How’s the artist selection? I find a lot of stuff on Spotify that is a bit niche and I wondering if they have it. I tried searching the catalog which they say you can do but not before you sign up for their free trial which I’m not willing to
Yep after first releases and concerts, the only people benefitting from the music are the distributors who deserve nothing for the effort the artist put in.
They are not the talent providing the work. They are skimming off talent. They are riding on someone else’s talent. They are the very definition of parasites. They would have no job if there were no talent. Meanwhile the talent can find other ways to sell their work.
The “talent” doesn’t have a platform without them. This is a mutually beneficial relationship. The "talent would be waiting tables and playing for peanuts in bars without the industry professionals.
Not OP, but I work in the industry, mostly in the live production side. Here’s a taste of behind-the-scenes stuff that artists often rely on others to handle after they leave the recording studio:
Booking shows, radio and television appearances, and other events
Advancing those events with venue staff
Organizing transportation, lodging, and food for tour
Acquiring and managing all of the gear for tour
Getting the artists from show to show while protecting them from themselves and others
Marketing for shows and new releases
Mixing the material the artist just recorded in the studio
Mastering the music the mix engineer put together from that recorded material into a dozen different formats, so you can listen on vinyl, Deezer, YouTube, Spotify, etc.
Mixing the front-of-house (what the audience hears) and mixing the monitors (what the artist hears) for the live show
Making sure all the folks involved with the above are booked
Paying all the folks they booked to make the above happen
I’m not saying the entertainment biz isn’t fucked up and that artists don’t deserve a bigger slice of the pie, but a lot of artists rely on other folks to handle this stuff for them so they have the space to live their lives, create new music, and give audiences a show worth attending.
Certainly, I depend on people more creative and musically talented than me, but they also depend on me and my technically-proficient and business-savvy peers to translate their creativity into something you can access and enjoy.
Thanks for a great reply. I totally see the need for recording engineers (live and mechanical) and related jobs.
Can you compare the industry now to 10 years ago. What jobs have disappeared? The music press seems much less relevant. Does the A&R executive still exist? Etc.
I’m actually just now coming up on my tenth year in the biz, and most of my experience is with indie venues and artists — my perspective on these very good questions is somewhat limited!
On the marketing side, it seems to involve a lot of social media and local publications rather than the traditional music press, as you point out.
I’m sure A&R execs still do their thing with the big labels, but there also seem to be a shitload of small booking agencies/management groups that handle a lot of the organization and business end for national-level indie artists. It seems that a lot of folks in those organizations are doing actual work and not just sitting back collecting a fat executive bonus.
As far as jobs disappearing, my bet is on the assistants and other staff with indirect roles that maybe aren’t as involved since technology has allowed more folks to work from home. I’m thinking along the lines of people eschewing large studio spaces for home studios, since a lot of mixing and mastering can be done “in the box” on a computer with a good set of monitors and a decently-treated room.
I imagine the same would go for some of the distribution and licensing side, since instead of depending on a major label or hiring a person to mail out CDs to a bunch of radio stations and such, you can just use an online service like CDBaby to get your tracks submitted to multiple streamers at once and keep track of royalties without needing a dedicated accountant.
Again, take all this with a grain of salt, since my experience is still somewhat narrow! And also, I don’t intend anything I’ve said as a defense of do-nothing execs sitting back and amassing wealth at the expense of us regular folks on the ground. It’s just that in my experience, most of the non-artist people involved with the entertainment biz do actually provide value to the artist and fans.
Don’t use Spotify. Use Tidal, Apple Music, or just pirate and support authors other ways.
I switched to Tidal a few weeks ago, primarily because of lossless streaming, but also fuck Spotify for your price hikes. Not going back.
How’s the artist selection? I find a lot of stuff on Spotify that is a bit niche and I wondering if they have it. I tried searching the catalog which they say you can do but not before you sign up for their free trial which I’m not willing to
What happens at the y-axis is pure magic.
Yep after first releases and concerts, the only people benefitting from the music are the distributors who deserve nothing for the effort the artist put in.
The distributors are the only people doing any work and providing a service after the artist walks out of the recording studio.
They are not the talent providing the work. They are skimming off talent. They are riding on someone else’s talent. They are the very definition of parasites. They would have no job if there were no talent. Meanwhile the talent can find other ways to sell their work.
The “talent” doesn’t have a platform without them. This is a mutually beneficial relationship. The "talent would be waiting tables and playing for peanuts in bars without the industry professionals.
What value do “industry professionals” add in 2024?
Not OP, but I work in the industry, mostly in the live production side. Here’s a taste of behind-the-scenes stuff that artists often rely on others to handle after they leave the recording studio:
Booking shows, radio and television appearances, and other events
Advancing those events with venue staff
Organizing transportation, lodging, and food for tour
Acquiring and managing all of the gear for tour
Getting the artists from show to show while protecting them from themselves and others
Marketing for shows and new releases
Mixing the material the artist just recorded in the studio
Mastering the music the mix engineer put together from that recorded material into a dozen different formats, so you can listen on vinyl, Deezer, YouTube, Spotify, etc.
Mixing the front-of-house (what the audience hears) and mixing the monitors (what the artist hears) for the live show
Making sure all the folks involved with the above are booked
Paying all the folks they booked to make the above happen
I’m not saying the entertainment biz isn’t fucked up and that artists don’t deserve a bigger slice of the pie, but a lot of artists rely on other folks to handle this stuff for them so they have the space to live their lives, create new music, and give audiences a show worth attending.
Certainly, I depend on people more creative and musically talented than me, but they also depend on me and my technically-proficient and business-savvy peers to translate their creativity into something you can access and enjoy.
Thanks for a great reply. I totally see the need for recording engineers (live and mechanical) and related jobs.
Can you compare the industry now to 10 years ago. What jobs have disappeared? The music press seems much less relevant. Does the A&R executive still exist? Etc.
I’m actually just now coming up on my tenth year in the biz, and most of my experience is with indie venues and artists — my perspective on these very good questions is somewhat limited!
On the marketing side, it seems to involve a lot of social media and local publications rather than the traditional music press, as you point out.
I’m sure A&R execs still do their thing with the big labels, but there also seem to be a shitload of small booking agencies/management groups that handle a lot of the organization and business end for national-level indie artists. It seems that a lot of folks in those organizations are doing actual work and not just sitting back collecting a fat executive bonus.
As far as jobs disappearing, my bet is on the assistants and other staff with indirect roles that maybe aren’t as involved since technology has allowed more folks to work from home. I’m thinking along the lines of people eschewing large studio spaces for home studios, since a lot of mixing and mastering can be done “in the box” on a computer with a good set of monitors and a decently-treated room.
I imagine the same would go for some of the distribution and licensing side, since instead of depending on a major label or hiring a person to mail out CDs to a bunch of radio stations and such, you can just use an online service like CDBaby to get your tracks submitted to multiple streamers at once and keep track of royalties without needing a dedicated accountant.
Again, take all this with a grain of salt, since my experience is still somewhat narrow! And also, I don’t intend anything I’ve said as a defense of do-nothing execs sitting back and amassing wealth at the expense of us regular folks on the ground. It’s just that in my experience, most of the non-artist people involved with the entertainment biz do actually provide value to the artist and fans.