Definitely not that, those are worse for you
souma
joined 1 year ago
For me it was networking via Facebook and supporting the labels who released the music I enjoyed. It doesn't go unnoticed. But for larger labels, I think it's about submitting good work consistently, even if the first few are rejected.
Honestly traffic laws should still be enforced for those situations. Cars can't just sit in the lane or intersection, so either pull into the parking lot or drive on
How do you even get past act 1 in 10 minutes? I feel like even the time for dialogue to show up would take more than that
African or European swallow?
That's so kind of you to say! Thank you
It's not for everyone, but I hope you enjoy!
Sadly the scene for this subgenre isn't exactly big enough for touring and shows (yet, fingers crossed!). But yes, I finish my mix and send it in for them to handle mastering, artwork, distribution, and marketing within their own channels. They will provide the marketing packet with artwork, etc. a week or two before release so I can share on my own artist pages as well :)
They're great! I used to be an artist on that channel and relax and listen there to find new artists and sometimes share my own tunes. If you want to support the artists directly, following label channels such as Emergent Shores and Synth Collective can help!
No apologies needed! It's not much and it depends on your audience as well as your label. I'm lucky where the labels I work with split 50/50 with the artist. However, that split comes after the distribution take. With my current numbers, I probably get paid out $100-150 each year. As your catalogue grows and your streams get higher, that does grow significantly with time.
TiL Epic had purchased BandCamp