smart'es money, and I could'nt play anything except "Mary has a little lamb" and "Chopsticks".

I have a school report from my music teacher saying "Chris has no ear for music, and no interest in learning about it. His exam result (13%) reflects this."

I still cant play that much, but I really want to, so I keep at it. If you cant play a thing, get someone who can in...Need is the mother of invention. Need to be what you want to be, and even if you don't reach the stars, you will at least get a nice view of the moon.

RULE 2 - CONTRACTS

Firstly, you can be ripped off whether you have a contract or not. In some ways, contracts are irrelevant. But it makes a big difference if your contract is with a small label or a major, so:- If you are considering releasing a track with a small label, meet the owner, and decide if you can trust him. This is not easy to do - The Smart'es trusted the owner of Sub-base, and all sorts of money went missing...some of it, I am sure, was genuine mistakes, but we didn't get paid for German sales and we were told it was'nt released in Japan. Although I saw a Japanese copy. Strange huh?

Why dont we sue? see the "not getting paid" section.

On the other hand, we did eventually get a contract with Sub-base, so what difference did it make? None. Unless the label is willing to show you the receipts for the pressing etc, you will never know. So the questions you need to ask are "Even if I dont get paid, is it worth it just to get my music out?" - I would say if its a first release, yes, because you need to start somewhere, but if you have released other stuff, maybe no. You also need to ask yourself "Why don't I put it out myself?" If you aren't confident enough in the track, then why should anyone else be? If you are, its really not that hard, see the "put it out yourself" section.

If it is with a major label, they will almost certainly rip you off "legally" which means they will bill you for everything from pressing to gas used while one of the A&R men fry a bacon sandwich while thinking about your release, and they will probably pay a ridiculous remix fee to some unknown twat, then bill you for it. Chances are, they wont ask you about it, as they have final say, according to clause 173b of section 18 on page 273 of the contract. Morally wrong, but legally ok. So get the biggest advance possible - chances are, it will be all of what you see, money-wise. If you are signing to a big label, a lawyer should be considered...but I have had a few, and guess what? Some lawyers are crap too, and quite often expensive crap. Its another chance you have to take.

Of course, if you have enough steady success, it changes things. If you sell a shit load of releases, then its easier to sort out "mis-understandings" with contracts. In the end, if you are under contract and not getting paid, you can always not make any music. The label cannot force you to make music for them. The George Michael case is a good example. He refused to write any more music for Sony, and they went to court. He didn't win, but he was released from his contract, so at least his musical freedom was restored.

The best thing you get from a contract is a list of rules that clears up mis-understandings between sides.....and you just have to hope that the other side honours it.

RULE 3 - DEMOS

Always send demos on cassette, because any other format can be used to cut from...although an MD is worse than a CD for cutting quality. Anyway, be safe. This business is a bad one for honesty. To copyright your track, send a recorded copy of it in a sealed envelope to yourself, via recorded delivery. This will be dated by the post office, and will therefore prove you made it before the people who you are challenging.

RULE 4 - TOURING/DJing

Okay, here's a few of my basic guidelines to playing out. Again, this is just the way I have found to do it, as it makes me happy. I have never treated Djing as a job, because it is something I dont want corrupted by money. I am a person who throws himself into things wholeheartedly, which is good, but can have some downsides. I didnt want my Djing to be my job...I love it too much, and once something becomes a job, it can often stop being fun. So rule number one, before money, distance, size of rave etc, is :-

"Do I want to Dj on this date?"
If you dont, dont. Its nice to earn money Djing, but I believe moneys only use is to make me happy, and if I would rather be at my sisters birthday than Djing, thats what I will do. Obviously, if you are just starting out, or intend to make a career out of it, then your priority's are going to be different.

"Is it worth it?"
I played Labyrinth for £50.00 and I would have done it for free. I loved playing there, even though it was a pain in the butt to get there with your records (I dont drive) and then half the time there was no DJ monitor, and the booth was extremely dodgy looking...But I played the best set of my life there, and I loved every minute. Other places I have been paid much more, but would never go back for any amount of money.

"Its a game of give and take."
The promoter wants something from you, and will pay for it. But you owe him the best you can do. Thats the deal. In my opinion there is nothing more useless than a dj that just plays the records he likes, or records he & his friends made. You are not there for you. You are there for the crowd. If the drum'n'bass your playing is turning people off, then you need to change the style. Always pack records that have some variety, just in case...Its fine to have a style, and of course you need to be true to yourself, but (and this is a big but) if the crowd aren't dancing, then the music you are playing isnt doing it. I have seen big name djs clear the floor with the latest set of underground dubplates. If you get too cutting edge, its just boring for anyone who isnt, and a lot of people aren't. If you please the crowd, you please the Promoter, you get more work. Its that simple.

For beginners, and people like me who get nervous everytime they play, heres a few things that may help.

1) make sure you have your records, headphones, slipmats (if your going to scratch) and spare stylus, if possible. Sounds stupid eh? But I have forgoten headphones more than once. And keep your records with you always. Then they can't be stolen, lost, or in your mates car (who's got lost on the way to the party) while you arrive to do your set with no records. If you are playing abroad, get a record bag that you can wear as a backpack, and pretend its light at the check-in, so that you keep them with you as hand lugauge and the Airline cant "lose" them. DONT use a metal case, unless you are prepared to pay the extortionate extra baggage fee ( I made this mistake going to Australia, and had to pay £250.00 excess.)

2) Get a rough set together. If you know the records inside out, you might not need to do this, but if you are in any way unsure, or its your first time, I strongly recommend this. BUT be flexible...its no good if you start with the record the last Dj ended with...

3) Make sure the second record you mix is the easiest of the set. This way, if you have any technical problems you should still be able to handle it. Also, I find it gives me confidence, when the first mix goes smoothly, you can build on it. If I mess up the first mix, I always get jittery.

4) If your going to scratch, keep it short and sweet (unless your playing hip hop, in which case scratch the shit out of everything). The general public appreciates a good bit of scratching, but if you do to much, they will soon get fed up with it. And make sure you are using a record you can trust not to jump, or in any other way embarrass you.

5) Just because the MC says rewind, that doesn't mean you have to. Personally, I hate rewinds. They mess up your set, and most tunes dont deserve it. If I was feeling mean, I would say MC's invented them so that they get a bit more attention...but anyone who knows me will know that I dont get on that well with most MC's, mainly because they talk too much. I often play Jump up, which has a lot of vocals in it, and if the MC rhymes over the top of that, it sounds crap. The best MC I have worked with, is MC MC, who is superb. He knows the most important MC rule is "Know when to be silent". A good MC turns a good set into a fantastic one. A bad MC can ruin whatever your playing.

6) If your touring, travel as light as possible. When the Smart'es toured the U.S, we all had suitcases and laughed at our MC, who bought a small backpack. We carried those suitcases through 26 states in 32 days. Our (rightly smug) MC made use of the cleaning facilities in the hotels, and bought cheap underwear which he would throw away instead of washing, buying more in the next stop on the tour. If your touring as part of a group, and for any length of time, bear in mind that someone great once said "Hell is eternity stuck in a room with your best friends". At the end of the Smart'es tour, we all left Heathrow with terse goodbyes, happy that we would'nt have to each others faces for a while.

7) Expect to be ripped off. It happens to everyone. We were told that the Smart'es tour was going to pay us $60000.00. I made £100.00, and the others got less. I only got more, because I left England with about £30.00, and the tour manager had to pay for me. Dont feel sorry for him though, as it was either him or that Sub Base fella that kept the cash. And anyway, he's dead now. I have done various gigs where I haven't been paid. This is unavoidable. But be wise. If someone doesn't pay you, NEVER work with them again. If they dont pay, you dont play. If they mess you about, then ask you to play again, get your money first, before you play. I was once doing a gig for someone I did'nt trust, so I said pay me before I play. Okay, says he, and 5 minutes before I had to play, I still had'nt been paid. So I didnt go on, when the other Dj finished. The promoter soon paid me, once there was no music. Some people will think that's a shitty thing to do, but I later found out that I was the only Dj who DID get paid that night. And I really hated the position I was put in...the crowd were rightly pissed off with me, but what can you do? I decided I would never get in that position again. I promised myself from then on I would only play at party's I would enjoy playing, regardless of pay, and I would'nt work so much in the UK, as I have only ever been ripped off by British promoters. I have found the rest of the world much better, which is why I dont play in the UK that often.

8) Technical problems can make it very difficult to play. If the crowd are bumping the turntables when they dance, push them away with a smile, and make "your dancing is making the record skip" type motions with your hands. Dont try to tell them in words - they wont hear you, and it takes too long. If they keep doing it, kick the shit out of them. That was a joke, by the way. If there is problems with the decks etc, the crowd will think that you are crap at mixing. Not a lot you can do about that, though. If the MC is ruining your set, turn the mike down, and when he comes to investigate, smile and look innocent. If he fixes the problem, repeat the procedure every 10 mins or so, or at key moments in your set. Admittedly, the last time I did this, I ended up having a fight with the MC - maybe I wasn't smiling enough. But in the end, a rave without an MC is fine, but a rave without a Dj is a load of people standing in a room listening to a guy shout. The Dj is always more important.

Getting Paid

Every country has different rules, so I can only give you the UK version. Firstly, if you are owed under £20,000.00, it is VERY EASY to take someone to court. You use the small claim court – you don’t need a lawyer. All you do is get a form from your local court. It will ask you:-

Your details
The details of the person you are dealing with
How much you estimate you are owed
Why
Do you have any evidence?

You fill this form in in triplicate. You then send it to the court, who will register your claim, keep one copy, send you a copy, and sent the “sued party” a copy, with 1 months to reply. This bit of the prcedure will cost you about £150.00 - that’s the only money you will pay, and if you win, the sued person has to pay it back to you.

The Sued then has to respond. In most cases, there will be no defence they can make, because you have reciepts/contracts etc. So usually they pay you immediately and you notify the court that it is all sorted out, or they ignore the letter from the court.
If they do not reply to the court, you automatically win, and they are given 60 days to pay you. After that, the bayliff’s go in and take stuff.

Its that easy. The Citizens Advice Beaureau will help you all the way through the procedure, and the only reason most of these small sharks get away with it is because YOU CANT BE BOTHERED. So be bothered – I did this twice with DBM, and got my money, label and everything back. IT IS WORTH IT. And EASY."

[BLURRY]

wahre worte......doch nix für'N lazy- (das business)!





















Nici

[loki]

meine rede

[BLURRY]

*handreich*

[Bender]

Zitat von polarity

http://eurodnb.com/show_article.php?id=122

Gerade jetzt wo Hospital stündlich bei mir anruft, ist diese Seite natürlich down