ARIA RECORDSMUSIC COLLECTIVE
ARIA Records Collective

Where serious musicians come to build something real.

ARIA Records is a collective for artists, producers, and hybrid creatives ready to do real work and build real music.

The Cause

The best music comes from musicians who trust each other.

The roster

Signed because nobody else sounds like them.

The collective is small on purpose: three musicians, chosen one at a time, each with the room, the time and the people behind them. Open a page to hear the work.

01 · Producer

LOSTK3V!N

Dark R&B, made at the top of its niche.

LOSTK3V!N has produced multiple songs for the top artists in dark R&B, and at such a young age he sets the bar everyone around him works to match. He breaks the genre's boundaries, folding techniques and sounds from many others into something new.

Dark R&BBeats and sound designMixing
02 · Recording artist

Diego Di Angelo

Hundreds of thousands of streams, under other names.

Diego Di Angelo has made songs with hundreds of thousands of streams under other names. Now he is building a sound of his own under his new one, combining genres into new ones, with a voice built for the studio and the stage.

Dark R&BVocalsA new sound
03 · Producer and recording artist

David Early

From behind the boards to the front of the record.

David Early has produced across many mainstream genres for many different artists, and now uses that range to make genres of his own. He sang background vocals on other people's songs; now his own voice is the front of the record.

Reggaeton, R&B, pop and rapProductionVocals
Not on the label

The musicians on ARIA.

Everyone listed on the ARIA Network, with their music and a page of their own here. Not signed, and not asking to be: listed by a person who listened.

ARIA Records was built on a single belief: when artists, producers, and hybrid creatives work inside a real network, with real equipment, real creative direction, and real relationships, the music they make is in a different class.

The studio is in Ormond Beach, Florida. The network is not. We work with artists wherever they are, and the room is there when you need a room. We are small by design and everyone here is working. If you are serious about your craft and ready to make music that actually moves people, whatever genre that lives in, this is your place.

What ARIA Offers

You bring the talent. We bring the infrastructure.

Every member of the ARIA Records collective gets access to the space, the support and the network that most independent artists spend years trying to piece together on their own. Then there is the software, which is the part nobody expects: twenty-one tools of it, listed below.

01

DJ Studio 37 Recording Access

Professional studio time in Ormond Beach, covering tracking, production, mixing, and mastering, in a space built for contemporary music production across all genres.

02

Real Creative Collaboration

Work alongside other artists, producers, and hybrid creatives in the collective. Co-writes, joint sessions, and honest creative feedback from people who care about the music.

03

Creative Direction

The ARIA Records team has opinions and will share them. From sonic identity to release strategy, you get a creative partner who wants your project to be great, not just done.

04

Release Support

Distribution coordination, release planning, and support getting your music from session file to streaming platform in a way that reflects the quality of the work.

05

A Network, Not a Transaction

ARIA Records is a collective, not a vending machine. The relationships you build here, with the team and with other members, are the point. We grow together.

06

Serious about Their Craft

ARIA Records is not for everyone. It is for artists and producers who are deliberate about their sound, committed to quality, and ready to put in the work, whatever genre they work in.

What you are owed

One song. Four organisations. None of them talk to each other.

This is the part that costs independent artists the most, and it is not a talent problem or a marketing problem. It is that nobody is told the money arrives in four separate places, from four bodies you have to register with individually.

4 Separate registrations for one song: a PRO, The MLC, SoundExchange, and Content ID through your distributor.
$0 What three of the four cost to join. Free at BMI, free at The MLC, free at SoundExchange.
~1 in 5 Of the money paid out on your song is on the songwriting side, a separate cheque your distributor never sends you.
$424m Received by The MLC in historical royalties from 2007 to 2020, a large share of it still unmatched to the writers who earned it.

Every one of those registrations is free and you can do all of them yourself in an evening. We would rather you did. The handbook is the whole list, and it is public. What the toolkit below does is make sure it actually happens, for every release, permanently.

What signing brings

Twenty-one tools, built because nobody teaches this part.

Software we wrote ourselves for the half of the job that has nothing to do with music: the deadlines, the registrations, the paperwork and the money. Most artists lose more to this than to anything about their records. Every tool asks about you first and reads the same songs as the rest, so they work as one. Every member gets all of it, free; anybody can try each one on a demo at /tools.

Make it
Song LabEvery song in progress, what each one still needs and why, the order to fix things in, and the one to work on next. It knows your pace: a song untouched for longer than you usually take has slipped, and it says so.
SessionsEvery session in the room: who was there, what was made, and what everyone agreed. The prep list before it, the split sheet after it, and nothing left loose.
BeatsBeats you lease, watched against the song made on them: the cap, the term and the producer's share of the writing. Beats you sell: every licence, what sells and why, and the take-it-down-everywhere checklist when an exclusive goes.
Release it
Release PlannerTell it about the release and it builds the plan around you: your hours, your money, your audience, the show you have booked and what worked last time. Every step says why it is there.
PitchEvery pitch you send, chased at the right time, and new ones written from the facts the toolkit already has: who to send to, ranked by how each one has answered you before.
Press KitA press page and a one-sheet that sell you before anybody presses play, judged for bookers and venues first, with what each kind of reader still needs from you.
SyncWhich of your songs can be licensed today and who has to say yes, the briefs with the song of yours that fits each one, and quotes that say what a licence must.
Get paid
CatalogueEvery song, every way it can pay you, and whether it does: read against your PRO, your publishing, your deals and your own plays, with the money not reaching you in dollars.
RoyaltiesYour distributor statements, read and checked for you: what earns, where, what looks off, and what each song really made you.
SplitsWho wrote what and who owns the recording, in writing, confirmed by everybody on it. A release goes green only when every split on it is agreed.
DealsWhat you signed, what it gives away, when it ends and what you owe under it. Offers side by side, and the question everything else depends on: who owns the master.
PlacementsEvery record somebody else put out that your work is on, from the pitch to the money: what each one owes, what is missing, and who to chase, with the message written.
BooksEvery dollar in and out across your tools, what each song made, and what to set aside for tax. Not tax advice: the numbers an accountant asks for, in one place.
Grow
GrowthWhat is moving your numbers, what is holding them back, and the fans you can reach without an algorithm in the way. Each release marked on the curve where it landed.
LiveEvery show, what it actually paid once everything is counted, merch, and the documents a venue asks for.
ClientsQuotes that become invoices, payments against them, and who still owes you, with the reminder written for you and getting firmer the later it is.
The business of musicfor DJing, engineering, managing and running a label
EventsEvery booking from the enquiry to the last song: answered the same day, held with a contract and a retainer, the night planned with the client on their phone, the gear packed, the balance in before the night.
MixesEvery mix and master for a client: the files in right, each version approved or sent back from a link, the rounds counted against the price, the loudness checked, the balance before the finals.
RosterEvery artist you manage or put out, side by side: their next release and whether it is ready, their numbers, the commission or the share each way, and the statement to send.
DemosA label's own demo page, and every demo sent to it listened to, marked and answered inside the time it promises, with the answer already written.
In every kitand with any tool on its own
PlaybooksWhat to do next, step by step: release a single, get paid for your streams, land a sync placement, build a live set, get the paperwork straight, and one each for a DJ, an engineer, a label and a manager. Each step opens the tool that does it, says why it is there, and is ticked for you when your own data already shows it done.

Applying does not need a released record. A demo or a rough mix is a normal thing to send. If what you want is the room rather than the label, that is DJ Studio 37, and it books by the hour at /book/studio.

Your Workspace

This is where the music gets made.

DJ Studio 37 in Ormond Beach is the creative home of ARIA Records, a professional recording and production space built for artists who demand a cinematic sonic environment.

The live room seen through the control room window, an electronic drum kit under blue cove lighting
Through the glass: an electronic kit, blue light along the ceiling and the floor.
A Shure SM7B on a stand in the vocal booth beside a wall panel of XLR tie lines
A Shure on a stand in the corner, the jack plate low on the wall.
The corridor into the studio, LED skirting washing the dark walls blue and purple
A black door and dark walls, blue along the floor and purple up the corners.
The control room from the piano side, a leather sofa and the mixing desk against the booth window
From behind the keys: the sofa, the desk and the mic through the window.
The studio lounge, black leather recliners against a lit green foliage wall
The lounge: leather recliners under the green wall, a desk chair by the orange wall.
Inside the vocal booth: microphone and pop filter on a stand, headphones on a shelf amp, the control room through the window
Pop filter up, headphones hung under the shelf, the control room through the glass.
Why we work this way

The maths most artists are never shown.

None of this is secret and none of it is a scandal. It is just the arithmetic of a standard deal, and almost nobody sees it written down before they sign one.

15 to 20% A new artist's typical share of their own recording. Everything recoupable comes out of that slice, not the label's.
$30k What an artist on an 18% deal with a $150,000 advance is paid on a record that generated a million dollars.
4 Separate organisations that owe you money for one song. Three are free to join and most artists are registered with none of them.
100% Of your masters and publishing that you keep here. There is no advance, so there is nothing to recoup.

The full arithmetic, with every step shown, is on the about page. What you can do about it, all of it free, none of it needing us, is in the handbook.

Applying

What signing gives you, and how to ask.

The collective is selective: a handful of musicians, chosen one at a time. If it is right, this is what comes with it.

10hoursOf DJ Studio 37 a week, free, with an engineer, and the mix and master of what you record in them. After that, half price.
100%Of your masters and your publishing stays yours. No advance, so nothing to recoup.
21toolsEvery tool in the toolkit, free: the deadlines, the registrations, the paperwork and the money.
1teamBehind every release: the plan, the pitch, the creative direction and the people.
  1. The scorecard

    A few minutes on where you are: what you release, how you collect, what it is costing you. Every application starts with it, so we know you before we listen, and you keep the list of what to fix whatever we say.

  2. Apply with your result

    At the end of the scorecard, apply with it: your result, a link to the song you would want heard first, and anything you want to tell us. Unreleased and rough are fine.

    Recording artistslike Diego Di AngeloProducerslike LOSTK3V!NHybrid creativeslike David Early
  3. We listen, and answer

    A person listens to every application, and you hear back yes or no, with what to do next either way. Never a form reply, and never silence.

Not ready to apply? Start on the Board: an open board for musicians, producers and engineers wherever you are, free to read and a free account to post. If what you want is the room rather than the label, DJ Studio 37 books by the hour.