Het Scantraxx leegloop topic

Joa, da mo ge veural duun joa

But, all the funny on a stick, what the hell is going on at Scantraxx HQ? Brennan heart "left", Frontliner "left", Wasted Pinguinz "left"??

Dat is chantage en dat mag niet!

maar wat is dat in het engels??? ;_;

Okay, this will be long... but I'll try to give you guys some information/insight.

Look at it like an evolution in how business is done... when these guys started out, it was important to rely on a label. The label foot the bill for the vinyl manufacturing, they were the distribution, and it was basically "all eyes on the label". They were kind of like a single point of contact for the music consumer. Back then, you needed to put up front significant costs for manufacturing which the label did. Now? Not necessary. I just made a deal with a manufacturer that can create whatever I want (including 7" and 12" vinyl) without up front costs, and for very good prices per unit. They can also handle my wholesaling and if I need 500 shirts delivered to a venue, they can do that for me.

They can basically publish, distribute, and whatever all my merchandise for me, and all I have to do is tell people where to buy it.

These days it's entirely different: I log on to Facebook and get my news mostly from the artist, and less from the label. Now that labels are all digital: what's stopping them from uploading their music to iTunes, Bandcamp, etc on their own separate from the label? They can set their own prices, release the tracks on their own schedule, and they can take more money from a sale because they don't need to pay the 50% to the label. You can have complete freedom and control, and the important part: you can own your tracks. When you sign your music over to a label, depending on the contract, you no longer own the full rights to those tracks (every label and agreement is different, of course).

Having your own label is like complete freedom. IMO, I see it like the difference between being a chef for somebody else, having to work to their standards, preference, and tastes, or being the chef of your own restaurant and working for yourself.

Haha heerlijk hier om al die reacties te lezen, ik heb net het hele topic doorgelezen en het is gewoon grappig dat allemaal mensen denken dat ze ervan af weten terwijl het allemaal speculaties zijn(ik zelf weet er helemaal niets van voor de duidelijkheid ). Ik vind het wel mooi dat de invloed van Scantraxx sterk aan het afnemen is, dit maakt de weg vrij voor nieuwe labels en andere grote labels om nog groter te worden zoals DWX en Fusion.

Nikkita heeft volgens mij wel gelijk. Labels worden eigenlijk steeds zinlozer sinds vinyl haast niet meer gebruikt wordt. Iedereen kan online muziek verkopen, daar heb je geen label voor nodig.

Zit eigenlijk wel wat in, dat elke artiest voortaan gewoon zijn eigen muziek verkoopt en dat er een bedrijf voor de merchandise zorgt. En dat het management team voor de optredens zorgt, probleem opgelost!

Dat kunnen de grotere namen als Brennan Heart, Wasted Pinguinz en Frontliner wel. Maar de jongere garde niet. Die moeten eerst bekendheid krijgen via Scantraxx en productie technische nog dingen leren denk ik.

Hoe kan je je plaat op die online mp3 koopwinkels krijgen? Moet je dan ergens aan voldoen?

Exactly as Parvuz said... this is why labels like Scantraxx are still necessary. As much as they are hated on, being with Scantraxx holds a lot of "prestige" with many fans who live under the idea that "if you're on a label, you are suddenly the best artist ever and I need to be a fan of you!!".

So as hardstyle007 also said, or what I think he said: if every artist made their own music, and simply contracted out their bookings to an agency, things could be a lot different. Unfortunately, many agencies in hardstyle won't represent you as they either only exclusively represent artists of a particular label, or whatever.

Dysphoria: the cut is taken after the store/service has taken their cut. So, right now... let's say iTunes. I'll explain this in the most simplistic way possible for the sake of using an example. iTunes takes about 30%. So there is 70 cents left. A label will typically take 50% of what's left over. Everything goes to the label first, and they pay you every 3 - 6 months. If there's no other fees or people sticking their hand in to it, that leaves you with about 35 cents. If you only have 100 sales per month, it's really pointless because the money is effectively pocket money... But if you have 1000 sales per month, it's the difference between 350 euro and 700 euro. Over time that really adds up, especially when as the artist you're expecting to foot the bill for almost everything.

nikkita you forgot the taxes and distributor Apple doesn't want to deal with all those small labels so you have to use a middlemen to publish it to iTunes. I don't know if the biggest hardstyle labels have still that issue, but if they do, you have to cut another 10-15%. And there also also labels who take more then 50%.

Ja, dat verschilt wel per site. Beatport stelt best wel wat eisen. Ze willen niet allerlei labeltjes die een keer een track releasen. Bij beatport is het ook zo als je te weinig verkoopt wordt je eraf gegooid.

Is dit niet dat meisje die achter de cam staat? Zij verdient dan eigenlijk meer geld in een uur dan bijvoorbeeld geck-o verdient over een maand als je selectief kijkt naar de muziek verkoop als ik dit mag geloven?

Zou jij meer betalen voor Geck-O achter de cam dan voor zijn tracks dan?

Klopt, een artiest krijgt bekendheid door producties en verdient dan het geld met draaien.

Nee

Yep, that's why I put that in the example But there are services out there where you pay $5 per track and it pushes your music out to the platforms like iTunes and there is no additional % taken away. The trade-off is really nice though... but the average is about 30% from iTunes, and so on. Tunecore, for e.g. does this. They also offer a royalty collection service and only take 10% (vs some publishers will take between 30% - 50%).

So I think these days it's a lot easier to do this when you have a fanbase behind you. If you have the fanbase, and if you're going to be forced to spend your own money (in a lot of situations, everything is paid entirely by the artist: video clips, websites, press photoshoot, etc) then you might as well cut out the label/middle man. Again, for some people it works, for others not... just depends how you like to do business.

Hope this helps shed some light for you guys.

Thanks Nikkita!

You completely forget knowledge, a network, and experience. These are not for free obviously. To compete with the big guys you will need big money, money only big labels have. Contracting you means a certain risk therefore they ask a fee.

Idd! hopelijk gaat dat label helemaal aan gort. maar dat zal helaas wel nie gebeuren.
De vraag is wat we hier mee terugkrijgen.. Als die lui maar niet bij Theracords, Tillt of Fusion denken aan te kunnen schuiven;)

ga dr maar vanuit

Bij Fusion zie ik een frontliner anno 2012 nog best komen.. maar thera zal die mafkezen minder snel toelaten lijkt mij;)

Die "mafkezen"? Wtf :').

I already addressed this in previous posts. Also: even when you're with a label in this scene, you're still paying out of pocket for things like music videos, etc. Zatox paid for "My Life", out of his own pocket for e.g. He also paid for his own websites, graphics, and photoshoots. If WP wanted to set up a tour for 3 months in NL, they would have to pay for everything out of pocket, and there is no guarantee they'd have bookings. Besides that, some of the contracts lock you in with strange terms. For example: everything you do would "belong" to the label, whether they choose to release it or not. Even if you leave, it still "belongs" to them.

"Knowledge"... not really, if the label has bad A&R/development, you don't get anything out of it. Some labels host workshops here and there, but if you're on the label then chances are you already meet whatever criteria/standard they have in place. Some artists sign, get zero feedback, and are effectively iced and eventually leave because they are more constricted with the label.

You forgot that he also pays for his own likes

Many of them do/did. Too bad "likes" haven't mattered since they introduced "talking about this" to go along beside it, and switched the focus of priority from the number to the response on the content itself.