Posts by robbery
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Why not just start offering a legal file-sharing license, coupled with an industry-supported file sharing network? Don't change people's behavior, just provide them with a more usable environment and introduce a revenue scheme to make their actions legal and affordable.
Now that is an interesting concept. nice bit of lateral thinking mr higgins
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Magically, nobody is able to listen to any music unless they've already paid for it. You can listen to the radio, but unless you've licensed a track already you just get dead air. You can put the TV on, but C4 is scrambled unless you've paid for the specific video that is screening. Your mate can listen to his music all he wants, but if he tries to lend it to you so you can listen to it then it won't play. Music in cafes and bars disappears, because individual people haven't paid to hear it.
you're confusing private purchase with public broadcast.
C4, radio stations and cafes have all licensed the right to play music to you free to air.
When you buy a track or a disc it's for private ownership and use.
You can play it to your mate but technically you can't give him a copy, he has to buy his own.
he could copy it by making a 1 generation copy of it, but if you weren't giving your music away to all your mates and they were buying their own copies of what they wanted then prices wouldn't be so high.You could keep a cap on profits by making all labels report their income to a central agency, and while you're at it make oil companies and currency traders and all stock market voyeurs do like wise. we'd probably need strict curfews and we'd probably need to move our dress sense in to a more military style of uniform for everyone but there's no reason why those uniforms couldn't be very snazzy.
too much??
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Point of interest: I've mentioned this before, but when you buy a paid download from any service, if it's on an independent label, you can safely assume the actual artist is receiving about twice a big a share as his or her major-label counterpart.
that's a bit of a broad generalisation. some major label acts negotiated very favourable contracts for themselves, and the labels that represent them don't screw them over. others get royally shafted as in any business. That whole evil major label schtick as a means to justify theft is a little tired and people should know better than to perpetuate it. Its just a diversion from the real issue. one of ownership and the right to control that which they own, be they small time artists or major label wankers.
If the situation was really as bad as some people like to infer then you wouldn't get people like bic runga et all working with them.
Interestingly with downloads the percentage cut to the supplier (be it amplifier, itunes or one of the phone companies) is still dis proportionally high for what they actually do.
They are essentially the retail outlet but the shop is self check out, automated, you do the payment transaction, and the physical movement of the file to your hard drive,
there are no physical goods to store, get damaged, move etc, yet they still take a good whack of the total take. (can't remember exactly but its something in the region of 40-50%, I'll grab the real figures when I'm next at my work computer)I think a download purchase for a song should be under NZ$1
At present each real sale is covering for a multitude of pirated copies. ie if you buy it and give it to your mate and his mates you're paying for their copies. if they all bought their own then the price could afford to come down.
If everyone was paying for their music then I don't see why 50 cents wouldn't be a reasonable price and when it got down to that price then people wouldn't feel so bad about spending the legit dollars.
good drm would strengthen that possibility. -
I'm against car alarms as well as DRM. Like you said, its not the idea, its the implementation.
so you're not actually against either in concept, just execution. you want to take that up with the people who design these things.
how bout a car alarm that signals the owner rather than the people sleeping in the street, and whispers in a menacing voice to those in close proximity that the alarm has been activated.since paul's nominated me chief designer of DRM ( I don't know why he's not doing it since its more his field) I would suggest the idea DRM was one that knows it is playing for the original purchaser and knows so without any interaction with the client (purchaser).
can you pop that into your faber maker and see what it looks like.
further to my first idea ilok as used by protools plugins designers has an on line registration thing for a key. I personally hate the device but I like the idea of stored registrations for devices.if it was a simple process to add a new device (u just bought a new ipod, or computer, or stereo etc) and it kept track of it and allowed all you digital media to know it was allowed to play on said devices and any you decided to add to your list in the future all would indeed be good, and no I'm not offering to design said scheme, I'm just pointing out that the concept of a workable and managable drm is not unimaginable, just not yet made.
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you don't see multiple versions of the Stone's latest CD from different vendors all competing on price at the record store in the same way you might see paint at the hardware store - it leaves us (the consumers) open to abuse - it's the real reason I can buy CDs for $9 in the US and $30 here
actually there are different wholesale prices to retailers depending upon how powerful they are. price breaks for quantity are normal and the reason the big chains can afford to charge less.
the competition present in the market place other than that between the warehouse and Real Groovy, is between different cds.
so not between copies of the same stones album but between a $15 indie cd sold at a gig and a full price disc sold at real groovy.
There is a larger range of price options now, although none are equivalently to the $9 price you mentioned.and I just bought some pain today, the prices were all pretty much the same. bunnings, placemakers, mitre 10, all too expensive, when did paint become so valuable?
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There's endless combinations of laws that might build a commercial structure around the production of art without limiting the non-commercial copying of the same
the laws are already there to protect the rights of copyright holders and creative types, but they are unpolicable with current technology, and anti copying technology is the only way to re instate the balance.
Being against that is like being against burglar alarms. The issue isn't the DRM its that some people can't be trusted to not steal shit.
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The Enemy and Toy Love were IMHO 100 times better live at the Cook than anything that was ever recorded.
They've only themselves to blame for that. they got the guy from dragon to produce it for fuck sake. and in australia, land of pub rock, what did they expect?
If I was producing them I'd gauge the success of their recordings thus far (the singles) and look at a possible live band feel recording for at least the initial tracks. But thats just me, -
But that's where many of the bands you just quoted came from - part time
you're talking about new zealand.
no one in nz has ever made a good living from music alone, and those 4 track bands didn't get rich and definitely not strictly from their music. Knox has a day job as a writer for various publications which no doubt makes him more than her ever made from his music, and he would make most of that income not from live performance but from royalties from using it to sell bread in adverts.my comments refer to the bigger world picture in music which will have a proportional result on music production here. DRM and piracy are a global issue well before it affects nz.
my initial comment that it is not DRM that is inherently bad (ie an attempt to control the reproduction of digital media) but the innefective and cumbersome way it has been implemented thus far.
Championing and promoting the erronious view that a free for all in digital media is good for everyone and hurts only the 'bad' major label coke heads who have too much money is misguided and at worse irresponsible.
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- fewer big stadium tours,
fine by me, I hate sharing my music with more than a couple of hundred,
I don't think that we're going to see an increase in gig going though, the kids have got other thing on their minds, (playstation, supped up cars and herbal highs) and the elderly take offense at the volume.
its a difficult balance but you can see why people would rather stay at home than spend 4 hours standing in the most run down bars in town being assaulted by unskilled sounds. (roughan is hardly unskilled but he is obviously out of touch with the wants of the audience)
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but his production costs for great sounding music is an order of magnitude less
absolutely, but its still not nothing. and it grows in order of magnitude when you add more musicians playing together. then you need a mixing desk and multiple input sound cars. still not what it used to cost to do all this stuff but still not free.
now factor in his time at an hourly rate in creating said works like you would in any other field of work and you can calculate what he needs to charge for said recordings in order to do it as a vocation.
otherwise it'll have to happen when he's not to knackered from doing his day job to be creative.
Ever wondered why NZ doesn't have a slew of local music royalty churning out crafted works every 2 years like every other country.
The dreaded day job is a creative killer.10 years between bats albums, verlaines just managed another and Mr downes is an exception to the rule. his day job is teaching music so he can still keep his mind somewhat on topic, headless chickens, ???? Carter is smarter, where's everyone else?
now apply the nz day job syndrome to the world. you've got a radiohead album every 10 years, some might say thats a good thing.