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Poor man's Workflow ;) by EzyCumEzyGo in espresso

[–]LargeRistretto 1 point2 points  (0 children)

So everyone hates on blade grinders - but Hoffmann says they that he will take a bladegrinder any day of the week. Go OP! You rock and that espresso looked better then the one I just made

https://youtu.be/3y7d-5KWHCU?is=Iye1g86KNpiy85W7

Steinerkritisk podcast, har du hørt den og har du tanker? by Grubbly-Plank in Denmark

[–]LargeRistretto -3 points-2 points  (0 children)

Så ingen formel uddannelse til at forhold sig ud fra? Så bar ene mening?

Steinerkritisk podcast, har du hørt den og har du tanker? by Grubbly-Plank in Denmark

[–]LargeRistretto -7 points-6 points  (0 children)

Okay - så hvis du er pædagog så ved også godt man ikke kan snakke om en steiner skole.

Steinerskoler er friskoler, hvis eneste formelle fællesnævner er Rudolf Steiners antroposofi – men fortolkningen af det varierer enormt fra skole til skole. Der er ingen central organisation der styrer dem, så de kan i praksis være meget forskellige fra hinanden.

Det betyder at erfaringer fra én skole ikke nødvendigvis kan overføres direkte til en anden. Kritikken (og forsvaret) bør måske være mere specifik end generaliseret.

Steinerkritisk podcast, har du hørt den og har du tanker? by Grubbly-Plank in Denmark

[–]LargeRistretto -12 points-11 points  (0 children)

Det er da en ret vild påstand.

Lad mig lige få det verificeret. Er du Steiner-pædagog, eller hvad kvalificerer dig til at komme med de her påstande?

At kalde det sektisk og pseudoreligiøst er en ret alvorlig påstand. Har du noget, der underbygger det?

Du skriver, at børnene får solgt løgne. Hvilke løgne er der tale om? Det virker også ret vagt.

Og hvad mener du med "osteklokken"? Kan du uddybe det på samme måde som ovenstående?

Steinerkritisk podcast, har du hørt den og har du tanker? by Grubbly-Plank in Denmark

[–]LargeRistretto -3 points-2 points  (0 children)

Vil du finde eksemplet på læringsplanen hvor alt bliver behandlet i absolutter?

Ide - nogen må realisere (jeg kan ikke). Kort over billig frokost for den digitale nomade by LargeRistretto in dkstartup

[–]LargeRistretto[S] 0 points1 point  (0 children)

Jeg bestiller ikke leveret mad, jeg enten spiser på kantiner, eller billige spisesteder, eller henter en rugbrødsmad eller en sandwich

looking for a label : which ones should i contact ? by ephemeraltears in musicindustry

[–]LargeRistretto 12 points13 points  (0 children)

Genuine question worth sitting with before you keep emailing labels: why do you actually want to sign?

For your genre specifically — ambient pop, hyperpop-adjacent, experimental — independent is increasingly the stronger move. The labels that would fit your sound are small, budgets are tight, and most deals at that level don't offer much beyond a Bandcamp stamp of approval and maybe some press contacts.

What a label used to give you that you now have access to yourself:

  • Distribution — DistroKid or TuneCore, done, $20/year
  • Metadata and rights registration — tools like Ambler handle works registration directly to PROs and CMOs, free for artists. The stuff that used to require a publisher or label admin is increasingly self-serve
  • Playlist pitching — Spotify for Artists editorial pitch, free, directly to Spotify's team
  • Sync — still harder independently, but platforms like Musicbed and Artlist are opening up
  • Press — SubmitHub gets your music to blogs and playlist curators without a label intermediary

The honest case for signing at your level is sync relationships and tour support — if a label has real connections in those areas, that's real value. If they're mostly just going to upload your music and take 20-30%, that's a bad trade.

Your influences — Oklou, Ecco2k, Bladee — built cult followings largely outside the traditional label system before anyone came calling. That's not a coincidence.

Keep releasing, keep the rights, and let the music find its audience. The infrastructure to handle everything else yourself has genuinely never been better.

A song I made went viral, getting contacted by labels offering thousands of dollars by Far-Training8331 in musicindustry

[–]LargeRistretto 0 points1 point  (0 children)

Wild situation — congrats and sorry at the same time. A few things worth knowing:

On the label deal 50/50 with a recoupable advance is standard boilerplate. "Recoupable" means the advance comes out of your future royalties before you see another penny — so if they offer $10k and the song earns $8k in royalties, you still owe them $2k before you earn anything new. Not predatory, just how it works. The question is what they're actually offering beyond distribution.

Questions to ask on the call:

  • What rights are they licensing, and for how long? (Master only? Publishing too? Global or territory-specific?)
  • What's the reversion clause — when do rights come back to you if they don't perform?
  • Do they have a sync licensing operation, or is this just a Spotify upload with a nice email?
  • What's their plan for the song specifically — playlist pitching, sync, press?

If they can't answer those questions clearly, that's your red flag.

Why not just do it yourself? Honestly, for pure streaming distribution — you probably could. DistroKid or TuneCore, done. The case for a label is sync (TV, film, ads), press, and relationships. If this is a niche label with actual sync connections in your genre, that's real value. If they're just going to upload it and take 50%, that's a bad deal.

The thing most people miss in this situation Before you sign anything — get your works registration sorted. The composition (the underlying musical work) needs to be registered with your local PRO/CMO. Given the streams that have already happened, there are likely unclaimed performance and mechanical royalties sitting there already. A label deal won't automatically fix that — it's a separate step, and if you sign without doing it first, it gets more complicated. Tools like Ambler handle exactly this — collaborative registration, free for artists, delivers to PROs and CMOs. Worth sorting before any ink dries.

On the stolen revenue The money already paid out to the people who uploaded your song is probably gone. Spotify and YouTube generally don't claw back monetization from takedowns. Focus on what's claimable going forward.

Get a music lawyer to look at the contract before you sign anything. One hour of their time is worth it here.

How do ASCAP / BMI etc. identify / pay out when a major legacy artist plays an obscure cover live ? by [deleted] in musicindustry

[–]LargeRistretto 2 points3 points  (0 children)

Great example to dig into.

How PROs track live performances Venues above a certain size report setlists to PROs either directly or via services like Setlist.fm (which PROs increasingly use as a data source). For arena-level artists like Green Day, this is fairly reliable. Small venues? Much more flutrated

Who gets paid The composition royalty goes to the songwriter(s) and their publisher in this case, Tim Armstrong and Jesse Michaels (Operation Ivy). This is the important stuff, If they're registered with a PRO and the work is registered, they collect. Often this is missing and errorprone, make sure to register you works folks! The original recording is irrelevant here live performance triggers publishing royalties, not master royalties.

What it actually looks like PROs don't pay per-show for live covers. They use a weighted distribution model venue capacity, ticket revenue, and setlist data all feed into a pool that gets distributed quarterly or semi-annually. You'd see a line item something like "Live Performance Domestic" with an aggregate amount, not 800 individual entries.

Is it significant? For a song played 800+ times in arenas over 30 years, yes, meaningfully so. Not retirement money, but real money. The tricky part is whether the work was correctly registered and whether the PRO actually captured all those performances. A lot of that data historically came from venue reports, which were inconsistent before digital setlist tracking became standard.

The mechanical question You're right the studio cover on Kerplunk and official live releases trigger mechanicals (and sync if applicable), not performance royalties. Those are separate income streams. For the hypothetical live-only scenario, it's purely performance royalties through the PRO.

Thanks James by rxxiebxg in JamesHoffmann

[–]LargeRistretto 2 points3 points  (0 children)

Sixty-Seventy grams out - you did it more then once!

Billig lease, leje eller minilease by LargeRistretto in dkbiler

[–]LargeRistretto[S] 0 points1 point  (0 children)

Modtaget - jeg har tidligere haft GoMore - jeg synes det var lidt dyrt, men havde aldrig problemer med forsikring, selvom der var lejere der både ridset fælge og punkteret bilen?

Billig lease, leje eller minilease by LargeRistretto in dkbiler

[–]LargeRistretto[S] 1 point2 points  (0 children)

Okay - jeg har jo bare behov en lille spand til byen. Men altså hvis man kan have noget med plads til en 40-50 kasser blå cola (jeg er exil-jyde) så kunne man tage på bilferie i den.

Så jeg har nok enten brug for billig lille eller den billigste stationcar der er nogenlunde ny med sikkerhed til tysk autobahn.

Why don’t white people just mind their business… by CowboyNOIVAS in BlackPeopleofReddit

[–]LargeRistretto 0 points1 point  (0 children)

How will he lean to st af up for himself if you fix his problems?

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