Label Spotlight | October - Transmitter Records

Run by multi ARIA award recipient Nicky Bomba, the Transmitter Records focuses on Reggae/Ska/Funk/ World Music and operates as a grassroots in-house studio operation.

Through Transmitter, artists gain access to an ecosystem that supports every stage of their Journey. Transmitter help with joining the dots and completing projects. Each artist becomes part of the Transmitter Family Collective Hub - a likeminded forum of Creative Thinkers.  

AIR caught up with Nicky Bomba for a chat to learn more.

How was Transmitter Records created?
I've always appreciated home grown operations, cottage industry vibes where Energy is high - Expenses are low!
Frustrated at the expensive lengthy process of recording music, I built my own studio and started learning the craft.

I fell in love with the self-sufficient nature of the Jamaican record industry and how they would record something on Monday
and the Sound Systems would be playing it by the weekend.

Quick, raw, honest and all about catching a vibe.

What is Transmitter Records all about?

I believe we are all eternal energies having a human experience and by default we are Transmitters of Energy.

Now the question is - What are we transmitting? ....or.... as the motto of the label is.... What's your Frequency?

What are you saying, why are you saying it, what's the intention?
We're big fans of Reggae, Ska, World Music, Funk, Bossanova, Mento, Calypso and recently delving into Breakbeats, Dance, Hip Hop and Drum'nBass.

Ours is one of good energy, food for thought, great grooves and constantly searching for that great recording where the chemistry hits home.

As a multi- instrumentalist I can quickly knock up a template to get a vibe and help light the fire. Also I think I'm good at creating an active positive recording session.

I love seeing an idea come to fruition, understanding the building blocks to get there.

What was the moment when you decided you wanted to start a label?

The idealist in me was drawn to the collective nature of making music independently and helping others achieve a great recording.

I was running my own studio successfully and Joe Camilleri had the same feeling. It was fun, energising and creative.

We set up an office above a record store in Williamstown and fumbled our way into existence.

It was also at a time you could actually make a reasonable income from selling cd's/vinyl though we weren't that great on the business side.

Essentially, I bought a 4 cd burner - printed my own jackets and packed and distributed them to local shops. Old school and small time!
It became evident that we needed to invest more time on the street drumming up business but we were both too busy making music and performing live.

It was only recently where the spark to reactivate the label returned- the industry landscaped changed so much that the homegrown aspect became more valid.

Was it what you have always wanted to do or did something else lead to it?

I like to be in control of my own destiny and having my own studio and label meant that I wasn't playing second fiddle to the whims of
financial based decisions or flavour of the month preferences. I'm big on self sufficiency. Also I'd already tried selling my songs to labels
and the whole trajectory from recording to release seemed painfully slow to me. Joe shared the same ethic.

What do you think are the best ways for a Label to support their Artists?

I don't have any investors or financial backing - (mortgage funded in fact!) so our initial support is in the writing/arranging/recording/mastering whilst always keeping a tab on the intention and integrity of what is being recorded. 

Utilising my own studio and producing the sessions is an obvious contribution.

Self belief motivational pit stops for the artists to get a check up from the neck up and make sure they are trusting in their own instincts and tapping into their own integrity. Then there's Image, Marketing, Team set up etc.Essentially it just comes down to this. There is a line..... To the left is The Creation - all the things associated with getting your songs ready to be heard and seen. To the right is Marketing - all the things that are required to make people aware of what you've created.
We have a tried and tested team that helps with all of that.

What makes a good relationship between an Artist and their Independent Label?
Open communication about ideas, realistic conversations about how to achieve outcomes and sense of family given that we all want the same thing. Making Music- Making a Living.

Any advice to others wanting to work in the independent sector?
I think it's important to ask for help when you need it. You can't do everything by yourself (no one likes a control freak!)
I would immediately join AIR. They are great at jamming ideas and joining the dots. They have their finger on the pulse
and offer good advice. As we speak they are helping my single releases.

Apart from being open to advice, having a good team (that you pay accordingly) is vital to the business. Essential!
The landscape has changed so much over the last 15 years that I have occasionally wondered why I even bother creating all this music only to give it away to digital platforms for free. It still does my head in quietly. However it's what I love and what I do well and having good heads around me gives me the excitement and impetus to celebrate the creations in the smartest, most efficient way possible.

Also my active investment in performing live has helped keep the dream alive where the recording and live model has a symbiotic relationship.

What are you drawn to when you decide to sign an act?

We are more of a hub for like minded creatives. Initially I only concentrated on bands that I composed and played for then I though it would
be good to create an umbrella for artists who don't have a home (or strategy). Sharing my knowledge and enthusiasm.
We don't really sign anybody in the traditional sense as it's not financially set up that way and in reality, the income stream has been decimated over the past years. 

We've applied for lots of grants to put fuel in the tank but haven't had much luck on that front.

I'll keep trying as I know the creative energy that drives this has integrity, passion and enormous possibilities. I really believe in the power of music.

Most of my finances are tied up with keeping the Melbourne Ska Orchestra afloat. 

I guess the next step would be to secure an imprint deal with an established body or find a benevolent investor who understands the machinations of the industry. (Did someone say Lottery Ticket?!)

Do you have any exclusive news you would like to share about Transmitter Records?

We are doing a big rebrand and relaunch this month - releasing our present Evergreen catalog on vinyl including Bustamento, Banana Oil, Nicky Bomba solo, Limestone(Camilleri/Bomba), The Truth, 3 x Bomba(Band) albums and The Ross Hannaford Trio album - one of Australia's true guitar legends.

Then there's the new releases which I'm excited about - Ska Vendors, Sunny Coast Rude Boys,Transmitter Funk Collective, Freebird Dubbers, Barry Morgan, Drumming Breakbeats and a recording inspired totally from Birdsong. 

There's also a Maltese and Ethiopian album available. We recently set up a studio in Bali working on an Indian Reggae Funk album with local guru Punnu Wasu.Covering all bases! 

The updated shop has T-shirts /Tote bags/ Vinyl/Cd's/ Books /Artwork/ and even Ukuleles! merch with 2 On the event front we are liaising with a regional council to present a Folk Festival.

I've recently expanded the team to bring in new energy with their own expertise.

Tim Schroeder - Specialising in the Dance scene and general strategy, Sam Kerr - Hip Hop, Software expertise and developing an creative artist agency, Mick Hughes - Live events and Promotion and of course Joe Camilleri - his knowledge base on all fronts is gold. We also have our specialised team in Social Media, Artwork, Publicity, Photography, Filmclips, CD and Vinyl Production and Live performances. I think we're in good shape - driven by the desire to CREATE!

What excites you about the future of Independent Labels and Artists?
The door is open for new models in music creation and promotion these days and I would like to think that at some point the royalty structure for artists gets to a point where it actually helps their day to day. 

Government subsidies compensating for the decimation of the recorded income stream could be a thing.

I had a thought last night that all labels and music bodies around the world should start a not for profit streaming platform called UNIFY (Not Spotify) .

New formula that respects the artists in a big way!