Remastering Old Tracks, Streaming Fees For Musicians and a new Business Model

I will be remastering all the live tracks I did since I got my funding in the coming weeks as I have now mastered the software. Well, maybe not mastered it but I have certainly understood that the difference between live gigs and digital releases is vast. The work I made on GarageBand sounds really thin now so I will remaster the demos on Logic pro.


I am also thinking about how to remarket everything now that the Dominartist Project has reached completion.


I earn more money from advertising revenue on my podcasts than I do from streaming fees so I am less keen to use YouTube and Amazon than I was at the beginning of the project. Some of the already released tracks are nearing the end of their streaming time anyway, which was only for a year. I was keen to establish the name of my band, the 'Tale Teller Club', on the internet. The longer you are online the better for Google search results. But I won't recommend you release your music that way as the financial gain is really limited. I made 35p in my first month. Now I don't even bother checking but I would guess it will be pennies.


I have experimented to see what gives me the best exposure and really none of the big streaming platforms have given me much in return for my release fees. Fortunately, I only paid around £10 per track but I will not make that back any time soon as they come to the end of their exposure on all the streaming platforms in a few months.


It was good to see how it all worked though. But I do need to be a lot more organised and slick now, even if I record a jam, I have to do it right. Funding has been great in allowing lots of experiments but it cannot continue, unless I get more funding of course.


Also, I need to think hard about copyrights etc, and how to sell demos and soundtracks to films as they are different to singles. I am thinking about creating a samples portfolio and then selling albums here through the Dominartist site. One sale would give me more than a year of streaming on iTunes. I am primarily a composer of course and I want to create good demos to sell my other skills. How I get my demos out there I am unsure. Demos by definition sound unpolished and incomplete but they can still be listened to, stolen or copied and are still worth some revenue if they are heard.


Of course, when an artist has funding, there is less pressure to sell. All my music released thus far has already been paid for. Plus I was able to be experimental without any business pressure. But the time is right to become more financially savvy. I need a good business model. That is a hard call as music artists are in court this week to try to increase streaming fees from the biggest companies. I doubt things will change soon.


The future for me as a musician is almost certainly increasing my live recording and fusing it with digital layering whilst not letting the machines take over. Then I need to get heard by the right people. Actually, the public are not really my target audience as I want to make music for film and TV. So the next problem is working out some marketing tactics.


I am as paranoid about my work being stolen as ever so today I will thinking hard about how to manage all my audio stuff as well as my visual portfolio.


The internet is far from straightforward.


But one thing is certain, I will not sound like anyone else.













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Dominartist Books

Welcome to the new cinema at the Dominartist Project. We are proud to present Fanny Blomme, a beautifully directed adult animation film, written, produced and directed by the artist known as Dominartist. Music score composed and performed by Tale Teller Club produced by AuDiOM.

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