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Post by MartinT on Apr 28, 2021 14:32:59 GMT
Ok, sorry Mike, I misinterpreted your statement (as Paul pointed out).
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Post by MikeMusic on Apr 28, 2021 14:34:55 GMT
Hopefully there is a way artists can get decent payback in the future. Charging more for concerts is one - then of course you get Ticketmaster and touts Merchandise and probably others Large scale concerts are already very expensive - the last two rock concerts I booked for were £60-70 a ticket and it's easy to pay hundreds of pounds to see big names. Do we really want to pay more? Music merch shows steady growth year on year - $3.48bn in 2018, up from $3.33bn in 2017 and $3.08bn in 2016. Might become the new normal Streamers pay almost nothing Concert goers get the 'real experience' If the artists cotton on they can make it worthwhile I was stunned when we saw ELO touring Out of the Blue at Wembley that was nothing compared to Pink Floyd DSOTM at Wembley Won't suit some. A decision for some artists to make either way
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Post by MikeMusic on Apr 28, 2021 14:46:13 GMT
Disagree. We could never in our lifetimes build a collection as large as what we have now at our fingertips. The idea is brilliant. Now we just need the cost model to work and artists to make a living out of it. When Mike says "worse" I think he's taking about from the arists' point of view, not the end user. End users are happy, the big record labels are happy, the bands are getting ripped off from both directions. There's some decent info here www.recordingconnection.com/reference-library/recording-entrepreneurs/how-do-record-labels-turn-a-profit/ about how record companies do business. It's where I got the above quote, and don't forget, a lot of what goes on is before the artist actually sees a penny, or even 0.0034. of a penny. Creative accounting can make that record label take much more of course All those essential launch parties where the record industry faithful were lubricated and more. The essential staff you never met who 'market' and more Once upon a time.... When I started my business I used a call answering service. Good people, then The bills went up. Queried Spoke to boss and punter who made up the bill Part of my charges were working out my bill Later on I leased an industrial unit Paid around £60 a quarter for grounds maintenance as part of the lease deal. Due to one or more of the other tenants taking an age to pay the rent the landlords subbed it out to an agent We had to pay extra for the privilege. Pain. Added around £200 a year. A year or two later they broke down their charges into Admin, Accountancy, plus a couple of others Charges up at a guess to £600 a year No way round it as the lease stated "any reasonable charges" Bad enough ? Worse Landlords sold out, then those landlords sold out and they brought in managing agents who knew how to charge. Main reason I moved £5000+ a year when I moved.
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Post by MikeMusic on Apr 28, 2021 15:20:33 GMT
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Post by julesd68 on May 6, 2021 15:17:50 GMT
This is interesting. Pay a monthly fee to your favourite band in return for different forms of exclusive content - a way of bands generating sustainable income beyond streaming etc www.bbc.co.uk/news/newsbeat-56887239
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Post by jandl100 on May 19, 2021 21:05:51 GMT
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Post by petea on May 19, 2021 21:30:21 GMT
I support a few people on Patreon and have never experienced any problems. This includes some musicians and specialist engineers.
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Post by julesd68 on Jun 11, 2021 16:55:22 GMT
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Post by MartinT on Jun 11, 2021 17:50:09 GMT
Seeing as it's their recording agreements that put musicians in debt in the first place, I'll limit my praise.
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Post by jandl100 on Jul 15, 2021 6:03:35 GMT
Published yesterday - a report from a group of MPs concerning the financials of streaming. Quite a few points of interest. They recommend upping the proportion of royalties to the musician side from ~15% to 50%. www.bbc.co.uk/news/entertainment-arts-57838473
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Post by MartinT on Jul 15, 2021 13:52:14 GMT
The record companies will have to eat some of the pain. If they try to pass that all on to the consumer, streaming prices will double or more.
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Post by nick193 on Jul 15, 2021 21:18:24 GMT
I saw this the other day and thought it might belong here. It is an interesting point that he raises:
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Post by MikeMusic on Jul 16, 2021 9:31:27 GMT
One reason I can see immediately for buying artists catalogues - they have seen a way to make money that may not yet be obvious.
Most companies work on a cost benefit EG. Buy for £1M. Get your money back in 2-3 years (in some way) and then you have the use and income forever more or if you squeezed it dry sell it on
Could also be the money boys have worked out what happens to streaming in X years and will make many times more that what they paid then
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Post by nick193 on Jul 18, 2021 22:14:19 GMT
I think most of the artists would prefer a big payout now. Especially since touring is off the cards with COVID. If you are "out of work", having a big payday come forwards is probably quite appealing for the older artists in that video. If COVID has shown us anything, it's that nobody really knows what is around the corner and if the artist can be financially secure then why not? But as for what the buyer gets out of it, you are right, it is a bit of a head scratcher. There are only so many times you can rerelease an album or remaster it. Potentially they see the value in new artists "sampling" the music?
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Post by MartinT on Jul 19, 2021 5:27:00 GMT
Steady income has got to be better than single payments, if they could get the royalties settled. Reduce record company greed, increase streaming costs a little in a way that we know it'll benefit the musicians, and we could have a working model that supports musicians and encourage new music, not endless back catalogue reissues.
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Post by Slinger on Aug 11, 2021 19:39:23 GMT
I've just signed up to Bandcamp. I "discovered" Dave Oberlé on Farcebook and through that found out that his band, Gryphon, are still recording and on Bandcamp. Signed up, purchased both albums, downloaded them as FLAC files, absolutely painless.
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Post by MikeMusic on Sept 2, 2021 19:04:18 GMT
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