![]() Relaunches generally are a pain in the ass for companies. So it looks like the relaunch of pro caused some unwanted effects in frontend and.or backend processes. If the decrease would be market, product, or consumer related it would be slowly fall like a trend but not instantly. I work as a professional digital analyst inside a large agency company and know a think or two about online sales.įirstly instant drops of sales mostly point to technical or semantic problems regarding frontend payment or user experience bugs. I dont run a label but this caught my attention. The digital download business has been on life support for years and should be dead soon.I enjoyed reading about your experiences, sorry it didn't work out for you, if there was more people like you selling music because they were passionate about it and wanted to drive the scene forward we would have a much better industry. There's too many ****ing hands in the pot and illegal file sharing has ruined (or "transformed" if you prefer a positive, delusional perspective) the business. The digital download business has been on life support for years and should be dead soon. I'd do it all over again in a heart beat if I had the time and money to waste, but alas, I don't have those luxuries any longer. My hero/idol growing up, Paul Oakenfold, even played a remix of mine and was hammering several tunes from my label which was something I could have never even dreamed of. It was a memorable experience, and I don't regret it for a second because it was nice being able to see the other side of the business and work with several legendary artists that I grew up admiring. By the time all was said and done, my partner and I had invested (and not recovered) several thousands of dollars, so we weren't left with much of a choice. I can't speak for what's happening now, but from 2010-2012 it was pretty much impossible to recover any advance fee's you might pay to an artist (and they all wanted advances and had zero interest in royalties because there were none), which made things near-impossible for smaller, upcoming labels like mine. I can tell you with 100% certainty, at least when I ran my label, that file sharing and illegal downloading ruined my business/label. Never even got close to breaking even which is all I wanted to do. I remember one release having almost $1000 invested after you accounted for the payments to the original producer + the remixers. And it worked, I had several big name Dj's playing tracks from my label by artists who had never had releases and were just regular forum posters like you and I looking for feedback.īut, I also wanted quality artists so I was paying advances ranging from $50 - $500. ![]() I actively recruited on forums like Tranceaddict and tried to give those looking for an opportunity a chance at a nice release. I started the label because I wanted to advance what I deemed quality music and upcoming artists. I never started the label to make money, I wasn't that stupid, but I hoped I could at least break even. I had to get out of the "business" because my label literally turned into a money pit/fun adventure gone wrong. You think $40 is enough to secure an advance with a nice artist? Hell, $40 will hardly even buy you a good mastering job for 1 track, LOL. That left the label with a whopping $40 per release. Next, you receive your payment via paypal who takes yet another $5-10.īefore all is said and done, you're pocketing (if you're lucky) $80 per release, which you've gotta split with the artist, usually 50/50. Most tracks (at least when I ran my label) would only sell 100 - 400 copies total so you're looking at pocketing, if you're lucky, an average of about $90 per release. Next, the usual 50/50 split with the artist gives the artist 35 cents and the label 35 cents. Kiss another 20-30% of your sales goodbye!īy the time Beatport and the aggregator have taken their fee's, you're lucky as a label if you are pocketing 70 cents per track. The only way an upcoming label like mine could get on beatport is using an aggregator like Labelworx or Bonzai Digital Network. Next, Beatport made it nearly impossible for any independent/upcoming labels to establish a direct contract with them (My business associate who worked for a hedge fund literally presented in-person a professional portfolio with $100 worth of materials to their HQ in Denver). ![]() ![]() To my knowledge, no other distributor at that time took that much (though it may be different now) So if you sell a track for $1.99, they took $1 and left the label with 99 cents. What I hated about Beatport was the fact that they took 50% of the sale straight off the top.
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