Live Music Blog

With the escalating progression of music technology in the last decade, mainland CD  stores are continuing to decline in popularity, as the trendy demand for digital music downloads continues to crush them further into the archives of history. Claiming more than half of the globes music buying audiences, Digital Music Distribution is the predominant method of music marketing the world provides us now.
More and more artists are appearing on the scene with highly polished albums, mostly produced entirely under their own steam. They have become resource ful singular empires, holding sole rights and authenticity as unconstrained producers and marketing agents of their own products. The artists are ready to take the world by storm by hooking themselves up with one of the many distribution businesses currently available.
But as an independent artist, what are you really signing up to in a distribution deal?
many digital distributors provide artists the opportunity to have their music available on many of the popular and esteemed music selling outfits; Apple iTunes being one of the the majority popular playgrounds for current music consumers. But whilst they can promise to get your music on the right path, how is it going to be found amongst the billion other artists competing for sales? Consider that the majority central stream artists have many more dollars poured into their advertising and marketing person a’s than the unsigned artist can ever afford. Major acts are funded by major pockets ensuring the perfect opportunity of sales.
One answer to this is that many unsigned artists feel that by simply having their music made available alongside mainstream artists is a elevate to their credibility, affording them and their music a much higher distinction. It’s certain that a nice deal can grant your music a triumphant victory if you manage to populate vintage music selling web site s. Your only subsequent aim is to actually make sales on them. Otherwise what’s the purpose following all?
Deals, terms and conditions change from business to business, so it is worth looking around and researching which kind of distribution method is right for you. There are many worthy deals, and probably just as many scams, circulating the information highway.
If you’re thinking of accepting a distribution deal, before signing the dotted line it is necessary to ask questions such as:
• Does the deal include any publicity or promotional advantages to the artist?
• Are there any payments I must make, statutory, collective or alternatively?
• What percentage of royalties will I receive, and how are payments handled?
• can I be provide d with an estimation of how profitable your distributive methods are?
• What are my rights in terminating the contract?
• Am I solely responsible for tax declarations on my net income?
Other things you must check before signing are the ‘exclusivity’ terms. These can greatly inhibit your freedom. Does a deal involve licensing your music digitally (via like red Web formats) or does the deal additionally include physical sales? Some are highly exclusive in nature whilst others give you rights to continue with marketing your music via other channels.
Bear in mind that many reputable and authorised distributors, such as CD Baby for one, won’t allow an performer to exploit other distribution channels, as the two events run the risk of putting your music on the exact same web site s. A hassle major stores and distributors can do in the absence of, and an understandable clause too.
You must read the terms of an agreement in full. It’s absolutely essential that you fully understand what’s expected from you as well as what’s being provide ed!
Here is a cautionary example:
A music distribution web site currently provides a deal for both digital and physical music sales, (the terms of agreement are publicly available for download on the web site ).
The web site appears to charge $99.99 as a one off payment. Upon checking their terms of agreement however, it states:
“After one year of promotion,  we  may archive, remove and/or su spend your Works from the Service in the absence of terminating this Agreement.”
What then If the agreement is still in place but your work is no longer made available on their web site?
“You can pay an annual fee, which is to be determined, to insure that your Materials are not archived, but displayed and provide ed for sale following the first year of Service.”
So if you refuse to pay this annual fee, the web site still holds all rights to license and sell your music as expressed in the agreement you already signed!
This is not necessarily wrong but is it what you want? Always check the small print and read any agreement thoroughly. As a general rule be wary of web sites that ask you to pay for distributing your music. On the basis that a web site ’s marketing strategies were fruitful, and they believed that your music is nice enough to reap a profit, why would they be asking you to pay them in advance? Suffice to say that not all web sites that request payment from an performer deliver an unsatisfactory service. Speak to other artists whose music is being distributed and see how the deal is working for them. If something doesn’t sound quite right in any deal, double check with the distributor. If you still receive an insufficient response, you can always seek a legal opinion. But if you’re really in doubt, perhaps you’re better off in the absence of !
If you’re marketing your music through a label they ought to be sufficiently taking care of your interests. A reputable label with ensure that all terms in a distribution  set ting are obvious and fair to all events involved. Being part of an honest label is usually a nice way to relieve yourself from some of the finer pressures attached to direct schemes. They will of course additionally expect a cut of the profits but will usually have a nice degree of interest in maintaining their own artist s’ affairs in an appropriate manner. If the performer is happy the label thrives upon its nice reputation, and its integrity towards its artist s.
Despite the odds, sales margins have better for thousands of unsigned artist s, simply because of the greater variety of marketing mediums available. You can not only market your music yourself, but allow others to do it for you. The more places your music is available the higher your opportunitys are of achieving sales. But as with any enterprise, money and prof it is the primary goal, and and so you ought to continue with caution before handing your personal work over to anyone.
There are many reputable distributors, who promise to do the job and actually deliver what they stated. But, as with everything in life, there are those that you would rather not be involved with. So research as many as possible, and ask as many questions as you see fit. After all, a year is a long time to get stuck in a deal you later realised doesn’t quite work for you! Not only would a bad deal cause you much frustration in its limitations, but can additionally undermine your confidence in participating in future marketing opportunities.