Don’t give the pedo any ideas

Boston?

It would in the same way a boat with a fan on it would

Hey wait a minute

Unrelated but what is that start menu?? Mine looks absolutely nothing like that

Unless you’re flying Southwest. That shit is a free for all

Hard to beat $10 for unlimited music and podcasts + soon to be audiobooks

wtf is a Kia race

TiL Epic had purchased BandCamp

Definitely not that, those are worse for you

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.

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!

That’s kind of you to request! I hope links are allowed: My Linktree

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.

Oh I love these!

1: Learning experience was VERY slow. I still feel like I’m playing catch-up, but I can be proud of what I put out now. DAWs have a very steep learning curve, then it flattens out for a bit, then gets steep again as you start to realise just how little you know!

2: I have had no musical training whatsoever, so it took 6+ years of playing around and teaching myself through experimentation to get a track signed.

3: Most important thing, and something I still struggle with, is to focus on the music. It may sound silly, but when you’re a producer, you’re doing everything from start to finish. So it’s easy to get caught up in the production, in the technicals, or even in trying to get a specific style down — sometimes you have to step away and listen after a week so you can go “oh this is actually musically interesting”.

4: Most recent is taking advantage of macros and modulation to give sounds character and slight imperfections, such as a randomised LFO on a cutoff filter that changes the texture slightly throughout :)

This answer is a bit more specific to what program I started with (FL Studio) — but organisation! Colour coding, naming, etc.

Another one I’m still learning and struggling with is not to sit on songs. I have 20+ 90% done ideas that I should finish and get out. Sometimes waiting for that ‘spark’ to come back is detrimental. Trust your talent and finish it.