I dunno man, as ever its always a catch 22 situation. I'm not too sure majors are too much of a factor where niche music is concerned. Sure if anything suddenly gets some notoriety due to some kind of fortunate placements in terms of potential mass reaching outlet to be heard and wanted by the masses, then yeah maybe majors will have reason to be interested. But generally all the better known electronica music download sites pretty much have all the traditional dance oriented labels as well as newer ones on their rosters already.

I guess you could only say that all music should be free if every single artist with a commercially available release was able to tour and do gigs with a guarantee of making a substantial living which is potentially impossible. However even if you were to do that it would kind of leave artists that don't particularly want to gig a bit stuffed too. 

I also think recognition partly has a lot to do with why immerging artist do what they do. Sure they do it for the love of it, but at the same time I don't think any artist creates a remix of something or a completely original piece of work for someone else to take credit for it. But I guess it all comes down to where you are in your career and how hungry you are for the fame/ recognition. You only have to look at the dynamic of office politics where you might have a clueless superior in charge, any good ideas that carry usually gets credited to that superior and does little for yours. So I guess its two fold. Income and recognition for creative output (if its any good) play a key part as motivating factors especially when people specifically place themselves outside of any such office like professions that employs such a work dynamic.

The problem of intellectual property pulls out of its proverbial pocket sized swatch sample block with many shades of grey fanned across it. Its just a mine field despite the law being a lot more clear cut.

I'm trying to keep this within the context of dance electronica since the slightly higher cost over mainstream music is slightly justified to my mind due its specialised nature and none mass audience/consumer. However when I used to buy vinyl as they hit the shelves we were talking around about 6 to 7 quid a pop which by today's rates is... $11.1 or 8euros. Quite a lot to pay when I'd only use one or two tracks out of the average potential of3 to  4. I'm guessing the price on vinyl has gone up even more since its gradual decline in use. Partly the reason I made the initial switch to vinyl emulation. But the rate at which legal MP3 download file prices are rising after tax I'm almost tempted to switch back to vinyl.

I hate the idea of having to use unnecessary resources and materials for something that can potentially be delivered instantly within the range of current technology that's widely available in our societies. Especially with the whole spate of above requirement spec Serato capable netbooks that are out there. Plus you can always burn them to CD as and when needed. However I always usually get the whole argument of what if your computer crashes thrown at me, to which I say, highly unlikely on a well maintained dedicated machine specifically for DJ purposes. CDJ's and vinyl turntable can't function without electricity. If you want a purely reliable medium that requires no electricity to make danceable beats then I suggest you take up the drums.

But back to the point. Does anybody actually use their CD's that often once they've actually been ripped to a computer? Would it not be far more convenient to have a backup cloud space that you can retrieve all your music from in the event of a system crash or data loss? Less physical resources to just sit around and less waste.

Again the rising prices of specialised dance floor targeted MP3 downloads after tax that's putting them on a price parallel with physical vinyl seems ridiculous when there's no actual physical media, packaging or physical logistics involved. I wouldn't mind so much if all the additional cost that would have gone into a physical press, packaging and logistics was actually going to the artist through digital downloads.

Also I don't know if its just me but after trawling the masses of new releases from all these download sites for new stuff, a lot of it is actually quite disposable with a short time frame of use. After which you either have to mix it up to make it interesting again or just stop playing it altogether. That is until the next officially endorsed remix of it comes along or if not a remix something else of a similar dynamic but maybe slightly more progressed.