We have all heard of the new model and also the problem with the majors but if anyone here
was going to start a label in 2012, what sort of label will it be and where would the money come from?

Well KZ - for a start I wouldn't start a "label" which is why Alex isn't on a "label" but through his own setup.
Secondly, it therefore would need funding. It stands or falls on its own.

It's not brain surgery.
1) Make a hit; this is the difficult part.
2) Work out how to get people to hear it.
3) Make another hit.

A three part infallible guide to the new model.

If you're releasing music digitally you've got nothing to stick your label on to!

Best post of the year so far Dixie and means more than first appears.

Interesting reply JK and thanks for that.

Making the hit is actually the easiest part (yes I do know it is hard), compared with working
out a way to get people who listen to it to actually buy it. I have read Alex's blog on how he
did it and a lot of "persuading" took place so he mobilised his fans quite effectively. It worked
for that record. Whether it will work again remains to be seen.

Of course each label believes that they are releasing a hit record of some sort and you can only
measure a real hit after the fact. There are many records released that you don't think are hits
but are selling so you would have turned down a record that would actually make money.

My question is more about putting flesh to the bone. Do you focus on the internet as did Alex?
Would you release singles only? etc. I take your point that you won't start a label but even single
artist labels are labels so you would need a label of sorts to put music out there.

@Dixie. Actually if you are giving away your music you don't have anything to "stick" your label onto.
However, if you want to get it into iTunes you need a UPC, ISRC code and a label even if it is your own.
In any case this is a moot point. The question is how would YOU diseminate music in 2012.
Would you go for the iTunes sales model or concentrate on the Spotify/Youtube freemium model?

You don't need to create a label if you are only going to deal with one artist but once other artists are being handled by the same group of people a label (or brand) is needed.

I think these are the areas which should now be combined together by a Manager.

I reckon we are entering into a new golden age of independent labels.
Most indies have combined management with label duties for years but as they grow
they forget their indie roots and turn into mini majors with disastrous results.
Creation, 4Liberty are 2 of such labels destroyed by corporate (Sony) tie ins.

So I think running a label is a great idea but for producers, writers or managers.
Artists can run their own labels but only if they double up as one of the above.

The model that works and is viable would have to revolve around Youtube (or any other video site)
Bob Lefsetz has a few very interesting articles read this about the Brits

lefsetz.com/wordpress/index.php/archives/2012/02/22/the-brits/

lefsetz.com/wordpress/index.php/archives...s-case-of-van-halen/

Youtube converts to sales (especially with a hit song) but with the partner programme you can survive on
making interesting videos showcasing you or your artist.

Build a tribe online and then utilise the tribe and at that point you can consolidate with the wider media.

Exciting times but one needs to create an identity around the music first. That's my view, now i'm off to
plan my next single.

DJ: the project we spoke about offline has loads of old-fashioned thinking - focus on physicals (80% of music revenue, after all!), live events in which we take a hands-on almost managerial approach and the support of good old fan clubs and local radios.

Given current thinking, this is as counter-intuitive as it gets. It's not a model, ie something that can be replicated by any artist or genre, but it makes the most sense in our situation. YouTube will play a role, but we won't be begging for exposure. We'll be actively using it for a specific function.

I'm being coy about it at this stage, but the point I'd like to make is that you have to focus on what is right for your specific audience.

Oh, and think long-term. I still have yet to uncover the key to unlock viral activity that means anything.

Sensible post Michael. The point of this thread is to shoot the breeze with everyone to see what they think about progressing forward in the record industry in 2012. Your model works for you and that is fantastic. I will take issue with your claim the 80% of music revenue is from physical sales as a recent stat I saw showed this was not the case. But notwithstanding this, thanks for your contribution.

With some recording studios costing £450 per day, on average it costs a young band between £7,000 and £10,000 to record and mix an album. If they care so much, why don't some of the veterans of the music business set up a special fund to help these young and (mostly) penniless artistes make recordings, and (maybe) even sell their product?