From: t-bird (djtbird1_at_yahoo.com)
Date: 2004-10-17 01:54:52
steve,
while i think many of your figures are good estimates
(and are REALLY good for budgeting if you're thinking
about "going it alone") one of the things you're not
accounting for is that major labels have MAJOR
hook-ups, so their costs are a LOT lower than they
would be for an individual. they already have
relationships with:
1. publishers-thet can run several acts in the same ad
(thereby saving on the amount spent on each act)
2. they OWN studios and manufacturing plants (are they
gonna charge themselves full market rate for these
services? i doubt it)
3. they have staff producers, engineers and mastering
engineers (see above parenthetical phrase.)
4. distributors (one of the reasons they're major
labels is that they have their own distribution
wings.)
while the labels don't have to pay full-market rate on
these services, i don't know that they give the artist
a break on the charge. also, about the promotional
wing of the labels--they often sit on their ass,
unless the act is one the label expects to make BANK
on. as a record-store employee, i have witnessed a
label admitting they had no pop
(point-of-purchase=promotional flats/posters, etc.)
for a new act that was blowing up on kcrw. THIS is
one of the problems that i see w/the majors--they take
on acts they're not willing to push--anyone remember
the fracas between me'shell ndegeocello and maverick?
another example would be amp fiddler. he and his
brother had a group called "fiddler" around the late
80s early 90s. they were on a major label--i forget
who--but their album didn't get any real promotion
behind it, although it was great, and they were
connected to george clinton (easy hook if i ever saw
one.) TEN YEARS later everyone's hot on amp fiddler,
like he's new...
as far as slavery, what would you call it when a label
won't push someone, but won't let them leave the
label? at the least, it's "imprisonment." :)
-t
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