Interesting article on music business models

[David Polich]

I work inside the "upper echelon" of the music business, as a keyboard tech and programmer.
Unless you're somehow inside that little circle of successful artists and producers, and see firsthand how the whole ancillary support business that revolves around them (promoters, bookers, audio, lighting, managers, technical crews, transportation and shipping, etc.) works,
you will always be at the bottom looking up at something that you are imagining exists.

The thing that has always been true, and still is, is that only a small fraction of people ever
make a living at anything to do with music. Whatever your business model is, it will be a money-losing proposition from day one until somehow, somewhere along the line you garner a massive infusion of cash from investors. Record companies used to be the investors, they're pretty much gone from that game now.

Yes some artists still make millions and sell tons of downloads. But there is a giant promotion and marketing machine behind them to ensure that. Frankly, about the only way an unknown artists can cast themselves into the awareness of the investor-driven promotion and marketing machine is to win one of those singing contests on TV. Seriously, that is it these days.

Not to say one can't make a few bucks from downloads, videos, and shows. You can. Not a
six-figure income, but you can break even and clear a small profit if you're very careful, and
you work 24/7 to grow your "business".

Music will always need dreamers who make good music. A small percentage will be the new stars. That doesn't make it a worthless endeavor.

[MIDI Life Crisis]

There's another world outside all that. Music for live theater, performance art, dance, and a whole array of opportunities for relatively "traditional" composers and performers

That's not what Dave P. Is referring to (obviously) and not what any garage band would aspire to. It's a long hard road, but it has great rewards if you're into that sort of thing. I haven't really listened to or enjoyed 99% of pop music in many years. If it disappeared completely my world would mot be any less rich. Just sayin'

[Shooshie]

The article reminds me of the old joke-

"A bookseller loses a little money on every copy he sells. How does he stay in business?"

"Volume"

The problem is that too many believe it's a valid business model for music today. It's a joke!

Didn't Lucy and Ethel try that model?

[mikehalloran]

I haven't really listened to or enjoyed 99% of pop music in many years. If it disappeared completely my world would mot be any less rich. Just sayin'

I certainly know that feeling.

I suppose that, since I'm part of the Big Machine supporting the last 91 years of copyrighted music, I should be more aware of music from the last 25 years. Can't get up the enthusiasm to feel guilty.

[BKK-OZ]

The problem is that too many believe it's a valid business model for music today. It's a joke!

Maybe, it depends on where it is you think you can/want to make money. As with my example of the gas station not charging for air, if you think you are going to make your money elsewhere, giving away your music/content can be a perfectly valid approach.

In my own case, I think I will make all my content freely available because:
- I don't ever think I will earn much from it anyway
- I would rather people have my work than not
- I make my living doing things other than my art (my choice)
- If I am going to make anything off my art, I think I would rather make it either from my installation work, or from what I think of as my 'person-person' artist/patron model.

I probably need to explain that last bit. I have long thought that my preferred way of sharing my work in return for $$$ would be to have a 1-1 relationship with those that want my work. So, in addition to freely available, downloadable 'generic' versions of my work, I plan on offering personalized versions of my video pieces, using a numbered edition model similar to the kind of approach a print-maker uses.

I plan on making my videos available in limited runs, with special versions (subtly) watermarked with edition numbers, just like when a print-maker releases/publishes a series, of up to say 100, and hand-numbers and signs each print sold. A person getting my work this way will get a version unique to them. As it stands now, my preferred way of doing this would be the name-a-price approach, where the purchaser decides how much it is worth to them to have a particular work.

Cue everyone telling me I'm nuts for wanting to do this.

[Phil O]

You're nuts.

Just kidding, I couldn't let that go by. It's like Roger Rabbit and Shave and a Haircut.
https://www.youtube.com/watch?v=6ds6w7SkHyw

But seriously, I don't know what to think about the current state of the music business. All I know is I'm finding it harder and harder to make a good living. I'm constantly searching for a new business model for myself. I recently got a great band job, and if it weren't for that extra income I'd be in trouble right now. I'm holding my own, but the future's so dim I gotta take off my shades.

Phil

[MIDI Life Crisis]

I should be more aware of music from the last 25 years. Can't get up the enthusiasm to feel guilty.

Imagine the learning curve trying to catch up with "art music!"