how many of us are actually trying to make it here? (pg. 3)
chris marsh
I wanted to work in music when i was younger - worked for a drum and bass record label and then did work experience at a studio. i spent more time answering the phone than in the studio and in the end not being able to pay the rent won. My tracks back then were massively lacking - in fact i never really finished anything.
Now i at least have the discipline to learn all the stuff you need to learn, and the resources for learning are much better - ive got my day job as a fireman which is good - but realized i cant shake the love of music/production off.
In the future id be hugely happy to have the occasional release on a reasonably credible label that would be more than enough for me. Im happy to have finally found a style(prog/trance)that i want to do and has everything i want - but have much to learn before reaching the kind of level i would like to reach quality wise.
Never expect to make any money. If i can get my skills to the correct level i want to start production tutorials for beginners - this way i might earn a bit of cash as i think there's a good market here in London
Akira_Kayosa
the main thing is you have to enjoy doing it, more than that you have to love doing it, (for most this is the reason why you begin on the road right?)
the rabbit hole is deep and many twists and turns lay in wait..
being signed to the biggest labels within your given field still does not guarantee gigs and certainly no steady stream of income off the records sales (presuming you hit anything over 500 even on the big labels- good ole zippyshare)
talent alone today isn't quite enough, you need solid branding,something hugely marketable and money, either backing from yourself or some 3rd party interest that's going to invest in you (some labels still do this, only some)backing yourself is great but you have to be realistic and very very honest with yourself, how much money and time are you willing to throw at this dream/goal??
being you are making enough noise to step away from the 9-5 and concentrate on making the records and spinning the gigs full time, that's great if it happens, if you make the step too early and the pressure is on, these things come into play quite heavily, A, make sure your agent is finding the gigs consistently, B, you or your engineer needs to be pushing out tunes steadily all year round neither of which could even be covering standard living costs
the passion & love will soon stand in a different light when it comes to making sure you have food on the table and can just plain get by in your life each day..
this all probably reads really negatively lol, i dont mean it to be, and I'm certainly not, i love what i do, with all the people involved and the scene for all its good parts and the side cart of , Ive not even considered moving away from my day job, my schedule is bonkers juggling that and a full time studio schedule too, along with gigs and my radio show.
its a shame these days there isn't much money in all areas of the industry, even respected 'big' names are looking over their shoulders wondering where the next gig is coming from. kinda says it all right?
AK
Fledz
I do it for fun and if something happens awesome, if it doesn't then whatever.
I'm just such a lazy bastard so never finish tracks and plan to record mixes and get gigs but just choose to do something else :p
Richard Butler
quote:
Originally posted by Akira_Kayosa
its a shame these days there isn't much money in all areas of the industry, even respected 'big' names are looking over their shoulders
I was thinking this sorta mirrors whats been happening in the wider world, for example once UK high streets were all individual but now most are populated by the same old big chains, so most market participants are squeezed out.
cryophonik
If I was trying to make it, I sure as hell wouldn't be trying to do it in an underground niche market (in the US, at least) as trance. I'd be setting my sights on something mainstream with wide appeal, a bigger audience, and a better chance of surviving longer than 15 minutes.
Also, as the father of a 4-yo, I've noticed that music for kids seems to be a big money maker. Maybe the next TA collab should be a kid's CD? :D
J.L.
Dubstep + kids = profit
Raphie
kids music = trance with amicable vocals
cryophonik
quote:
Originally posted by Trancelover03591
My one experience doesn't amount to much I know, but it makes sense.
Yeah, that does make sense, actually.
OT, but just out of curiosity, what types of books do you write?
edit: hey, where did your post go?! :eyespop:
Trancelover03591
quote:
Originally posted by cryophonik
Yeah, that does make sense, actually.
OT, but just out of curiosity, what types of books do you write?
edit: hey, where did your post go?! :eyespop:
Sorry! I felt like I got too in depth about it and deleted it.
Quicker synopsis: I wrote two books last year, one for a niche market a second for a broad audience. The niche market book did far better.
I intend on writing mainly non-fiction research books on subjects I am interested in, poetry volumes and 1 or 2 fiction novels.
cryophonik
quote:
Originally posted by Trancelover03591
Sorry! I felt like I got too in depth about it and deleted it.
I thought it was pretty relevant, actually. Even though I don't think your post had directly addressed it, it certainly alluded to the notion that there are pros and cons of trying to make it big in a mainstream market (e.g., pop, rock, country) where the competition is fierce and the payoff can be huge, versus making it in a smaller niche market, where there is presumably less competition and a higher chance of success, but also a smaller payoff.
tehlord
quote:
Originally posted by Trancelover03591
The niche market book did far better.
