Why broadjam and not myspace?

[donho]

Why is the only way to submit to taxi via broadjam, why can't screeners go to myspace and listen to material? its free, its faster, and its...free.

[michael11]

Quote:Why is the only way to submit to taxi via broadjam, why can't screeners go to myspace and listen to material? its free, its faster, and its...free.I don't have a problem with Broadjam as such,in fact I like the ability to "hide" material for whatever reason and that's something you can't do with MySpace or Soundclick.

[donho]

I really don't have a big problem with broadjam, just curious about why its the only option.

[hummingbird]

First of all, Taxi doesn't have a contract with Myspace. That would be the main reason. Myspace is not set up for feedback, to submit bio/photo etc. You have to pay your submission fee using a secure site, which broadjam has set up. You can only upload 4 songs to myspace (I have about 50 pieces of music on broadjam). You don't any ability to 'show' or 'hide' your tracks with myspace, meaning your original work is available to all. You can't upload cover songs to myspace and 'hide' them. Nor can you upload 360k mp3s to myspace.H

[onoffon]

It's interesting that even in the world of "indie" music, there is a certain protocol that you follow to be accepted. In the world of corporate music, you have to have the right manager to get gigs, the right agent to shop you around, the right entertainment law attorney to negotiate your contract, the right PR person to create your buzz, the right record company to break you - each one of these entities feeds off of each other to keep the infrastructure they've created in power.Now, there's an indie network that's the accepted path an indie artist should follow if they want to be taken seriously. It's these liaisons in business that feeds it's clientele back and forth that allows these businesses to work together and keep afloat. I'm not saying this is a bad thing - it's a means of gaining credibility through a union of reputable indie businesses. You record your CD and press it through Discmakers, sell it through CD Baby, shop it through TAXI, submit it through BroadJam, get the Indie Bible to book your own tours and create your own buzz - each one charging fees that become their operating budgets, albeit much smaller fees than the traditional industry paths charge.My beef with the BroadJam set-up is that you can only submit your work to TAXI listings if you are a paying member. I have a page over at BroadJam - a FREE page - that only allows me to upload four songs (just like MySpace) - but I couldn't submit them to TAXI listings because it was a free account. Got to pay to play.The business side of music has never been about the music - it's about the business. Always has been - always will be. It's not enough to hone your musical and artistic skills and create and record art - you must have the money to be where you need to be to even be in the position to capitalize off of your art to simply survive.

[hummingbird]

Quote:It's interesting that even in the world of "indie" music, there is a certain protocol that you follow to be accepted. In the world of corporate music, you have to have the right manager to get gigs, the right agent to shop you around, the right entertainment law attorney to negotiate your contract, the right PR person to create your buzz, the right record company to break you - each one of these entities feeds off of each other to keep the infrastructure they've created in power.Now, there's an indie network that's the accepted path an indie artist should follow if they want to be taken seriously. It's these liaisons in business that feeds it's clientele back and forth that allows these businesses to work together and keep afloat. I'm not saying this is a bad thing - it's a means of gaining credibility through a union of reputable indie businesses. You record your CD and press it through Discmakers, sell it through CD Baby, shop it through TAXI, submit it through BroadJam, get the Indie Bible to book your own tours and create your own buzz - each one charging fees that become their operating budgets, albeit much smaller fees than the traditional industry paths charge.My beef with the BroadJam set-up is that you can only submit your work to TAXI listings if you are a paying member. I have a page over at BroadJam - a FREE page - that only allows me to upload four songs (just like MySpace) - but I couldn't submit them to TAXI listings because it was a free account. Got to pay to play.The business side of music has never been about the music - it's about the business. Always has been - always will be. It's not enough to hone your musical and artistic skills and create and record art - you must have the money to be where you need to be to even be in the position to capitalize off of your art to simply survive.You don't have to pay to play. You can burn your work to CD, buy padded envelopes and jewel cases and postage, and mail it to Taxi. By the time you've done all that. paying $3.33 a month to be able to submit digitally doesn't seem that high. It cost me about $6 to mail the same thing.

[og]

With cd, case, envelope, and postage, it costs me under $4 to mail a submission. Out here, we have slow, semi-reliable dialup, and it would cost many times that in therapy to deal with Broadjam, for submissions, anyway.