Posts by robbery
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Renderers and Terminals stuff is up there. Lots of Roy Montgomery.
I'd be really interested to know what a standard sort of payout is for them.
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it ultimately has diddlysquat to do with me & my personal state/stance. Print copyright really is different from music (or visual) copyright.
Apology Islander. Not trying to take your name in vain at all.
I was trying to highlight the insanity of expecting any artist in a non performance medium (and I think writing literature and recorded music are non performance mediums). Yes you can read your book and yes it is possible to establish a band an perform a recorded work (many are not performed live in the studio by an established line up) but to devalue the written or recorded work with the argument that the artist can just get out on the road and perform those works to make up for the loss of income from hard copy forms of their work is just bollocks. That was my point. not that I think writers should hit the highways to cover for piracy. -
anyone know anyone who has stuff on emusic and what an average return for their effort is? simon? russell?
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Hilarious
someone has to be, you're so letting your team down
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How about we make it zero?
I get that you like to speak for people that haven't asked for you to speak for them, and that you don't do lateral or extrapolation when it isn't about your own personal world view, but ..... the link to an article by an ill informed radio dude speaking about things he has little experience of was worthwhile and enjoyable. can we have more of that?
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My old stuff will be up on eMusic mid year-ish
keen to hear how that works out. I've talked to some who had stuff on there and the returns were infinitesimal, ben howe was quite pleased with the work ioda were doing for him but that really highlights the importance of a good distro/aggrigator.
Greg Cotmore doesn't get at all.
that and the whole t-shirts gigs rubbish.
if that's an acceptable business model I'll look forward to bumping into islander on her book reading tour. -
I think that the artist has the right to expect that you will offer their product to as wide an audience as possible
applied in context of course. offering an item to as wide an audience as possible could mean releasing it free to bit torrent sites, that gets to everyone doesn't it.
But it ignores the economic imperatives of the process. if you do that then you ain't going to be doing the next recording cos you're essentially burning your money.is 15 cents a track a viable prices to get?
do you offer your stuff via emusic and what is normal return for a reasonably obscure but famous in nz track. like maybe a meemees track.also those questions from yesterday.
what stuff are you working on at the moment simon?
how have things changed for you working in the label game today to what it was like 20 years ago?
are you seeing the financial results at the end of the line in similar or better amounts compared to similar acts you maight have been involved with in past years, ie is it getting better or worse on the returns front?reason I ask is it helps to put things in a real world perspective if we get real world figures and answers, or else we end up talking in circles like Greg Cotmore and his myth of music.
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I'm amazed you've not had a look at eMusic. It's perfect for what you do.
I talked to people who used it early on and said the payout to artists was pretty low. if they're charging 30 cents a track that's how much for the artist/label?
2 dollars a track is ridiculous but 30 cents is a bit precarious too.
I was looking for something in the middle.I also feel terrible about selling someone a shitty low quality rendition of a recording. at least with a cd you have the option of a full quality track ripped to your listening device, supporting art and information, but that's just the sound engineer in me.
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Instead of sitting on their laurels counting the royalties they receive after the record company takes its percentage, many artists are resorting to going out on the road to earn a living. Just like in the days before the record companies took over.
oh god, please stop with the cliches. this is ridiculous rubbish. he has no idea what is involved in a recording project.
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It makes the same mistake as a lot of the reaction to Shepherd's piece, in that it supposes that he is still running Flying Nun, which I don't think he has since Warners bought Festival.
it also faulters on the issue of if technology makes it possible to do something we see as a crime should we then make that crime legal?
My matter transporter moral question from miles back trying to frame the issue from a different perspective to illuminate and which everyone avoided contemplating.
If technology made it possible for us to remove physical objects from peoples houses would we attempt to control said technology or simply shrug our shoulders, say the horse has bolted and accept it.
also Roger is a music industry adviser now. he doesn't run a record company but he has experience with the business of working to make projects break even and or turn a profit. That's not nothing.