5 Simple Ways The Pros Use To Promote Netlabels

[JohnConeyllrhn]

Last week, open access journal Primary Monday published an excellent analysis article (licensed CC BY-NC-ND) by Patryk Galuszka referred to as Netlabels and Democratization in the Music Industry. If you_re not really acquainted with the term, a netlabel is a sort of lighter-weight record label. Netlabels distribute music recordings primarily over the Internet, many of them for free with a Creative Commons certificate. While many netlabels are simple efforts run by small categories of likeminded artists, some are substantial and rival traditional record labels in the marketing and reservation services they offer musicians.

Galuszka_s article - a finale of several years of exploration on the topic - positions netlabels in a broader good musicians attempting to democratize the recording industry, to varying examples of success. For decades, musicians and fans have romanticized the thought of independent music production and distribution, but according to Galuszka, even in the heyday of the DIY movement, truly doing it yourself was economically arduous:

Economic constraints of traditional phonography put some restrictions on independent record tags. Both more successful independent record companies and small DO-IT-YOURSELF labels faced situations when ever their records did not sell well and their owners got problems with financing daily procedures. It was quite common that to assist pay the bills labels supplemented the operations with running a tracking studio, retail store, distribution and other services. Analysis of United kingdom micro-independent record labels done in the early 2000s [_] showed that it was extremely difficult to make a living out of running a label. As a result, it was not uncommon for people linked to small DIY labels to get a daytime job.
Turntable
Turntable / Alan Levine as well as CC BY
Galuszka suggests that as the Internet has become the dominant platform for music promotion and distribution, self-distribution and independent labels have become considerably more feasible alternatives to significant labels.

The advent of the online world and digitalization reduced the importance of major record labels_ competitive advantages in in least two ways. First, they will reduced the benefits of controlling a distribution network. Although labels_ own distribution networks will still be the source of competitive benefits as long as tangible records are bought by consumers, it can be no longer a barrier to entry preventing individual performers and small labels from selling their products globally.
Second, the advent of the Internet allowed low-cost, direct communication between artists and listeners, which usually helped build promotion stations outside of the mainstream press. For most of the twentieth hundred years, exposure in the commercial radio, tv set and print magazines was virtually impossible if an specialist was not supported by a record sticker [_] Although radio airplay is still necessary if an artist wants to turn into a global star, social networking sites, Bebo and blogs provide music players with a cheap and available alternative. DIY musicians of the 1970s and 1980s, who to spend a significant amount of time and money preparing and releasing zines (small circulation self-published magazines), could only dream about reaching such a wide viewers at such a low cost.
In the same way significant as the new associations between artists and fans afforded by technology would be the connections between artists. Take, for example , the fourth annual Free! Music! Contest (of which in turn CC is a proud supporter). The contest_s point system rewards contestants for having their songs remixed or used again in videos. Websites just like ccMixter and Free Music Archive make it wonderfully easy for artists to share the work and let others reuse and play with it. Thanks to CC licenses, worldwide collaborations between musicians happen every single day with an ease and spontaneity that would have made DO IT YOURSELF artists of yore jealous.

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