Speaker: Copyright Must Change
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Would love to see a Web-app iTunes or an alternative that offered mainstream music from an interface as good as eMusic. As a way to search, read reviews and purchase music it rocks. But no major label stuff :(
It does my head in that the majors won't put at least back-catalogue stuff on eMusic. It borders on negligence.
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It does my head in that the majors won't put at least back-catalogue stuff on eMusic. It borders on negligence.
Well said, sir!
They have a pot of gold sitting in their vaults and will not allow access to it. Or only allow limited access at best.
One of the frustrations with music stores (including online varieties - eg Marbecks and Real Groovy) is that they never carry stock. So if you still want a CD, with a booklet etc that is not "mainstream" you have to order it and wait.
I'm off to visit eMusic now.
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but really its exactly the same as before except this time we have a net retailer taking its 1/3 for doing less than the previous retailer did (no actual stock, no shop floor and high street rent).
Yes, but the Net retailer has to have computers, website/interface (that is well presented and well designed), internet, staff to maintain all of this, some form of accounting etc and still has to have the gear and staff somewhere.
Also they are taking a risk setting up the online store so they need to be compensated for that risk somewhere.
So, it is the same as before, but different. Not having stock on shelves would be a huge benefit for their working capital requirements.
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So what you're saying is, you'll have anything, as long as it's a PS3
I'm hearing whispers of external Blu-ray players for the Wii being not too far away, now the HD war is over but, yes, I want a PS3 ;-)
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iTunes pays out 70% of revenue per track to record companies, but its margin after costs is generally estimated at around 10%, which isn't huge -- certainly not by Apple's standards.
There's been talk lately of Apple signing artists to iTunes directly. On one hand, it's a scary sort of market dominance. On the other, it would mean a WAY better margin for the artists themselves.
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Talking about Paul, he just lurvved pirate radio and encourages a young reporter to set up something similar.
http://www.guardian.co.uk/film/video/2009/mar/24/paul-mccartney-the-boat-that-rocked-world-premiere
Good on him, I say.
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iTunes pays out 70% of revenue per track to record companies, but its margin after costs is generally estimated at around 10%, which isn't huge -- certainly not by Apple's standards.
And then the label pays 20% of 75% of what it receives to the artists, less recoupment out of that 20% (which includes pretty much all the costs of the project, not just that album or song).
I'd be happier to reply on Bomb Party if they had much idea of what they were talking about but his / her posts are just factually questionable (and I pointed out a couple of major ones earlier).
At least if an act or an indie signs their track to Apple they are able to use the 70% from Apple (less the cost of the aggregator) as they see fit and apply 100% of that to the costs of the project.
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Good on him, I say.
I think he's thoroughly revived his reputation / credibility, call it what you will, in recent years, with a series of pretty fine solo records which nobody else of his generation, Dylan aside, has been able to offer, and a thoroughly lovable grandfab persona which the public seems to lap up.
Then again, put up next to Heather Mills, anyone would look sincere.
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There's been talk lately of Apple signing artists to iTunes directly.
sounds like a complete coup of the entire music distribution industry.
are they going to front for recording and production costs or are they just licensing the finished product?if you were the only player in a market you wouldn't have to give way more money to anyone cos the alternative would be being shut out of said market.
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with a series of pretty fine solo records which nobody else of his generation
Of course. Who could forget this...
Wonderful.
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Slightly more seriously, Paul McCartney never ceases to amaze me. All that shit with all that genius also.
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to be fair Don, that was almost three decades ago, in the darkest days. The last McCartney album., The Fireman's third (with Youth) got pretty much universal 4 & 5 star reviews, as did Chaos & Creation. As a recording artist his reputation is pretty much rehabilitated these days.
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At least if an act or an indie signs their track to Apple they are able to use the 70% from Apple (less the cost of the aggregator) as they see fit and apply 100% of that to the costs of the project.
You don't even have to be that big to save yourself the 20% on an aggregator -- Fat Freddy's Drop deal direct with iTunes. I imagine that an established artist could do extremely well out of "signing" to iTunes.
But yeah: it'd be better if there wasn't just one big player in that game ...
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they are able to use the 70% from Apple (less the cost of the aggregator)
apple won't deal directly with artists as far as I know. you have to go through an agrregator (essentially a distributor) who will take their cut. the 70% is misleading cos you're never going to see 70%. you have to hand a portion of it over to the people who got you through the gate.
you'll also be fronting for all of the production costs yourself, ie artwork, recording, mixing, mastering, promotion (no one's going to download you if they don't see you in the crowd). Luckily not manufacturing though. -
Bomb Party if they had much idea of what they were talking about
they did get some pretty interesting perspectives regardless of the technicalities of who owns what in the present day. they're right in that these battles aren't necessarily as black and white as they're portrayed. and if you just can't bring yourself to take on board the other ideas in bomb party's post then the original article linked to by Giovanni may feed the same ideas without the niggling specks that irritate. both of em add an interesting perspective to a typecast battle.
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But yeah: it'd be better if there wasn't just one big player in that game ...
Agreed, but hell, as an indie in the 80s I'd have murdered for a distributor with a global presence rather than the shitty territory by territory sorts of deals which were the only option if you could find the airfares (or interest) to negotiate them.
And I'd happily pay 30% to have the product available in just about every home in the developed world rather than a few edgy record stores in a few big cities. The removal of that one barrier to sales is massive.
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they did get some pretty interesting perspectives regardless of the technicalities of who owns what in the present day.
except they were wrong as I pointed out a couple of pages back
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As far as I know, Fat Freddy's deal directly with iTunes NZ and Australia via their self-owned label, The Drop.
In Europe and the US, they're with the British-based label Kartel, which works with the Belgian label PIAS (Play It Again Sam) as an aggregator.
Major-label NZ artists are represented to iTunes by their labels, and those who aren't locked into digital distribution with a major label (I know of at least one local artist who deeply regrets ticking that box in the P&D deal) get a better return by going through an aggregator like Amplifier.
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except they were wrong as I pointed out a couple of pages back
That's a bit of a broad generalisation simon.
There was plenty in both those articles that wasn't wrong. -
the thing you pointed out was that Murdoch had sold up. that doesn't negate the intent of the article.
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Major-label NZ artists are represented to iTunes by their labels,
who mostly go through agrigators.
arch hill go through iota.
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the thing you pointed out was that Murdoch had sold up. that doesn't negate the intent of the article.
More importantly that Time Warner-AOL owns WMG, which anyone with any real knowledge of the recording industry knows is nonsense. I'm having trouble taking any 'commentator' of the industry who doesn't know the basics, especially when he uses them as core examples, very seriously and thought his / her ramble largely vacuous.
But that's just me. Others may get more from it.
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Once again: Major-label NZ artists are represented to iTunes by their labels
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to be fair Don, that was almost three decades ago, in the darkest days
I think the early 70s were still pretty good for Paul, though. 'Another Day', 'Every Night', 'Band on the Run', 'Coming Up', 'Jet', 'Junk'... we're kind of Wings revisionists in our household. I mean, even in the same year as 'Wonderful Christmas Time' (admittedly horrible) he put out 'Goodnight Tonight' and 'Daytime Nighttime Suffering'...
I wash my hands of a lot of the 80s output though. Still, even Bowie went through a bad couple of years then...
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Once again: ...
Don't you just hate that?
I go through the same thing every time section 59 comes up for discussion.
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