It is a known fact that getting signed to a major record label doesn’t guarantee success for an artist, but the odds greater or lower vs. staying indie? Moses Avalon explores the “Vegas Odds” of the record deal.
Music Think Tank Open
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Entries in recording industry (4)
A look at the pros and cons of both indie and major record label contracts as well as some of the common, yet most confusing terms used throughout the contracts
An open letter from the co-founders of the Restoring Music Foundation.
There is more music available than ever. The ability for anyone to easily produce music at low cost coupled with an increase in available distribution channels, makes scarcity and control of music a thing of the past. This is compounded by the proliferation of online piracy, that has made a significant dent in the revenues of the music business over the past decade. Competing with “free” music is a challenge. This has resulted in a devaluing of music, which has affected every stakeholder in the supply chain, from the record company to the musician. This devaluation is the central reason for the Restoring Music Foundation.
In 2009 we defined the economic crisis with the help of our wonderful network of music industry supporters. We want to personally thank all of you that pitched in your opinions and helped us ask the big questions. The campaign was a massive success and it was all because of you. We hope you will continue to stay involved in the ongoing Restoring Music Dialogue. Thanks again!
Here at The Restoring Music Foundation, our goal is to create and implement solutions to the crisis and in turn, create an economically sustainable road map for the restoration of the music industry.
Frankly, I am happy the record industry is in this current state. We are about to wrest control away from 3 decades of corporate record thugs. We are now unencumbered to discover more new artists, and discover more ways to connect and share artists and music than ever before. Today there are more business models for an artist to reach an audience than ever before and the opportunity to make a living as a performer is emerging. The record business is dead, but the record business still tries to lurch forward with their 30-year old business model.