Running a Label
from: Explanations of why certain speeds were chosen for certain types of phonograph recordings... The original gramophones used a steel sewing needle for a stylus. The stylus determined the size of the grooves in the record and the recordable frequency range limited by this groove size determined a speed between 70 and 90 rpm. This was standardized in the 1930s at 78rpm, although actual play speeds varied depending on the frequency of your AC mains : 77.922 rpm in Europe ...
Great article in the guardian. The key selectors have all switched to CD. The classic 7" vinyl market was primarily for US/European/Japanese collectors. The locals don't buy vinyl. Many tracks never got pressed to vinyl anyway. "The reduction in vinyl production in the West Indies has dramatically affected the way I access music," explains the legendary DJ - or selector - David Rodigan, host of the weekly Rodigan's Reggae show on London's Kiss 100 FM. "In a nutshell, vinyl has ...
"We're not going to continue signing artists for recorded music revenue only," Bronfman said during a conference call with Wall Street analysts. What I keep saying to all of my indie label friends : Indie labels also have to give up on just being labels. It doesn't work. The artists (especially more successful DJs) are making lots of touring money, but they never consider sharing that with the label. So the only model that is working is that where the ...
Madonna signed up with LiveNation, the concert promtions company. This sounds the death knoll for The Major Labels, this marks the end of an era. I have been thinking for a while that Indie labels should follow this route right away. Today I was talking with a friend who runs a label. He puts out good releases by some very prominent names, but he just barely breaks even. The best indie labels are run by people who really are into ...
Independent labels account for more than 18 percent of album sales this year--their biggest share of the market in at least five years, according to Nielsen SoundScan data. (If several big independent companies whose music is marketed by the major music labels distribution units are included, the figure exceeds 27 percent.)
